A lichen by any other name would be just as confusing

A lichen by any other name would be just as confusing

Scientists have spent many decades arguing with each other about lichens. It’s a plant! No, it’s a fungus! No, it’s an alga. It’s a fungus parasitizing an alga. No, it’s an alga parasitizing a fungus! Nobody’s parasitizing anybody! They’re living in harmony like a bunch of hippies in a commune! I prefer to think of a lichen as an organism with an identity crisis. No wait, that’s not very flattering. Perhaps they are more like legless organism support groups. Or maybe they’re akin to exclusive nightclubs with a “no animals allowed” sign on the door.

Green and yellow lichen growing on the bark of an oak tree.

Lichens growing on a rocky surface.

A cluster of flat-topped mushrooms growing directly off the trunk of a tree.

For a long time no one knew anything about the true nature of lichens. Back in the days before microscopes the only organisms that people could see were creatures that moved (animals) and creatures that didn’t move (plants). Fungi and lichens could not move and were thus considered “plants” albeit unusual ones as they were not green.

Eventually scientists began to realize that the natural world was much more complex than they could possibly have imagined. After microscopes were invented they realized that there were lots of “mini-organisms” and eventually a third Kingdom, the Protista, was proposed. However, it wasn’t until 1969 that Robert Whittaker’s five kingdom classification that considered “fungi” to be separate from plants, was published in the journal “Science”. When The Manitoba Museum opened in 1970, fungi were still broadly considered by the public to be “plants” as most biology textbooks did not incorporate the new five kingdom classification right away. This system of classification is still referred to in some of the Museum’s older galleries such as the “Lichens: The Good Partners” exhibit in the Arctic-Subarctic Gallery. A lack of funding for gallery renewal has prevented us from updating these old exhibits.

Image: Fungi were still considered to be primitive plants when the Museum first opened.

In reality, lichens cannot be classified as anything because they are composite organisms containing species from (probably) four different kingdoms. The scientific name of the lichen is based on the name for the fungal host (Kingdom Fungi) but lichens also contains photosynthetic organisms called “photobionts”. The photobiont is usually a green alga (Kingdom Plantae) but sometimes a golden or brown alga (Kingdom Chromista) or a cyanobacteria (Kingdom Bacteria). Some lichens, like the dog lichens (Peltigera spp.), have both green algae and cyanobacteria in them (it’s the party spot of the lichen world cause the cyanobacteria mix a mean nitrogen smoothie!). Some biologists even consider lichens as “self-contained mini-ecosystems”.

Lichens growing on a rocky surface.

You’d think with our high powered microscopes, fancy computers, and DNA analysis that we would have this classification thing all worked out. But the more things change the more they stay the same, and scientists are still arguing about how we should classify the organisms on our planet. Whatever we decide call them, there’s one thing for certain-the lichens are completely indifferent to our puzzlement over their true nature.

Dr. Diana Bizecki Robson

Dr. Diana Bizecki Robson

Curator of Botany

Dr. Bizecki Robson obtained a Master’s Degree in Plant Ecology at the University of Saskatchewan studying rare plants of the mixed grass prairies. After working as an environmental consultant and sessional lecturer…
Meet Dr. Bizecki Robson

National Anthropology Day

By Maureen Matthews, past Curator of Cultural Anthropology 

 

Today is National Anthropology Day and as the Museum’s Anthropologist, I have been participating in a number of public events. Most recently I assisted with one of three winning designs in this year’s Warming Huts Competition, organized annually by the University of Manitoba, School of Architecture. This entry, Recycled Words, is the work of KANVA, a team of young architects in Montreal. These are the ski/chairs you see down on the Riverwalk, each painted a bright salmon pink with two words stenciled on each so that at rest the chairs can be used like fridge-magnet words to create little sentences. My contribution was the words on the chairs. Because we could use so few words and because the idea was to combine them to make little thoughts, I made up a list of words that do double duty as nouns and verbs, words like canoe, skate, ski, etc. We added place names, a few connecting words and some French words as well.

Maureen Matthews, bundled up in winter clothes, standing outside on a cleared forzen river path beside a number of red chairs with skiis along their feet. On the two chairs closest to her, the words "Goonika" and "Gisinaa" are written on the chair backs.

