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The following are fictional characters in the American horror The Texas Chainsaw Massacre franchise.

Contents 1 The Sawyer family 1.1 Chop Top 1.2 Drayton Sawyer 1.3 Grandpa 1.4 Luda May Hewitt 1.5 The Hitchhiker 1.6 Sheriff Hoyt 1.7 Leatherface 1.8 Old Monty 1.9 Vilmer Sawyer 1.10 W. E. Sawyer 1.11 Other members 2 Other characters 3 References

The Sawyer family

The Sawyer family (Leatherface, Drayton, Hitchhiker, Grandpa and Grandma) from The Texas Chain Saw Massacre.

The Sawyers (renamed the Hewitts in the remake and its prequel) are a family of cannibals in The Texas Chainsaw Massacre franchise.

Chop Top

Chop Top in The Texas Chainsaw Massacre 2

Chop Top appears in The Texas Chainsaw Massacre 2, as one of the film’s villains and is played by Bill Moseley.

A member of the cannibalistic Sawyer family, Chop Top, whose actual name has never been revealed, is a deranged and sadistic individual, gleefully murdering people when given the chance; possessing a hippie-like mentality and view on life, Chop Top adorns himself in a variety of multi-colored and tattered clothing and claims music is his life. In The Texas Chainsaw Massacre 2, Chop Top first appears alongside his brother Leatherface (Bill Johnson) attacking a pair of drunk motorists on a bridge with their pick-up truck. Chop Top and Leatherface kill the two drivers, not realizing that their attack on them was being recorded at a radio station the two drunkards had called into using a car phone prior to the attack. When DJ Vanita “Stretch” Brock (Caroline Williams) plays the recording of Chop Top and Leatherface’s attack on the drivers over the radio, the two brothers (Chop Top covering his exposed metal plate with a wig) break into the radio station intent on killing Vanita. This plan ultimately fails, as Leatherface, having become infatuated with Vanita, tricks Chop Top into believing he’s killed her when the two leave the station, taking an injured co-worker of Vanita’s with them.

When Chop Top and his brother Drayton (Jim Siedow) discover that Vanita is still alive after finding her in the family’s home in an abandoned amusement park called the Texas Battle Land (bought by Chop Top using government cheques), the brothers hold her captive and decide to let the decrepit patriarch of the Sawyer family, Grandpa (Ken Evert), kill her with help of Chop Top. Vanita is saved when protagonist Lieutenant “Lefty” Enright (Dennis Hopper) bursts on to the scene and engages in a chainsaw duel with Leatherface. The battle between the Sawyers and Lefty reaches a climax when a hand grenade, accidentally set off by Drayton, explodes, killing Grandpa, Lefty, Leatherface and Drayton.

Narrowly escaping the grenade explosion, Chop Top follows Vanita, who had also escaped, to the top of a Matterhorn attraction in the Texas Battle Land, which the Sawyers have turned into a shrine known as “Chainsaw Heaven”. Slashing Vanita several times with a straight razor, Chop Top evidently meets his end when Vanita, stumbling upon the mummified corpse of Great-Grandma Sawyer, tears a chainsaw out of her abdomen and attacks Chop Top with it, sending him plummeting him into the ruins of Texas Battle Land.

Though Chop Top doesn’t appear in the 1991 Leatherface by Northstar Comics, a reference to him is made in the form of his catchphrase “Lick my plate!”, which can be seen spray painted on the side of Alfredo Sawyer’s Last Chance Gas Station.

Drayton Sawyer

Drayton Sawyer in The Texas Chainsaw Massacre 2

Drayton “Cook” Sawyer appears in The Texas Chain Saw Massacre and The Texas Chainsaw Massacre 2, portrayed by Jim Siedow.

In all his appearances, Drayton appears as an antagonist. A mentally unstable and murderous cannibal, Drayton, along, with his family of fellow serial killers, lives in the backwoods of Texas, preying upon travelers, who he and his relatives capture and devour, selling some of their meat to unwary people in chili. Drayton’s name wasn’t mentioned until the second film, the first simply referring to him as Cook and Old Man.

Drayton Sawyer makes his debut appearance in The Texas Chain Saw Massacre, in which he first appears as the proprietor of the Last Chance Gas Station, a gas station and barbecue, where a group of teenagers stop while passing through the area. Drayton’s malevolent nature is only revealed later in the film, where he beats Sally Hardesty (Marilyn Burns) unconscious and captures her after she approaches him seeking help when her friends disappear and her brother Franklin (Paul A. Partain) gets killed by Leatherface, having been chased by him previously and is highly hysterical after her shocking experience. Taking Sally to his home, Drayton torments her alongside his siblings, Leatherface (Gunnar Hansen) and the Hitchhiker (Edwin Neal), before deciding to let the family patriarch, Grandpa (John Dugan), kill her. When Grandpa proves too decrepit to kill Sally with a hammer, Drayton, the Hitchhiker and Leatherface attempt to aid him, but only succeed in losing grasp on Sally, who flees out a window, in their over-eagerness to help. Also, his more humane side of him is revealed when he states “I just can’t take no pleasure in killing people” when Hitchhiker accuses him of doing nothing but cooking while he and Leatherface do all the killing.

In The Texas Chainsaw Massacre 2, Drayton reappears, now living in an abandoned amusement park by the name of Texas Battle Land, due to the intense police investigation sparked by the events of the first film, with what remains of his family, Leatherface (Bill Johnson), Chop Top (Bill Moseley) and Grandpa (Ken Evert). Now an award-winning chili cook, Drayton appears far more unhinged than in the previous film, happily joining in on his family’s murderous frenzies, which previously disturbed him somewhat. Drayton dies, off-screen, at the end of the film, when, during the fight between Leatherface and Lieutenant “Lefty” Enright (Dennis Hopper), he is accidentally struck by Leatherface and the hand grenade he is holding explodes prematurely.

In Topps Comics’ 1995 comic miniseries Jason vs. Leatherface, Drayton, only identified by the name Cook Slaughter, appears as a main character. After Leatherface and the Hitchhiker bring Jason Voorhees, the main antagonist of the Friday the 13th franchise home, Drayton befriends him and inducts him in as an unofficial member of the Sawyer family.

The comics expand on Drayton’s back story, revealing that, though he aspires to gain fame and fortune using his culinary skills in the city, he stays in the Texan backwoods due to a vow he made to his younger sister Velma on her deathbed, promising he would always look after her children, the Hitchhiker and Leatherface. The comics also portray Drayton as much more apathetic and lax towards his relatives murdering of people, with him, at one point, stating that he wishes the Hitchhiker and Jason, who had just delivered to him a freshly killed couple, had brought him some children as well (”their meat’s so much more tender…”).

Grandpa

Grandpa in Leatherface: The Texas Chainsaw Massacre III

Grandpa (1848—1987) appears in The Texas Chain Saw Massacre, and it’s sequel The Texas Chainsaw Massacre 2, portrayed by John Dugan and Ken Evert, respectively.

Snippets of Grandpa’s history prior to the events of The Texas Chainsaw Massacre films are made throughout the series; it is revealed that Grandpa was originally a worker at a slaughterhouse whose skills at killing and butchering cattle were unmatched. After new technology was implemented in abbatoirs, Grandpa lost his job due to “the shame”. Grandpa later apparently settled down with the unnamed Grandma and began a family, the cannibalistic Sawyers.