Because I work with Anishinaabe people to emphasize the importance of the Anishinaabe language, I made sure, in addition to words like Métis, Cree and Ojibwe, that we included Anishinaabe words. Anishinaabe was beyond the letter limit for the chairs as were a great many other appropriate Anishinaabe words but there are two: Gisinaa (It is very cold) and Goonika (There is a lot of snow). The Ojibwe words were very efficient for this purpose. Because of the structure of the language, one word contains the elements of an entire sentence in English, so one chair is a sentence all by itself. The chairs project thus takes advantage of the “talents” of both language families. In French and English you could say that the kind of sentences which can be constructed are endless– in Anishinaabemowin there is no end to the words that can be created – each word as the famous linguist Edward Sapier used to say, a “tiny imagist poem.”

This week I have had visitors here from Arviat and when I told them about my Anishinaabe contribution to the chairs, they laughed because one of the words sounds like Inuktitut for “someone is kissing someone” – appropriate I suppose since it was Valentine’s Day.

 

Links:

KANVA website

CTV News report on the chairs

American Anthropological Association contacts

http://bit.ly/NationalAnthropologyDay

Social Hashtag: #nationalanthropologyday

Tag AAA on Twitter (@AmericanAnthro) and

Facebook (American Anthropological Association) and we’ll share your posts.

Public Archaeology Press

By Kevin Brownlee
Past Curator of Archaeology

Over the course of the past year I have been involved with a few publications highlighting Archaeology. Each is quite different, from public outreach to academic article to education online resources.

The first is a book published by the Manitoba Museum called Stories of the Old Ones from the Lee River, Southeastern Manitoba: The Owl Inini, Carver Inini and Dancer Ikwe (2014). The publication is the result of many years of work by the Museum and our community partner Sagkeeng First Nation. The lead author E. Leigh Syms retired Curator of Archaeology along with a diverse group of contributors including the late Elder Mark Thompson. The book is publically written and includes over 150 images, maps, drawings and paintings. I was the project manager for the publication.

Buy a copy from the Manitoba Museum Gift Shop.

 

The second publication is an academic journal article on quartz characterization which examines artifacts from the Manitoba Museum collection in relation to quartz quarries documented in northern Manitoba. The article was published in the prestigious journal Archaeometry vol 56, issue 6 pages 913-926 (December 2014). The results indicate quartz from quarries on Granville Lake were transported up to 200km away. The lead author is a brilliant young PhD, Rachel ten Bruggencate who worked on the Granville Lake Social Science and Humanities Research Council Project that was run through the Museum. Read the abstract online.

The last publication was an online resource put together by the Centre for Research in Young People’s Texts and Cultures the authors on the guide were Margaret Dumas and Deborah Schnitzer. The teachers guide was for the book Pīsim Finds Her Miskanow and written for the Grade 5 Manitoba Curriculum. Find the guide here.

Public Archaeology – What Should have been in The News

By Kevin Brownlee
Past Curator of Archaeology 

Open pages of the book Pīsim Finds her Miskanow showing text with diagrams, and artistic illustrations.

Today’s post is a bit of a stretch for the theme public archaeology in the news, since media did not pick up on our recent work. The project most deserving of media attention would be the teaching resources recently released for the book Pīsim Finds her Miskanow. 

Educational resources now available for Pīsim Finds her Miskanow, a nationally awarded publication. The centre for research in young people’s texts and cultures (CRYTC) at the University of Winnipeg has released an 80 page teachers guide available for download on their website. The guide is written for Grade 5 in the Manitoba curriculum. You can also listen to two of the songs from the book, the Paddling Song and the Lullaby. 

Image: Highly illustrated book brings Rocky Cree history to life, now easier to use in the classroom.

Noteworthy Public Archaeology

By Kevin Brownlee
Past Curator of Archaeology 

Open pages of the book Pīsim Finds her Miskanow showing text with diagrams, and artistic illustrations.A number of events have occurred this past year that are noteworthy. The book Pīsim finds her Misknaow won a public communications award from the Canadian Archaeological Association in May 2014. This national award recognizes archaeology publications that engage the general public. 

Two display cases were produced for the Sagkeeng First Nation Heritage Centre. The exhibits were unveiled at the Heritage Centre on May 12, 2014.

Looking into a blue display case shadow box with photographs and illustrations of artifacts as well as descriptive text.

Two Eagles Cache Education Exhibit showcases replica artifacts found with a 4,000 year old ancestor.

Looking into a green display case shadow box with photographs and illustrations of artifacts as well as descriptive text.

Rivermouth Cache Education Exhibit showcases replica artifacts found with two ancestors dating to 450 years ago.

Something Old, Something New, Something Borrowed, Something Blue

No, this post isn’t about a wedding, but that old saying works equally as well for our new permanent exhibit leading into the Nonsuch Gallery!

Despite the fact that the Nonsuch is one of our biggest attractions at the museum, some people were missing it entirely due to some poorly positioned carpet arrows and a drab entryway. Last fall I sat down with our amazing designer Stephanie Whitehouse to figure out how to tackle this problem. We decided that we could not only improve the wayfinding to the Nonsuch Gallery and well-hidden bathrooms, but also put more of the HBC Museum Collection on display, win-win!

 

A dark entryway with a sign labeling it as the Nonsuch Gallery.

Here’s what the space looked like before.

Looking down a weaving hallway with two rows of arrows directing visitors both down and up the hallway.

We call this space the “throat” as it funnels you down towards the Nonsuch. The brown colour is definitely a bit drab!

You can see that the black wall with dusty old model of our Parklands Gallery needed an update. And even when you stepped up and looked to the right (towards the Nonsuch) the area was a bit dark and uninviting. No wonder people were turning left and missing it all together!

The finished product is the result of an amazing collaboration between design, productions (carpentry/lighting), conservation, and curatorial.

Now when you emerge from the Boreal Forest Gallery you round the corner and see this:

An open entryway with a two steps going up the the left, and a hallway to the right. Directly in front is an exhibit case with a large wooden steering wheel, ship's bell, and small canon on display. Signs overhead direct visitors right for both the Nonsuch and the bathrooms.

A bright and welcoming display area with directions to the Nonsuch and washrooms very visible!

Looking down a weaving hallway with two rows of arrows directing visitors both down and up the hallway. Lighting casts a blue glow on the main walk way, and illuminated signs direct visitors in the directions of the washrooms.

Watery motion lights, the blue colour carried through, and a nicer approach through the “throat”!

Something Old: the selection of artifacts from the HBC Museum Collection from various ships used by the Company.

Something New: the signage, lights, and new exhibit space.

Something Borrowed: the pipe and pocket telescope in the little cubby are borrowed from the History collection.

Something Blue: the fabulous blue paint colour that takes you all the way to the Nonsuch.

Here are a few pics from our installation day:

Two individuals either side of a wheeled cart prepping two large ships lanterns for display.

Bert and I prepping the lanterns for display.

One individual on a ladder hanging a large ship's lantern for display, while another individual stands nearby working on some electrical wiring.

Carolyn and Sean hanging the lanterns and rigging up the lights.

Three individuals moving together to transfer a large wooden ship's wheel into an exhibit case.

Moving the ship’s wheel into the case.

Two individuals securing the upper right corner of a large sheet of glass on an exhibit case.

Marc and Bert putting the glass in place.

Our lovely designer Steph was behind the lens for these photos, how convenient 😉

Next time you’re at the museum be sure to slow down when you round that corner out of the Boreal Forest Gallery and check out our recent addition!

Shout out to everyone involved:

Stephanie Whitehouse (Designer); Marc Hebert (Carpentry); Carolyn Sirett (Conservation); Bert Valentin (Productions); Sean Workman (Productions); and Holly Durawa (summer intern from U of T’s Museum Studies Program, she assisted with artifact selection and label copy!).

Dr. Amelia Fay

Dr. Amelia Fay

Curator of Anthropology & the HBC Museum Collection

Amelia Fay is Curator of Anthropology and the HBC Museum Collection at the Manitoba Museum. She received her BA in Anthropology from the University of Manitoba (2004), an MA in Archaeology…
Meet Dr. Amelia Fay

1916: Votes for (Some) Women

The Manitoba Museum is planning an exhibit called “Nice Women Don’t Want the Vote”, opening in November, 2015, commemorating the Suffragist movement in Manitoba.  The exhibit will also discuss some of the ways Manitoba and Canada have struggled to provide full voting rights for all its citizens.

History is never neat and tidy, and the history of the franchise (the right to vote) in Canada is about as messy as it comes. While 1916 was a big year for voting rights, Manitoba being the first province in the country to extend the right to vote to women, we do need to remember that this was only for some women.