In The Texas Chain Saw Massacre, the one-hundred and twenty-four year old Grandpa (John Dugan) appears as a somewhat minor character, initially thought to be already dead; after heroine Sally Hardesty (Marilyn Burns) is captured by his grandchildren, Drayton (Jim Siedow), Leatherface (Gunnar Hansen) and the Hitchhiker (Edwin Neal), Grandpa is taken from the second floor of the house and brought to her by them. The Hitchhiker proceeds to slash Sally’s finger and forces it into Grandpa’s mouth, so he can suck her blood (proving that he is, in fact, alive), an event that causes Sally to fall unconscious. Some time after Sally is awakened, Drayton, Leatherface and the Hitchhiker decide to allow Grandpa to end her life through the use of a hammer; due to his advanced age, Grandpa is largely incapable of using the hammer efficiently and continues to drop it. The hassle that ensues with Grandpa’s continued dropping of the hammer and his grandchildren’s over-eagerness to help him causes Sally to break free of the Sawyer family and jump out a window.

Grandpa (Ken Evert), now one-hundred and thirty-seven years old, later appears in The Texas Chainsaw Massacre 2, inhabiting a fictional abandoned theme park named the “Texas Battle Land” with what remains of his family; when the film’s heroine, Vanita “Stretch” Brock (Caroline Williams), is captured by his grandson Chop Top (Bill Moseley), Grandpa is brought forth to kill her with help from Chop Top, though he succeeds in only causing a minor head wound to her with a sledgehammer. When character Lieutenant “Lefty” Enright (Dennis Hopper), the film’s male protagonist, engages in a chainsaw duel with Leatherface (Bill Johnson), Grandpa attempts to aid his grandson by throwing a hammer at his opponent, only to hit Leatherface instead and subsequently fall to the floor. Grandpa apparently meets his demise when a grenade, accidentally set off by Drayton (Jim Siedow), Lefty and Leatherface, detonates in close proximity to him.

In Leatherface: Texas Chainsaw Massacre III, which has only loose connections to The Texas Chain Saw Massacre and The Texas Chainsaw Massacre 2, Grandpa appears only as a decayed corpse kept and treated as if he were alive by Leatherface (R.A. Mihailoff) and his new family; when one of the film’s protagonists, Benny (Ken Foree), opens fire on the Sawyer house with an automatic rifle, Grandpa’s body takes several shots to the chest and one to the face, but the body is left for the most part intact.

In the 1994 film Texas Chainsaw Massacre: The Next Generation, a minor character similar to Grandpa, referred to as “Grandfather” (Grayson Victor Schirmacher), appears as a member of the Sawyer family.

Grandpa from Leatherface #3, the character’s first comic book appearance.

In the 1991 Leatherface comics by Northstar Comics, which are based upon Leatherface: Texas Chainsaw Massacre III, Grandpa appears, though he is portrayed as extremely different in this appearance than in others; instead of the solitary and silent figure he is usually shown as, this version of Grandpa is depicted as a rambling old man with a habit of telling non-linear stories, he also appears largely oblivious to his surroundings. It is also revealed by the character Mama that Grandpa isn’t biologically related to the featured version of the Sawyer family and that he was abandoned as a child and subsequently adopted into it.

Grandpa also appears throughout the 1995 Jason vs. Leatherface comic miniseries by Topps Comics; in the comics, Grandpa acts as essentially nothing more than a background character and has little interaction with any other characters, mostly appearing only in dinner scenes in the comics. Also of note, a picture depicting a much younger Grandpa is found by Jason Voorhees in the attic of the Sawyer house.

Luda May Hewitt

Luda May Hewitt in The Texas Chainsaw Massacre: The Beginning

Luda May Hewitt appeared in the 2003 remake and its prequel, The Texas Chainsaw Massacre: The Beginning. She was portrayed by Marietta Marich and Allison Marich.

Luda May Hewitt is the matriarch of the Hewitt family and the mother of Sheriff Hoyt. She found the young baby who would later become Leatherface abandoned in a dumpster, and took him in to raise him, naming him Thomas Brown Hewitt.

Luda May runs a local butcher shop in Texas and is the first member of Leatherface’s family that the teenaged protagonists meet in the first film. Unlike in the original 1974 film, in which Leatherface’s family was somewhat abusive to him, Luda May is fiercely protective of him. Part of her hatred towards the teenagers is due to the abuse that her deformed, mentally retarded son suffered as a child at the hands of bullies. On the commentary for the DVD release the writers revealed a cut plotline that, prior to the prequel’s continuity, involved Leatherface’s abusive father locking him in a woodshack for three years. Once her husband dies, Luda May vows that she had stood by long enough and decides to look after her son and take responsibility for his shortcomings.

Marich has commented that “Luda Mae is the matriarch of what I like to call the ‘killer brood’. I always make up a personal history of characters I play, so I suspect that Luda Mae was a homeless young woman who had to make her own way during the Depression. When she finds Thomas, she takes him home, even though he’s disfigured and hideously ugly, and protects him as much as possible from the cruel people he encounters and the world at large. That’s her main purpose, and the only reason Luda Mae sticks around”. In the prequel, she, with the rest of the Hewitt family, are discovered to be cannibals, something only implied in the first film.

Leatherface with Luda May in Wildstorm’s The Texas Chainsaw Massacre #5. Art by Wesley Craig.

Luda May is a prominent character in Wildstorm Comics’s continuation of the movies. With the family exposed after the events of the first film, the comics finds the Hewitt family living in a series of tunnels in the sewers of Travis County. In the comics Luda May has become, perhaps in light of Sheriff Hoyt’s death, more of a leader figure to the family than she was in the films. She exhibits more depravity as well (at one point snapping a victim’s neck to prepare dinner) but still believes what she does is necessary for her family’s survival, and that outsiders don’t understand what she’s been through and have no right to judge her.

Luda May also appears in the one-shot The Texas Chainsaw Massacre: About a Boy. Taking place in Leatherface’s teenage years, the story has a concerned teacher meeting with Luda May. The teacher tells her about evidence of Thomas’ various problems, such as disturbing drawings in his notebooks and skins made from animals he caught and killed himself. Throughout the conversation, Luda May remains apathetic, stating that “There’s nothing wrong with my boy”. When the frustrated teacher threatens to contact the city about Thomas, Luda May retaliates, bashing in the teacher’s head with a shovel, once again proclaiming that there was nothing wrong with her son.

The Hitchhiker

The Hitchhiker from The Texas Chain Saw Massacre

The Hitchhiker appears in The Texas Chain Saw Massacre and the first sequel, The Texas Chainsaw Massacre 2. He is portrayed by Edwin Neal as a mentally unstable cannibal and grave robber, he lives with his equally depraved family, the Sawyers, in the back roads of Texas, capturing, torturing and feasting on unwary travellers.

The Hitchhiker is first seen in the The Texas Chain Saw Massacre film walking along a road, where he is picked up by a group of friends traveling through the area, who feel sorry for him having to walk in the heat. The Hitchhiker soon begins acting erratically after being allowed into the traveller’s van, slashing his own hand with a knife; after Franklin Hardesty (Paul A. Partain) refuses to buy a picture he took of him, the Hitchhiker sets the photo on fire and slashes Franklin’s arm with a straight razor before being kicked out of the van. The Hitchhiker briefly chases after the van, yelling and smearing a bloody handprint on it, but soon relinquishes his attack on it.

The Hitchhiker is later revealed to be the brother of the two other main villains of the film, Leatherface (Gunnar Hansen) and Drayton Sawyer (Jim Siedow), as well as the middle son of a family of murderous cannibals. It’s also revealed that he was the one responsible for the graverobbings mentioned at the beginning of the film. Together, they torment Sally Hardesty (Marilyn Burns), Franklin’s sister whom Drayton had captured. Eventually deciding to kill Sally, the Hitchhiker, Drayton and Leatherface are at first content to allow their highly-regarded Grandpa (John Dugan) to do so, but when Grandpa proves unable to kill Sally with a hammer, the Hitchhiker and his brothers become impatient and over-eager in trying to help him, the Hitchhiker forgets to keep a hold on Sally, allowing her break free of their grasp and jump out a nearby window; as Sally flees, the Hitchhiker and Leatherface give chase to her, with the Hitchhiker catching up to her on a road. While slashing Sally with a knife, the Hitchhiker meets his demise when he is run over by an 18-wheeler.