An old, worn ballot box with a latch for a lock on the front and a slit for votes in the lid. Still faintly visible is the number 105 in red.

In Manitoba, First Nations people living on reserves and receiving an annuity from the Crown were barred from voting until the mid-20th Century. Indeed, from Confederation on, both provincial and federal voting rights for First Nations were curtailed and cut off until, by 1919, no First Nations people living on reserves were allowed to vote in federal elections. In Manitoba, the Treaty population, both men and women, were only enfranchised in 1952, a full 36 years after the vote was extended to women from newcomer populations. In 1960 the House of Commons gave First Nations the right to vote for the first time federally, with no restrictions. For many years before this, First Nations people could only attain the right to vote if they gave up their rights ensured under Treaty.

The women who fought for the vote in 1916 seem to have completely ignored the issue of voting restrictions on First Nations men and women. Through our research we have come across no references to the issue, and the silence is telling. Canada was dominated by a British population who considered themselves an extension of the British Empire. The leaders of the women’s suffrage movement were largely of this background, as were most of the followers of the movement. Voting rights for First Nations were just not on the radar.

Likewise, some of the women involved in the Suffragist movement debated granting the vote to immigrant women (those not born in the United Kingdom). It must be noted that this was occurring during the height of the First World War, when anti-foreign sentiment was running hot, and any ideology that was perceived as a threat to the Empire (like giving immigrants the vote) had little chance of passing through the corridors of power. Mennonites and Doukhobors, for example, had their right to vote rescinded in 1917-18 because of their refusal of military service.

Enfranchisement, the right to vote in a democratic society, has only in the last 50 years been seen as a general right of all adults in Canada. Before this, it was a slow crawl to full suffrage. In 1867, only 11% of the population could vote, and these were almost exclusively white males that owned a certain amount of property or cash. Even before this, Catholics, non-British immigrants, Jacobites (!), Jews and First Nations were excluded in one way or another from voting in different parts of Canada. The vote was also denied to Asians in British Columbia until 1948, and to women in Quebec until 1940. The geographical isolation of some groups in the north until the second half of the 20th century also hindered them from exercising their right to vote.

As we work to create this exhibit, we hope that Manitobans continue to contact us with artefacts, stories and opinions about the right to vote for women in Manitoban history.

Dr. Roland Sawatzky

Dr. Roland Sawatzky

Curator of History

Roland Sawatzky joined The Manitoba Museum in 2011. He received his B.A. in Anthropology from the University of Winnipeg, M.A. in Anthropology from the University of South Carolina, and Ph.D. in Archaeology…
Meet Dr. Roland Sawatzky

Scientific Jargon: Translated

While proofreading a scientific journal article I recently wrote, I found myself thinking “wow, this is really boring!” Scientists always write their journal articles in technical, impartial terms so as to sound as objective as possible. That’s part of the reason why scientific conferences are so enjoyable; you often get an opportunity to find out about the real problems scientists encountered while trying to conduct their field research. That got me thinking – what if scientists wrote the blunt, honest truth about our field research experiences instead of the dry, dispassionate scientific jargon that we feel compelled to write? So for your benefit here are some of the things a scientist might write in a journal article and what it might have actually meant.

Woman kneeling in a wild prairie and closely examining yellow flowers for pollinating insects.

Due to a technical error, some data was unusable.
Translation: I dropped my portable computer in a swamp.

The first attempt at relocating the rare species was unsuccessful.
Translation: I couldn’t figure out how to use my new GPS.

The second attempt was also unsuccessful.
Translation: We couldn’t find the #$%&* thing!

The plant was located on the third field visit.
Translation: The guy we hired to pilot the boat found it.

Wildlife interference prevented collection of additional data.
Translation: A polar bear tried to eat me.

View over a field where cows are grazing towards storm clouds brewing in the distance.

Voucher specimens of most insect species observed were collected.
Translation: The wily ones got away.

Collection locations are correct within a 1-km radius.
Translation: The batteries in my GPS died half way through the hike. The spares didn’t work either.

Images from the field trip were unrecoverable.
Translation: I forgot to put the memory card in my camera.

The maximum amount of time I could spend surveying was four hours.
Translation: I spent the other four hours getting my flat tire fixed.