In The Texas Chainsaw Massacre 2, the Hitchhiker, having been reassembled by his family after the events of the first film, appears only as a macabre puppet-like corpse carried around by his twin brother, Chop Top (Bill Moseley). The Hitchhiker’s corpse is presumably destroyed when a hand grenade, accidentally set off by Drayton and the film’s secondary protagonist, Lieutenant “Lefty” Enright (Dennis Hopper), blows up the family’s hideout with the Hitchhiker’s body in it.

In the Jason vs. Leatherface Topps Comics’ miniseries, the Hitchhiker (bearing only a minor resemblance to his film counterpart) appears as a main character. Encountering Jason Voorhees (the main villain of the Friday the 13th franchise) in the woods near the Sawyer house, the Hitchhiker, after seeing Jason non-lethally disarm Leatherface after a brief skirmish and decapitate a man he and Leatherface were chasing, befriends him and takes him home, where Jason is inducted as an unofficial member of the family by Drayton.

The Hitchhiker-like character from The Texas Chainsaw Massacre: Cut!.

The miniseries expands upon the Hitchhiker’s character, revealing that he owns a pet dog named Sparky (whom he killed by shooting in the head and treats as if it were still alive) and that he creates furniture and sculptures out of corpses (another possible reference to Ed Gein, upon whom The Texas Chainsaw Massacre series is loosely based). The miniseries also showed the extent of the Hitchhiker’s abuse of Leatherface whom the Hitchhiker constantly bullies for little or no reason (although he apparently respects Leatherface’s prowess at frightening and killing people, as he laments to Jason). The comics also hint that the Hitchhiker, as well as Leatherface, were born of incest, with Drayton’s younger sister Velma being implicated as being their sister and mother.

An unnamed character similar to the Hitchhiker in both mannerisms and appearance appears in the one-shot comic book The Texas Chainsaw Massacre: Cut! by Wildstorm, which takes place in the remake continuity of the films. A member of the Hewitt family and brother to Leatherface and an unnamed, Drayton Sawyer-esque character, the Hitchhiker look-alike utilizes a sledge hammer and bolt stunner as his weapons. In the comic, the character terrorizes and murders two members of a group of teenagers seeking to make an amateur film about the Hewitt family murders, and near the end of it, aids his siblings in slaughtering the film project’s director in a manner similar to livestock.

Sheriff Hoyt

Sheriff Hoyt

Charlie Hewitt, Jr., a.k.a Sheriff Hoyt, appears in the 2003 remake of the 1974 film The Texas Chain Saw Massacre and its prequel The Texas Chainsaw Massacre: The Beginning. He is portrayed by R. Lee Ermey.

A POW during the Korean War, Charlie Hewitt is forced into cannibalism to survive, as rations are extremely scarce. Each week, someone has to be killed and eaten. Charlie apparently grows to like the taste of human flesh and later introduces the grisly practice to his family.

Charlie shoots and kills the local sheriff, Sheriff Winston, during the sheriff’s attempt to apprehend Charlie’s nephew Thomas for murdering his boss at the meat factory. Charlie takes on the identity of the sheriff, going under the name Sheriff Winston Hoyt. He uses this new identity to lure teenagers off the road where they will meet Leatherface and his family to be killed and eaten. Hoyt is arguably one of the driving forces behind his adoptive nephew’s cannibalism and murders, assuring Thomas that the butchery of human beings is no different than the slaughterhouse: “Meat is meat, and bone is bone”. Later, Hoyt is present during Leatherface’s first chainsaw murder, urging him to go forward and cheering him on at the same time. A gruff, mean-spirited bully, Hoyt not only makes no effort to conceal his contempt for everyone around him, he seems to revel in it. For example, when he is called to investigate the suicide of a young girl in the first film, he leers at the corpse and cracks jokes about his predilection for “copping a feel” on dead female bodies.

Leatherface

Main article: Leatherface

Leatherface is the main antagonist of The Texas Chainsaw Massacre films and appeared in every single one. He uses a chainsaw to kill his victims. He was portrayed by Gunnar Hansen in the original 1974 film, Bill Johnson in The Texas Chainsaw Massacre 2, R.A. Mihailoff in Leatherface: The Texas Chainsaw Massacre III, Robert Jacks in Texas Chainsaw Massacre: The Next Generation and Andrew Bryniarski in the 2003 remake and it’s prequel. Leatherface is portrayed as being “severely mentally retarded and mentally disturbed”, and often uses a chainsaw and sledgehammer to slaughter his victims. He lives with a family of fellow cannibals, who are often abusive and violent towards him. The character was loosely inspired by serial killer Ed Gein, who also wore the skin of his victims.

The character was originally played by Gunnar Hansen. His real name is unknown, although older brother Chop Top calls him “Bubba” in the second movie. His surname would most logically be Sawyer, sharing the last name of his older brothers, making his full name Bubba Sawyer. In the original film, Leatherface is never seen without one of his human-flesh masks on. He differs from other movie killers so much sadistic or evil; he is in fact mentally retarded and most of the time he only does what his family tells him to do. Hansen has stated that Leatherface is “completely under the control of his family. He’ll do whatever they tell him to do. He’s a little bit afraid of them”. Tobe Hooper has argued on the documentary The Shocking Truth that Leatherface is a ‘big baby’ and kills in self-defense because he feels threatened, pointing out that in the first film Leatherface is actually frightened of all the new people entering his house.

The people Leatherface kills are later made into barbecue and chili, which are sold by his oldest brother, Drayton Sawyer. Aside from Leatherface and Drayton, the Sawyer clan includes two more brothers, Nubbins and Chop Top, as well as Grandpa, Grandma and Great-Grandma (real names unknown). The Texas Chainsaw Massacre 2 is a direct sequel to the 1974 film, but is more campy and over the top than the original. Tobe Hooper said on The Shocking Truth that he wanted to expand on the dark comedy in the original film, an element that he felt no one truly picked up on. In this film, Leatherface develops a “crush” on one of his victims, and in one scene, skins off the face of her friend (while alive) and places it on her to hide her from the rest of his family. At the end of the film, he apparently dies in an explosion after being impaled with a chainsaw in a fight with the uncle of his previous victims from the first film.

Leatherface: Texas Chainsaw Massacre III, takes place in its own continuity, although minor references are made to the previous two films. The filmmakers attempted to make the series darker and grittier as with the original, but interventions from the MPAA quashed their vision and had them tone it down and change the ending. An uncut version was released in 2003. Leatherface has different family and a daughter in this film, possibly from a rape. A four issue comic series based on the film, entitled Leatherface was also created; notably, portions of the comics are narrated by and shown from Leatherface’s point of view.

Texas Chainsaw Massacre: The Next Generation also takes place in its own continuity, in which Leatherface is inexplicably not a cannibal but a pizza-eating transvestite involved in an Illuminati conspiracy to provide society a source of horror, and again, with a different family.

Old Monty

Old Monty in The Texas Chainsaw Massacre

Old Monty appeared in the 2003 remake and it’s prequel. He was portrayed by Terrence Evans.