Data from one of the plots could not be collected.
Translation: Rabbits ate the plants I was studying.

Due to inclement weather, the survey was not completed.
Translation: I was afraid of getting struck by lightning because I was carrying a metal hiking pole.

Now you might think I’m joking but some of the things I mentioned really happened either to me or someone I know. Guess which ones! So remember if you are ever reading something written by a scientist, there’s often a much more interesting story behind it than anyone will ever know.

Dr. Diana Bizecki Robson

Dr. Diana Bizecki Robson

Curator of Botany

Dr. Bizecki Robson obtained a Master’s Degree in Plant Ecology at the University of Saskatchewan studying rare plants of the mixed grass prairies. After working as an environmental consultant and sessional lecturer…
Meet Dr. Bizecki Robson

Was there a Suffragist in your family?

The Manitoba Museum is currently working on an exhibit that will open in November 2015. “Nice Women Don’t Want the Vote”, named after a statement by former Manitoba Premier Sir Rodmond Roblin, commemorates the 100th anniversary of the right to vote for women in the province in 2016.

Elongated triangular flag. The background is yellow wiith a thick black stripe stitched on top reading “Votes for Women” along the centre.

Felt pennant, circa 1910-1916. Black and yellow were the colours of the Suffragist movement in North America. Donated by Warren West. H9-38-198. Copyright the Manitoba Museum.

A French Limoges jar painted in a mid-tone green with red and gold detailing.

We are looking for artifacts! Social and political movements don’t leave many objects behind. Things like banners, flags, and pamphlets are often lost or thrown away after a movement succeeds (or fades). But we’re not just looking for political statements. Everyday objects that are in some way connected to the Suffragist movement, like a dress or pen or shoes, would be just as welcome. For example, we will be featuring French Limoges porcelain painted by Mae Irene Whyte, who marched with Nellie McClung to the Manitoba Legislature to obtain voting rights for women.

We are interested in loans, but may consider donations as well.

Likewise, if you have an interesting story about a Suffragist in your family history, let us know!

You can contact the Curator of History at RSawatzky@ManitobaMuseum.ca.

 

Image: French Limoges jar, 1912-1919, painted by Mae Irene Whyte, Winnipeg. Whyte participated in the Suffragist movement. Donated by Marion E. Kaffka. H9-9-534. Copyright the Manitoba Museum.

Dr. Roland Sawatzky

Dr. Roland Sawatzky

Curator of History

Roland Sawatzky joined The Manitoba Museum in 2011. He received his B.A. in Anthropology from the University of Winnipeg, M.A. in Anthropology from the University of South Carolina, and Ph.D. in Archaeology…
Meet Dr. Roland Sawatzky

The Old Plesiosaur and the Sea: The Collectors

By Dr. Graham Young, past Curator of Palaeontology & Geology

 

In my last blog post, introducing our plesiosaur exhibit,  I promised to follow up with some of the story of how the collectors found, extracted, and prepared the fossils. When I was assembling the exhibit I interviewed Kevin Conlin and Wayne Buckley, since they tell these stories so much better than I ever could. Here are the interviews, which are also on the panels within the exhibit.

An individual sitting in front of a large fossil slab.

Kevin Conlin

Kevin Conlin is a ceramic artist in western Manitoba who has worked with various museums, collecting and participating in scientific research. He collects fossils under permits from the Manitoba Historic Resources Branch, and has collected significant specimens now in the collections of The Manitoba Museum.

 

How did you get into fossil collecting?

It goes back to Grade 3, on a school trip to the Manitoba Museum of Man and Nature. I took my lunch money and purchased three trilobites from the gift shop. From there, I began to look into what fossils were, and started a long life of keeping my head down whenever I was out where there were rocks or gravels that could contain fossil material.

How do you find the fossils?

When I first got into collecting I didn’t know much about rock types. After taking some geology in school and university I began to recognize and distinguish rocks that would house fossils – the types of sediments or fossils in the area really dictate how you find fossils. I look for the odd shapes, textures, any variations in the surface of matrix or sediment which could indicate something other than just mud, sand or sedimentary rock. It could be anything from a pin prick to the size of a 200-pound boulder!

 

What do you do to prepare the fossils?