Old Monty is a bitter, lecherous old man whose legs have been amputated, confining him to a wheelchair. After Sheriff Hoyt kills a biker’s girlfriend, the biker seeks revenge on the Hewitts and attacks Monty by shooting him in the leg. As a bit of impromptu ’surgery’, Hoyt orders Leatherface to remove the wounded leg with his chainsaw. Leatherface accidentally nicks Monty’s second leg, so Hoyt tells him to remove that as well for ‘balance’.

He is the third member of Leatherface’s family to meet the stranded teenagers in the first film that eventually become Leatherface’s victims (the first being Luda May and the second being Jedidiah) and he is the one to first summon the killer by repeatedly rapping his cane against the floor. His role in the family is unclear, with various people on the film speculating that he is either Luda May’s husband or brother.

In The Texas Chainsaw Massacre comics by Avatar Press, which are set between the events of the remake and prequel, Monty appears as a prominent character; the Avatar Press comics depict Monty as somewhat more depraved and vicious then the films, with the 2006 miniseries The Texas Chainsaw Massacre: The Grind having him strangle a girl to death and later attempt to rape the girl’s foster sister, who escapes by punching Monty in the head repeatedly after freeing herself from the restraints he has her in.

Vilmer Sawyer

Vilmer Sawyer in Texas Chainsaw Massacre: The Next Generation

Vilmer Sawyer is a fictional character featured in the 1994 film The Texas Chainsaw Massacre: The Next Generation. He is portrayed by actor Matthew McConaughey.

Vilmer is presented as the head of a family of serial killers, which includes two brothers: the excitable W.E. Sawyer and the chainsaw-wielding transvestite known only as Leather (who is never addressed as Leatherface in the film). Vilmer is accompanied by his lover Darla, a married woman who, while independently minded, often suffers abuse at Vilmer’s discretion. Vilmer drives around in an unidentified rural Texas town in his tow truck hunting down fresh victims to bring back to his house. He wears a custom-built mechanical leg brace made from a hodgepodge of hoses, medal rods and electrical devices. He operates the brace’s locomotive controls with several television remote controls, which he keeps tucked away inside of his pants pocket. The nature of Vilmer’s leg injury is never revealed, but according to W.E., he has been shot and run over several times throughout his life.

W. E. Sawyer

W.E. Sawyer in Texas Chainsaw Massacre: The Next Generation

W. E. Sawyer appeared in Texas Chainsaw Massacre: The Next Generation, and was mentioned in Leatherface: The Texas Chainsaw Massacre III. He was portrayed by Joe Stevens.

A character named W. E. Sawyer is first mentioned in the 1990 film Leatherface: Texas Chainsaw Massacre III. In the films prologue, it is said that a man named W. E. Sawyer was arrested some unspecified time between 1973 and 1981 and charged with the murders of the various characters from the original film and the attempted murder of Sally Hardesty, the heroine of the aforementioned film. Deemed guilty for the murders, W. E. Sawyer is executed in a gas chamber in the fictional Huntsville State Penitentiary late in 1981. Leatherface, the main antagonist of The Texas Chain Saw Massacre, is concluded to be Sawyer’s alternate personality which manifested when he wore a mask created from the skin of his victims (Leatherface’s M.O.); this theory was assumed to be correct as none of Sally Hardesty’s accounts about Leatherface contradicted it. The assumption is later proven false though, as the actual Leatherface appears.

In the 1994 film Texas Chainsaw Massacre: The Next Generation, W. E. Sawyer appears as a main antagonist. A relative of the Sawyer family, W. E., like them, is an agent for a shady government organization (which in-turn, appears to be controlled by aliens) who has the family forcibly employed for the purpose of terrorizing society. His fate in the film is left ambiguous, as his head is bashed with a hammer by the increasingly unstable Vilmer Sawyer and he does not appear again, leading to the possibility the attack could have killed him, or at least incapacitated him.

Despite his somewhat stereotypical redneck appearance and general insanity, the W. E. Sawyer appearing in this film is depicted as being highly cultured, continually quoting famous works of literature, even while torturing people.

Other members

• Grandma: Grandpa’s wife, she died an unspecified time before the first films events, although her corpse has been preserved by the family and was originally kept in the attic of the Sawyer ranch.

• Great Grandma: First mentioned by Drayton in the second film, who states “Oh Great Grandma in chainsaw heaven!”; her skeletal corpse is later seen in chainsaw heaven, which is actually a macabre shrine hidden in the amusement park where the remaining Sawyers live in in the second film.

• Little Girl: Leatherface’s unnamed daughter, apparently conceived from the rape of one of his victims; she carries around a dead child as a doll, which she refers to as “Sally” (a possible reference to Sally Hardesty). In the rated version, her fate is unrevealed. In the unrated version, she’s seen at the end in the back of the Sheriff’s car, probably arrested, however, her hands weren’t cuffed. In the comics based on the film, no reference is made to Little Girl being Leatherface’s child, with her appearing to be just another one of his relatives.

• Eddie “Tex” Sawyer: A cowboy and brother of Leatherface, Eddie completely despises his real name for unknown reasons and prefers to be called “Tex”, and goes into a rage when referred to by his true name. In the rated version, Tex is killed when set ablaze by survivalist Benny. In the unrated version, Tex is set on fire, but survives, and then is killed when Michelle pushes him into a spike trap. Tex (never referred to as Eddie) is portrayed as one of the more sane members of the family in the Leatherface comics, actually showing some level of remorse for his actions. Tex is killed in the comics by Michelle, who beats and disembowels him with the very knife he was planning to butcher her with.

• Tech/Tinker Sawyer: Another brother of Leatherface, he has a hook in place of a right hand and an affinity for machines and technology. Tech is killed when Benny opens fire on the families’ house with an automatic rifle, blasting two of Tech’s fingers off, as well as an ear. In the Leatherface comics, Tech is depicted as a former hippy fixated with music and a “Chrome Machine God” he believes controls everything. Tech is fatally injured in the comic by being shot repeatedly by Benny, later dying in Leatherface’s (who admired Tech, who was his favorite brother) arms.

• Mama Sawyer: Leatherface’s mother, Mama is an aged, wheelchair-bound woman and also has an electronic voice box. When Benny begins to blast the families’ house with an automatic rifle, Mama dies after taking several shots to the chest as Tech watches on in horror. Mama’s role is expanded upon in the Leatherface comics, which depict her as a stereotypical kindly old woman, capable of speaking under her own power. Mama meets her demise in the comics when her face is smashed in by Benny, who she was holding at gun point, using his automatic rifle.

• Alfredo Sawyer: Another brother of Leatherface, he appears to be highly demented and suffers from a speech impediment and heterochromia. In the rated version, Alfredo is killed when, attacking Michelle with a sledgehammer in his pickup truck, she grabs his shotgun lying on the truck’s floor and blasts him, his last words being “What are the chances a brainless bitch like you knows how to use that thing?”. In the unrated version, he’s hit in the head by Benny with the stock of the shotgun, and falls in a bog. In the Leatherface comics, Alfredo is drawn with an eye patch for unexplained reasons and is depicted as even more insane than his film counterpart. Alfredo is killed in the comics’ final issue, being forced underwater and drowned by Michelle.

• Darla Sawyer: Vilmer’s apparent girlfriend or wife (who routinely suffers abuse at his hands) Darla is one of the more sane members of the family; she appears highly disgruntled under Rothman and Vilmer’s control and is hinted at once having a normal life, making references to another husband living elsewhere.

• Grandfather: Shown only briefly in a scene in which Vilmer, W. E., Darla and Leatherface are eating with a captive, not much is revealed about his character, and as soon after he appears, he quickly leaves the scene, not speaking any dialogue.

Other characters

• Sally Hardesty – Sally was the survivor of the original film, but she is believed to have died in a mental hospital after her ordeal. The character returned for a cameo in the fourth film, where she is seen alive, being wheeled through a hospital on a gurney. However, the credits listed her as “Anonymous”.

• “Lefty” Enright – Male hero of the second film. He is the uncle of Sally and Franklin. He, in a way, was the one who was responsible for the death of Drayton. After he shoved a chainsaw through Leatherface’s abdomen, Leatherface accidentally hit Drayton who was holding a primed grenade.

• Vanita “Stretch” Brock – The main character in The Texas Chainsaw Massacre 2. She escapes the Sawyer family in time for their hide out to explode (thanks to Drayton) which supposedly kills the family. Chop Top follows her and horribly attacks her wielding a straight razor until she grabs a chainsaw and attacks him with it, knocking him over an edge down into the abandoned theme park (where the family lived). In Leatherface: The Texas Chainsaw Massacre III, Vanita makes a cameo appearance as a news reporter, her identity being confirmed in DVD commentary.

• Michelle – The main female protagonist of Leatherface: Texas Chainsaw Massacre III, Michelle, while en route to California with her companion Ryan to return a car to her father, encounters Leatherface and his deranged family. With help from Benny, Michelle escapes from the family’s swamp home.

• Benny – An ex-Marine and survivalist, Benny appears in Leatherface: Texas Chainsaw Massacre III. After his car crashes into Michelle and Ryan’s, who were fleeing from Leatherface’s family, Benny aids the two in trying to escape, successfully killing several members of the family. In the rated edition of the film, Benny, along with Michelle, survives and escapes, though in the unrated edition and Leatherface comics, he is killed by Leatherface.

• Jenny – The main female protagonist of Texas Chainsaw Massacre: The Next Generation, Jenny, encounters Leatherface and his family after ending up in a car accident. Spending the bulk of the film trying to escape from the family, Jenny is eventually saved by the enigmatic Agent Rothman. The unrated edition DVD of the film reveals somewhat more on Jenny, showing that she is routinely abused by her stepfather.

• Agent Rothman – A member (or possibly the leader) of a government organization or cult, Rothman appears in Texas Chainsaw Massacre: The Next Generation as the boss of the Sawyer family. After discovering that Leatherface and his family are “breaking the rules” he has set for them, Rothman decides to shut them down, ordering Vilmer to be assassinated and rescuing Jenny from him. In a brief scene of the film, Rothman is depicted as having intricate patterned carvings and large piercings on his body.

• Erin Hardesty – Erin was the only survivor of the remake. She’s responsible for chopping off Leatherface’s arm with a meat cleaver and killing Sheriff Hoyt by running him over with his car. The novelization states that her last name is ‘Hardesty’, a reference to the heroine of the 1974 original.

• Chrissie – Chrissie is the main character of the prequel to the remake. She risks her life many times to save her friends but is eventually captured. She manages to escape from the Hewitts only to be murdered by Leatherface in the backseat of a car.

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Jürgen Moltmann (born April 8, 1926) is a German Protestant theologian.

Contents 1 Moltmann’s Youth 2 World War II 3 After the War 4 Influences 5 Theology 6 Eschatology / Theology of Hope 7 Liberation Theology 8 The Trinity 9 Bibliography in English 10 Secondary Bibliography 11 Footnotes 12 References 13 External links

Moltmann’s Youth

Moltmann was born in Hamburg, Germany. He described his German upbringing as thoroughly secular. His grandfather was a grand master of the Freemasons. At sixteen, Moltmann idolized Albert Einstein, and anticipated studying mathematics at university. The physics of relativity were “fascinating secrets open to knowledge”; theology as yet played no role in his life.

World War II

He took his entrance exam to proceed with his education, but went to war instead as an Air Force auxiliary in the German army. “The ‘iron rations’ in the way of reading matter which I took with me into the miseries of war were Goethe’s poems and the works of Nietzsche.” He was actually drafted into military service in 1944, when he became a soldier in the German army. Ordered to the Reichswald, a German forest at the front lines, he surrendered in 1945 in the dark to the first British soldier he met. For the next few years (1945-48), he was confined as a prisoner of war and moved from camp to camp.

He was first confined in Belgium. In the camp at Belgium, the prisoners were given little to do. Moltmann and his fellow prisoners were tormented by “memories and gnawing thoughts”—Moltmann claimed to have lost all hope and confidence in German culture because of Auschwitz and Buchenwald (concentration camps where Jews and others the Nazis opposed had been imprisoned and killed). They also glimpsed photographs nailed up confrontationally in their huts, bare photographs of Buchenwald and Bergen-Belsen concentration camp. Moltmann claimed his remorse was so great, he often felt he would have rather died along with many of his comrades than live to face what their nation had done.

Moltmann met a group of Christians in the camp, and was given a small copy of the New Testament and Psalms by an American chaplain. He gradually felt more and more identification with and reliance on the Christian faith. Moltmann later claimed, “I didn’t find Christ, he found me.”

After Belgium, he was transferred to a POW camp in Kilmarnock, Scotland, where he worked with other Germans to rebuild areas damaged in the bombing. The hospitality of the Scottish residents toward the prisoners left a great impression upon him. In July 1946, he was transferred for the last time to Norton Camp, a British prison located in the village of Cuckney near Nottingham, UK. The camp was operated by the YMCA and here Moltmann met many students of theology. At Norton Camp, he discovered Reinhold Niebuhr’s Nature and Destiny of Man—it was the first book of theology he had ever read, and Moltmann claimed it had a huge impact on his life. His experience as a POW gave him a great understanding of how suffering and hope reinforce each other, leaving a lasting impression on his theology.

After the War

Moltmann returned home at 22 years of age to find his hometown of Hamburg (in fact, his entire country) in ruins from Allied bombing in World War II. Moltmann immediately went to work in an attempt to express a theology that would reach what he called “the survivors of generation”. Moltmann had hope that the example of the “Confessing Church” during the war would be repeated in new ecclesiastical structures. He and many others were disappointed to see, instead, a rebuilding on pre-war models in a cultural attempt to forget entirely the recent period of deadly hardship.

In 1947, he and four others were invited to attend the first postwar Student Christian Movement in Swanwick, a conference center near Derby, UK. What happened there affected him very deeply. Moltmann returned to Germany to study at the University of Göttingen, an institution whose professors were followers of Karl Barth and theologians who were engaged with the confessing church in Germany.

He received his doctorate from the University of Göttingen, under the direction of Otto Weber in 1952. From 1952 to 1957 Moltmann was the pastor of the Evangelical Church of Bremen-Wasserhorst. In 1958 Moltmann became a theology teacher at an academy in Wuppertal that was operated by the Confessing Church and in 1963 he joined the theological faculty of Bonn University. He was appointed Professor of Systematic Theology at the University of Tübingen in 1967 and remained there until his retirement in 1994. From 1963 to 1983, Moltmann was a member of the Faith and Order Committee of the World Council of Churches. From 1983 to 1993, Moltmann was the Robert W. Woodruff Distinguished Visiting Professor of Systematic Theology at Candler School of Theology at Emory University in Atlanta, Georgia. He delivered the Gifford Lectures at the University of Edinburgh in 1984–1985. Moltmann won the 2000 Louisville Grawemeyer Award in Religion for his book The Coming of God: Christian Eschatology.

Influences

Upon his return to Germany in 1948, Moltmann began his course of study at Göttingen University, where he was strongly influenced by Karl Barth’s dialectical theology. Moltmann grew critical of Barth’s neglect of the historical nature of reality, and began to study Bonhoeffer. He developed a greater concern for social ethics, and the relationship between church and society. Moltmann also developed an interest in Luther and Hegel, whose doctrine of justification and theology of the cross interested him greatly. His doctoral supervisor, Otto Weber helped him to develop his eschatological perspective of the church’s universal mission.