Depending on the fossil and its fragility, I use a special glue. For cleaning and preparing fossils, miniature jackhammers and a miniature sandblasting unit are used to remove sediment. It all depends on the fragility. Some fossils come naturally cleaned by the elements. Others still encased in rock can take hundreds of hours of preparation.

An individual standing in front of a large fossil embedded in a slab.

Kevin poses in Brandon with a large fossil fish that he is preparing.

An individual engraving a ceramic in progress in a workshop with other partially completed ceramic vases.

Kevin creating ceramics in his studio (photo courtesy of Kevin Conlin)

An elaborately engraved vase covered in black trilobite designs.

Among the fossils you have found so far, which one is your favourite?

I like all fossils. They all bring great enjoyment – trilobites, birds, a Carboniferous collection that I really enjoy. I have no real favourites.

 

What do you think is the most pleasurable part of fossil collecting?

The most pleasurable part of fossil collecting to me is relaxation. Even though the work can be difficult, finding the fossil and knowing that you are the first human to see it brings a great deal of pleasure.

 

Why do you collect fossils? Why is it important to do this?

I collect fossils for the mystical quality from ancient worlds and the beauty they project. I also collect fossils for the purpose of preservation. It is important to preserve this material because nature will destroy it over time through erosion. Being a ceramic artist, a large part of my fossil collecting becomes an inspiration for my work. The interesting thing about being a clay artist is that many fossils are found in clay!

A smiling individual standing in front of a display cabinet filled with fossil specimens.

Wayne Buckley

Wayne Buckley is a retired agricultural research scientist in western Manitoba. He collects fossils under permits from the Manitoba Historic Resources Branch and has donated significant specimens to The Manitoba Museum.

 

How did you get into fossil collecting?

As kids, my cousin and I had an interest in collecting rocks. We had heard that you might be able to find fossils at a place we were camping, so we went looking and we found this beautiful ammonite. I remember being struck that it was possible for someone like me to find beautiful and interesting things like that. I was hooked for life!

What do you have to do to pull out a fossil you have found? What sorts of tools do you use?

I suppose the most important tool is a shovel; we do a lot of digging! Then we get the picks and crowbars to lever out big chunks of shale. As we get further into the rock it becomes quite hard, and I use a small jackhammer. Once the fossil is exposed, we need to prepare a trench around it, then cover it with a burlap and plaster cast. We’ve used various techniques to get fossils out of the bush. Early on it was mainly inner tubes with a piece of plywood – we would drag and float it out. Later I made a skid that would float and we could haul that behind an Argo (an amphibious vehicle).

 

Among all the fossils you have found so far, which one is your favourite?

That’s easy. That plesiosaur that I just donated [to the Museum] is certainly my favourite.

 

What do you think is the most pleasurable part of fossil collecting?

Well, I guess there are really two things that come to mind. First of all, there’s the thrill of making a discovery. That, however, is fairly rare. Probably just as important is that I enjoy being out in the bush. I really enjoy the relaxation that comes with eating my lunch on a vantage point, listening to the silence and watching the birds and other animals.

A large fossil slab strapped to a raft attached to the back of an Argo water vehicle.

Dragging a field jacket with the Argo. (photo courtesy of Wayne Buckley).

An individual with a hand-held tool attached to a hose working on a fossil skull.

Wayne preparing the plesiosaur skull (photo courtesy of Wayne Buckley).

A smiling individual standing with their arms spread in front of a fossil fish mounted on a wall.

Wayne with a large fossil fish (Ichthyodectes sp.) that he collected and prepared. This fish is featured in our current exhibit.

An individual standing on a stone shelf against a stone wall next to a shovel and pick tool.

What sorts of sources do you use to identify the fossils?

There’s a great website called Oceans of Kansas. It describes many of the fossils that we find in Manitoba, because they are also found in Kansas. Also, as I have a background in science, I am quite comfortable with searching the scientific literature and ultimately going to the original research papers where new species were named.

 

Why do you collect fossils? Why is it important to do this?

I have a passion for fossils. I think collecting them is important because we don’t have a complete record of the early life that was in Manitoba during the Cretaceous Period. I feel that we are able to make significant scientific contributions. It’s also important to save the fossils; erosion is very rapid where we are collecting and fossils simply erode away.

 

Image: Wayne in the fossil quarry he created during collection of the plesiosaur (photo courtesy of Wayne Buckley).