Moltmann’s fixation on eschatology suggests that he has also been influenced by Pentacostalism, or at least shares some basic ideas with the movement.

Moltmann cites the English theologian Studdert Kennedy as being highly regarded and relies on Ernst Bloch in his important Theology of Hope. In the Spring 2004 Pneuma, Moltmann cites the Johann and Christoph Blumhardt as being major contributors to his thought.

Theology

The early Moltmann can be seen in his trilogy, Theology of Hope (1964), The Crucified God (1972), and The Church in the Power of the Spirit (1975):

• Theology of Hope was strongly influenced by the eschatological orientation of the Marxist philosopher, Ernst Bloch’s The Principle of Hope.
• The Crucified God posited that God died on the Cross, raising the question of the impassibility of God.
• The Church in the Power of the Spirit explores the implications of these explorations for the church in its own life and in the world.

The later Moltmann took a less systematic approach to theology, leading to what he called his “contributions to systematic theology” that sought to provoke and engage more than develop some kind of set Moltmannian theology.

Moltmann corroborates his ideas with those of Catholics, Orthodox Christians, and Jews in an attempt to reach a greater understanding of Christian theology; which he believes should be developed inter-ecumenically.

Moltmann has a passion for the Kingdom of God as it exists both in the future, and in the God of the present. His theology is often referred to as “Kingdom of God” Theology. His theology is built on eschatology, and the hope we find in the resurrected Christ. This theology is most clearly explained in his book: Theology of Hope.

Moltmann’s theology is also seen as a theology of liberation, though not in the sense that the term is most understood. Moltmann not only views salvation as Christ’s “preferential option for the poor,” but also as offering the hope of reconciliation to the oppressors of the poor. If it were not as such, divine reconciliation would be insufficient.

“According to Moltmann his future final volume in the ‘systematic contributions to theology’ will be published probably under the title Kingdom of God Theology focused on the foundations and methods of theology. Thus the sixth volume will be helpful for concern for his theological method. However, in fact Moltmann is interested in “the content of theology, in its revision in the light of its biblical origin, and in its innovation given the challenges of the present” rather than in the questions of theological method (Meeks 1996,103). In addition, his development as a theologian has been marked by a restless imagination.”

Eschatology / Theology of Hope

Jurgen Moltmann’s Theology of Hope is eschatologically-centered and focuses on the hope that the resurrection brings. Through faith we are bound to Christ, and as such have the hope of the resurrected Christ, and knowledge of his return. For Moltmann, the hope of the Christian faith is hope in the resurrection of Christ crucified. Hope and faith depend on each other to remain true and substantial; and only with both may one find “not only a consolation in suffering, but also the protest of the divine promise against suffering”

However, because of this hope we hold, we may never exist harmoniously in a society such as ours which is based on sin. Sin bases itself in hopelessness, which can take on two forms: presumption and despair. “Presumption is a premature, selfwilled anticipation of the fulfillment of what we hope for from God. Despair is the premature, arbitrary anticipation of the non-fulfillment of what we hope for from God.”

In Moltmann’s opinion, all should be seen from an eschatological perspective, looking toward the days when Christ will make all things new. “A proper theology would therefore have to be constructed in the light of its future goal. Eschatology should not be its end, but its beginning.” This does not, as many fear, ‘remove happiness from the present’ by focusing all ones attention toward the hope for Christ’s return. Moltmann addresses this concern as such: “Does this hope cheat man of the happiness of the present? How could it do so! For it is itself the happiness of the present.”

Hope strengthens faith and aids a believer into living a life of love, and directing them toward a new creation of all things. It creates in a believer a “passion for the possible” “For our knowledge and comprehension of reality, and our reflections on it, that means at least this: that in the medium of hope our theological concepts become not judgments which nail reality down to what it is, but anticipations which show reality its prospects and its future possibilities.”

For Moltmann, creation and eschatology depend on one another. There exists an ongoing process of creation, continuing creation, alongside creation ex nihilo and the consummation of creation. The consummation of creation will consist of the eschatological transformation of this creation into the new creation. The apocalypse will include the purging of sin from our finite world so that a transformed humanity can participate in the new creation.

Liberation Theology

Moltmann’s liberation theology includes an understanding of both the oppressed and the oppressor as needing reconciliation. “Oppression has two sides: on one side there is the master, on the other side the slave… Oppression destroys humanity on both sides.” The goal is one of mutual liberation. God’s ‘preferential option for the poor’ should not be exclusive, but rather include the rich; insofar as God holds judgment over them also. The sufferings of the poor should not be seen as equal to or a representation of the sufferings of Jesus. Our suffering is not an offering to God, it is not required of us to suffer. The point of the crucified Christ was to present an alternative to human suffering. Human suffering is not a quality of salvation, as should not be viewed as such. This is not to say that the sufferings of humans is of no importance to God.

The Trinity

Moltmann stresses the perichoresis of the Father, Son, and Holy Spirit. This is to say that he believes the three dwell in one another. The three persons are differentiated in their characteristics, but related in their original exchange. Moltmann seeks to defeat a monotheistic Christianity that is being used as a tool for political and clerical absolute monarchism. He believes the doctrine of the Trinity should be developed as the “true theological doctrine of freedom.” He suggests that we “cease to understand God monotheistically as the one, absolute subject, but instead see him in a trinitarian sense as the unity of the Father, the Son, and the Spirit.”

Moltmann relates his views on the trinity to three modes of human freedom. The first mode is the political meaning of freedom as supremacy. This mode is rejected by Moltmann, who sees it as corresponding to a God who rules over his creation, which exists merely to serve Him. It is a relation of a subject with an object, where the goal is to enhance the supremacy of the subject. The second mode of human freedom is the socio-historical and Hegelian meaning of freedom as communion, which implies the relation between two subjects. This relationship aims at love and solidarity, and corresponds to the perichoresis of the Father and Son, and through the Son the children of God, or humanity. This relationship is both liberating and loving, and is one Moltmann favors. The third mode of human freedom is the implicitly religious concept of freedom as the passion of the creature for his or her potential. This deals with the relationship between subjects and their common future project. This is the mode favored most by Moltmann, who correlates this relationship with the one humans share with God in the realm of the Holy Spirit. Here, an indwelling of the Spirit allows humans to be friends with God. As you can see, the first mode of freedom is political, and focuses on God; the second is communal, focusing on the Son; and the third is religious, focusing on the Spirit.

Bibliography in English

Some of Moltmann’s works that are available in English include:

• Theology of Hope: On the Ground and the Implications of a Christian Eschatology, SCM Press, London, 1967
• The Gospel of Liberation, Word, Waco, Texas, 1973
• The Crucified God: The Cross of Christ As the Foundation and Criticism of Christian Theology, SCM Press, London, 1973
• Man: Christian Anthropology in the Conflicts of the Present, SPCK, London, 1974
• The Church in the Power of the Spirit: A Contribution to Messianic Ecclesiology, SCM Press, London, 1975
• The Experiment Hope, SCM Press, London, 1975
• The Open Church, SCM Press, London, 1978
• The Future of Creation, SCM Press, London, 1979
• The Trinity and the Kingdom: The Doctrine of God, Harper and Row, New York, 1981
• History and the Triune God: Contributions to Trinitarian Theology
• God in Creation, SCM Press, London, 1985
• The Way of Jesus Christ, SCM Press, London, 1990
• The Spirit of Life: A Universal Affirmation, SCM Press, London, 1992
• The Coming of God: Christian Eschatology, Fortress, Minneapolis, 1996.
• The Source of Life, SCM Press, London, 1997
• Experiences in Theology: ways and forms of Christian Theology, SCM Press, London, 2000
• Science and Wisdom, SCM Press, London, 2003
• In the End the Beginning, SCM Press, London, 2004
• Is “Pluralistic Theology” Useful for the Dialogue of World Religions?” in D’Costa, Gavin, Christian Uniqueness Reconsidered (Maryknoll, NY: Orbis Books, 1990

Secondary Bibliography

• Moltmann: Messianic Theology in the Making, by Richard Bauckham, Basingstoke, Marshall Pickering, 1987
• God, Hope, and History: Jurgen Moltmann and the Christian Concept of History, by A. J. Conyers, 1988
• The Creative Suffering of God, by Paul S. Fiddes, Oxford, Clarendon Press, 1988
• The Theology of Jurgen Moltmann, by Richard Bauckham, Edinburgh, T & T Clark, 1995
• The Future of Theology: Essays in Honour of Jurgen Moltmann, ed. M. Volf, 1996
• God Will Be All in All: The Eschatology of Jurgen Moltmann, ed. Richard Bauckham, Edinburgh, T & T Clark, 1999
• Disavowing Constantine: Mission, Church and the Social Order in the Theologies of John H. Yoder and Jurgen Moltmann, by Nigel Wright, Carlisle, Paternoster, 2000
• The Kingdom and the Power: The Theology of Jurgen Moltmann, by Geiko Muller-Fahrenholz, 2001

Footnotes

1. ^ The items were a gift from his sister. In other places, Moltmann mentions that “Faust” was included in the collection of Goethe’s poetry.
2. ^ The initial reaction of the prisoners to these photos was that they were British propaganda.
3. ^ Gifford Lecture Series - Biography - Jurgen Moltmann
4. ^ Boston Collaborative Encyclopedia of Western Theology: Jurgen Moltmann
5. ^ Moltmann, Theology of Hope, pg.21
6. ^ Moltmann, Theology of Hope, pg. 23
7. ^ Moltmann, Theology of Hope
8. ^ Moltmann, Theology of Hope, pg. 32
9. ^ ^{a b} Moltmann, Theology of Hope, pg. 35
10. ^ Moltmann, God in Creation, 88
11. ^ Moltmann, Erfahrungen, 168
12. ^ Moltmann, Trinitat, 169
13. ^ Trinitat, 107
14. ^ ^{a b} Trinitat

References

• Jürgen Moltmann, “Why am I a Christian?” in Experiences of God (Philadelphia: Fortress Press, 1980).
• Jürgen Moltmann, “An Autobiographical Note” in A. J. Conyers, God, Hope and History: Jürgen Moltmann and the Christian Concept of History (Macon, GA: Mercer University Press, 1988).
• Jürgen Moltmann, Foreword to M. Douglas Meeks, Origins of the Theology of Hope (Philadelphia: Fortress Press, 1974).
• Jürgen Moltmann, address given at Nazarene Theological Seminary, Dec. 10, 2001.
• Jürgen Moltmann, “Stubborn Hope”, interviewer Christopher A. Hall, Christianity Today, vol. 37, no. 1 (Jan. 11, 1993).

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Colluvium is the name for loose bodies of sediment that have been deposited or built up at the bottom of a low-grade slope or against a barrier on that slope, transported by gravity. The deposits that collect at the foot of a steep slope or cliff are also known by the same name. Colluvium often interfingers with alluvium (deposits transported downslope by water). Coarse deposits due to rockfall at a cliff base are called talus (scree) and if lithified are talus breccias. Avalanches, mudslides, and landslides are processes that deposit colluvium. This build-up process is called colluviation.

Colluvium normally forms humps at the base of mountains or fan-shaped deposits similar in shape to alluvial fans that cover former ground surfaces. This process is an important phenomenon in the fields of archaeology and soil science.

Many colluvial soils tend to have a fragipan associated with them that are a brittle subsoil layer typically high in clay. One theory of fragipan formation is the smearing of soil during the colluvial process causing the clays to seal the surface between the moving portion of soil and the stationary soil on which it slides. Ancient sites can be preserved beneath colluvium if later changes in the landscape such as deforestation encourage a downward movement of material.

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Jerome Pathon

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Jerome Pathon
‘
Position(s): Wide Receiver	Jersey #(s): 80, 82, 86
Born: December 16, 1975 (1975-12-16) (age 32) Cape Town, South Africa
Career information
Year(s): 1998–2005
NFL Draft: 1998 / Round: 2 / Pick: 32
College: Washington
Professional teams
Indianapolis Colts (1998-2001) New Orleans Saints (2002-2004) Atlanta Falcons (2005)
Career stats
Receptions	260
Receiving Yards	3,350
Total Touchdowns	15
Stats at NFL.com
Career highlights and awards
No notable achievements

Jerome Pathon (born December 16, 1975 in Cape Town) is a South African-born, Canadian-raised American football wide receiver who last played for the Atlanta Falcons of the National Football League in 2005.

Pathon was originally drafted 32nd overall in the second round of the 1998 NFL Draft by the Indianapolis Colts. He was also selected by the Montreal Alouettes in the second round (11th overall) of the 1997 Canadian College Draft, although he has not played a game in Canada to date. Pathon played 46 regular-season games for Indianapolis (1998-2001) as well as 45 games for the New Orleans Saints from 2002-2004. As a member of the 2003 Saints, he became best known for his role as the receiver who scored the touchdown on the famous River City Relay play. Prior to playing in the NFL, Pathon attended the University of Washington.

Pathon was a student of Carson Graham Secondary School in North Vancouver, British Columbia, Canada from 1987-1992 and attended Acadia University in Wolfville, Nova Scotia, Canada for one year (1993-1994) where he had 44 receptions and 868 receiving yards and was named AUS and CIAU Football Rookie of the Year,

Jerome Pathon is also mentioned in a recent Lil Wayne song titled ‘Fly Out’ from the album The Carter II. ‘Say my name and die in the daytime, You catch my drift man you better be Pathon’. Referencing Pathon’s play for the New Orleans Saints.

v • d • e Indianapolis Colts 1998 NFL Draft selections Peyton Manning • Jerome Pathon • E. G. Green • Steve McKinney • Antony Jordan • Aaron Taylor • Corey Gaines

This biographical article relating to an American football wide receiver born in the 1970s is a stub. You can help by expanding it.

 This biographical article relating to sport in South Africa is a stub. You can help Wikipedia by expanding it.

Retrieved from “http://en.wikipedia.org/wiki/Jerome_Pathon”
Categories: 1975 births | Living people | People from Cape Town | People from North Vancouver | South African immigrants to Canada | South African players of American football | British Columbia sportspeople | American football wide receivers | Canadian players of American football | Acadia University alumni | Washington Huskies football players | Indianapolis Colts players | New Orleans Saints players | Atlanta Falcons players | Wide receiver, 1970s birth stubs | South African sportspeople stubsHidden category: Template computed age

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Sayyid Said bin Sultan Al-Said (Arabic: ???? ?? ??????, transliteration: Sa’id bin ?ult?n) (5 June 1797 - October 19, 1856) was Sultan of Muscat and Oman from November 20, 1804 to June 4, 1856. He became joint ruler of the country along with his brother Salim on the death of his father, Sultan bin Ahmad, in 1804. Said deposed his brother as joint-ruler on September 14, 1806. In 1840 he moved his capital from Muscat, Oman, to Stone Town, Zanzibar.

Upon Said’s death in 1856, his third son Thuwaini bin Said became Sultan of Muscat and Oman, while his sixth son Sayyid Majid bin Said became Sultan of Zanzibar. In 1840, he sent a ship to the United States in an attempt to establish a trading relationship.

Children:

Said had 36 children:

1. Sayyid Hilal bin Said al-Said (c.1815-1851) An alcoholic, according to Ruete (Ch. 15). He left three sons: Suud, Fesal, and Mhammed.
2. Sayyid Khalid bin Said al-Said (c.1819-1854)
3. Sayyid Thuwaini bin Said al-Said (-1866), Sultan of Muscat and Oman, 1856-1866 (Also called Tueni.)
4. Sayyid Muhammad bin Said al-Said (1826-1863) “…was considered the most pious of our entire family..”, “….cared little for the world and wordly goods…” “…possessed by…antipathy against Zanzibar..” (Ch. 14, Ruete). He lived most of his life in Oman.
5. Sayyid Turki bin Said (1832-1888), Sultan of Muscat and Oman, 1871-1888
6. Sayyid Majid bin Said (1834/5-1870), Sultan of Zanzibar, 1856-1870
7. Sayyid Ali bin Said al-Said (?-1893)
8. Sayyid Barghash bin Said (1837-1888), Sultan of Zanzibar, 1870-1888
9. Sayyid Abdu’l-Wahhab bin Said al-Said (1840-1866)
10. Sayyid Jamshid bin Said al-Said (1842-1870)
11. Sayyid Hamdan bin Said al-Said (1843-1858)
12. Sayyid Ghalib bin Said al-Said
13. Sayyid Sawedan bin Said al-Said (1845-?)
14. Sayyid Abdu’l-Aziz bin Said al-Said (1850-1907)
15. Sayyid Khalifah bin Said (1852-1890), Sultan of Zanzibar, 1888-1890
16. Sayyid Hamad bin Said al-Said
17. Sayyid Shuwaid bin Said al-Said
18. Sayyid Abbas bin Said al-Said
19. Sayyid Manin bin Said al-Said
20. Sayyid Ali bin Said (1854-1893), Sultan of Zanzibar, 1890-1893
21. Sayyid Badran bin Said al-Said (?-1887)
22. Sayyid Nasir bin Said al-Said (?-1887). Also called “Nasor”. Went to Mecca with his older sister Chadudj, died young (in his twenties)
23. Sayyid Abdu’l-Rab bin Said al-Said (?-1888)
24. Sayyid Ahmad bin Said al-Said.
25. Sayyid Talib bin Said al-Said.
26. Sayyid Abdullah bin Said al-Said
27. Sayyida Sharîfe of Zanzibar and Oman, the daughter of a Circassian lady, she was “a dazzling beauty with the complexion of a German blonde. Beside, she possessed a sharp intellect, which made her into a faithful advisor of my father’s.” (Described in Ruete, ch. 15)
28. Sayyida Chole (or Khwala) of Zanzibar and Oman (died 1875), the daughter of a Mesopotamian lady, “….was particularly close to our father; her enchanting personality, her cheerfulness and charm won him over completely…” (Ruete, ch. 15)
29. Sayyida Aashe of Zanzibar and Oman, full sister of Chole. After the death of their brother Hilal (1851), she “took motherly care of his eldest son Suud”. (Ruete).
30. Sayyida Chadudj of Zanzibar and Oman, full sister of Majid. After his death (in 1870) she went with her younger brother Nasir to Mecca. She died not long afterwards. (Ruete).
31. Sayyida Shewâne of Zanzibar and Oman, the daughter of an Abyssinian woman. “..a classical beauty…endowed with a keen mind..” Died early. (Ruete)
32. Sayyida Mettle of Zanzibar and Oman, the daughter of an Abyssinian woman. Married a “distant cousin” in Stonetown, had “two charming twin boys” (Ruete).
33. Sayyida Zeyâne of Zanzibar and Oman, the daughter of an Abyssinian woman. (Ruete)
34. Sayyida Semsem of Zanzibar and Oman, full sister of Zeyâne. Married “rather late in life our distant cousin Humud” (Ruete)
35. Sayyida Nunu of Zanzibar and Oman, the daughter of a Circassian lady, she was born blind. After the death of her parents she lived with her sister Aashe. (Ruete)
36. Sayyida Salme of Zanzibar and Oman (1844-1924), a.k.a. Emily Ruete

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Perseus and Andromeda
Developer(s)	Brian Howarth
Publisher(s)	Digital Fantasia
Series	Mysterious Adventures
Engine	Scott Adams database
Platform(s)	ZX Spectrum, Atari 8-bit, BBC Micro, Commodore 64 and Oric-1
Release date(s)	1983
Genre(s)	Interactive fiction
Mode(s)	Single player
Media	cassette
Input methods	Keyboard

Perseus and Andromeda is a text adventure game released in 1983 by Digital Fantasia on the Mysterious Adventures label.

Perseus and Andromeda was written by Brian Howarth in Scott Adams database. The story is an adaptation of the Greek myth of Perseus and includes characters and artefacts such as the winged sandles, Pegasus, the harpies and Medusa. The objective is to save Andromeda from the sea-monster Ceto.

The game included many line-drawn scenes, created by Jon Blacow.

It was available on the ZX Spectrum, Atari 8-bit, BBC Micro, Commodore 64 and Oric-1.

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Châtenay

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Châtenay or Chatenay is the name or part of the name of several communes in France:

• Châtenay, in the Ain département
• Châtenay, in the Eure-et-Loir département
• Châtenay, in the Isère département
• Châtenay, in the Saône-et-Loire département

• Châtenay-en-France, in the Val-d’Oise département
• Châtenay-Malabry, in the Hauts-de-Seine département
• Châtenay-sur-Seine, in the Seine-et-Marne département

• Chatenay-Vaudin, in the Haute-Marne département
• Chatenay-Mâcheron, in the Haute-Marne département

This disambiguation page lists articles associated with the same title. If an internal link led you here, you may wish to change the link to point directly to the intended article.

Retrieved from “http://en.wikipedia.org/wiki/Ch%C3%A2tenay”
Categories: Disambiguation pagesHidden category: All disambiguation pages

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This article does not cite any references or sources. Please help improve this article by adding citations to reliable sources. Unverifiable material may be challenged and removed. (April 2008)

Look up berth in
Wiktionary, the free dictionary.

The term berth is used to describe a bed on a boat or train, or a location in a port or harbour used specifically for mooring vessels while not at sea (or as a verb to describe bringing a vessel alongside - to berth), or for describing playoff positions for teams with no initial competition in sports.

Locations in a Port

Two small ‘marina’-type berths

Berth is the term used in ports and harbours to define a specific location where a vessel may be berthed, usually for the purposes of loading and unloading.

Most berths will be alongside a quay or a jetty (large ports) or pontoons (small harbours and marinas). Berths are either general or specific to the types of vessel that use them. The size of the berths varies from 5-10m for a small boat in a marina to over 400m for the largest tankers.

The following is a list of berth types that you may find in a large port.

General Berth - used to handle smaller shipments of general cargo. Vessels using these would usually have their own lifting gear, but some ports will provide mobile cranes to do this.

Container Berth - used to handle 20′ and 40′ standard containers. Vessels are loaded and unloaded by container cranes, designed specifically for the task. Alongside the quay there is often a large flat area used to store both the imported and exported containers.

Bulk Berth - used to handle bulk cargo. Vessels are loaded using either excavators and conveyor belts or pipelines. Storage facilities for the bulk cargo are often alongside the berth - e.g. silos or stockpiles.

Product Berth - use