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I have been an ardent lover of film for longer than I can recall. Just emerged from toddler-dom, I would one week sit, enraptured, nestled between my parents, utterly mystified by The Lion King; the next week, I would be so spellbound by John Wayne's bravado as a rogue riverboat captain in the forgotten Blood Alley that I would demand my mother help me construct a faux-riverboat in our TV room so I could be The Duke in all his nautical rescue glory. As an obtrusively precocious child, my unbound eagerness for fantastical things often placed me in a sort of delicate, awkward space. My feelings were hard to contain; my outrageous imagination was tricky to translate; my relations with girls and boys in prescribed social environments felt uncomfortable and distinctly forced. It was films that provided a recourse, a discursive realm all my own. Films provided a world in which it was completely reasonable that I would make my toys act out key moments from the Russian revolution, or that when I was bored, I would conjure up scripts and meta-dramas. Of course, at this nascent stage in my film fanaticism, I couldn't grasp the nuances of mise-en-scène. But movies and my fecund imagination provided discursive building blocks that allowed me to start constructing my burgeoning selfhood.
Logically, then, it was cinema I turned to when my fantastically awkward adolescent 'blossoming,' became entwined with overpowering feelings of otherness. These were more than inklings, they were sensations—at once electrifying and devastatingly stomach-churning. The realisation of being queer, beginning to understand that my desires did not correlate to the heteronormative game plan that was had been trenchantly laid out for me (and also realising that on some occasions, my desires did fall within that construct, and the two things may exist contemporaneously, and having my manic, pubescent brain totally obliterated by that notion), was the source of outrageous anxiety. It was simultaneously euphoric, though, and these conflicting sensations were only translatable in the elocution of film.
Queer cinema glistened with the promise of discovery, of finding some sort of network or community or commiseration—and yet, what I unearthed was as dismaying as it was intriguing. As my parents sat downstairs unwittingly watching M*A*S*H* reruns I would furtively dart upstairs to watch The Truth About Jane (2000) on the Lifetime Channel, and despite my tingles of fascination and hope at every glimmer of queer coupling on screen, my desires were left unsatisfied. Each filmic excursion was riddled with tropes that I was predisposed to be wary of; I was thrust into a world of quasi-representation where everything was a technicolour pseudo-erogenous blur. They failed to capture some semblance of mirrored selfhood or of relatability that I was so craven for and had such a desperate paucity of in my "real world."
These films were mired in a swamp of pitiable, heterosexual relationships that were martyred because of female queer epiphanies. Every five minutes some nameless band fronted by the harmonic spirit-daughter of Mazzy Starr and Sarah McLaughlin was there to croon metaphors about the celestial bodies as some women ruefully pondered her sexual existence. There seemed to be scarcely any room in moderately mainstream media for portrayals of queer women whose happiness and fulfillment did not come at the expense of a preexisting heterosexual bond. I will certainly never cease praising the particular virtues of Gia (1998), Better Than Chocolate (1999) and the monumentally campy But I'm a Cheerleader (1999), but while films like these were developmentally significant, they failed to provide the semblance of mirrored selfhood that I was craven for. There was no striking verisimilitude, no magic to what I witnessed.
Perhaps my dissatisfaction galvanised my transition into an utterly crucial phase: what I now designate my 'queering the absence' epoch. Perhaps it was because my overly abundant childhood imagination felt stultified by these drab queer films, or because the strange starkness of the films often exuded a sense of definable otherness that I assumed my family and friends would be able to literally smell on me. Whatever the cause, I found myself drawn to films that I could safely entrench a sort of queerness in. I recall, at the age of 13, fixedly watching the film Nell (1994), on a botched family vacation. Then, in one of the more important exegetical moments of the film and being overpowered by two sensations—first, that I was ferociously smitten with Natasha Richardson (which would explain why The Parent Trap (1998) had been such a strange family viewing experience for me years prior) and, second, that I could use any film that struck or impacted me as a safe place—just as movies had been a haven for my childhood eccentricities and imaginativeness, cinema could now benefit me in a new, more developmentally advanced wat. I could suture my own queerness into films and narratives in a way that suited my identity.
After much consternation in my viewing of queer-centric cinema, this new way seemed rejuvenating, and far more true to form of the spirit of ingenuity I possessed as a child. Moreover, at a time when what I felt most was anxiety or discombobulation, movies provided a refuge where I was directly in control of the narrative: I was in control of my emotions within the context of that narrative, and I did not have to cower at the prospect of being outed or confronted. What was most intriguing was that the films I sought were hardly dazzling examples of innovative or avant garde cinema—neither Raymond Bellour nor Teresa De Lauretis would scramble to write provocative treatises on these films. In fact, I actively sought out films with ludicrous plots, palpably saturated with pop-culture. I found such solace and imaginative potential in them because of their unconventional cinematic standards. Perhaps, in the true Sontagian spirit of camp, I was the most reassured and able to freely embellish my queer fictions in films that were steeped in the outlandish.
Like most meaningful comings-of-age in a woman's adolescence, mine started with a Vin Diesel movie. The spring after the summer of Nell, with all the tumults of eighth-grade year coming to a head, I rented a copy of the original The Fast and the Furious (2000) and watched it roughly three to eight times a week for months (I regarded the Blockbuster return date as a more of a suggestion). The film provided the perfect escape: to female friends I could (not entirely meretriciously) claim affinities for Paul Walker; to male friends I further consecrated myself as the relatable chick who dug fast cars and flamboyantly masculine fight scenes; and for myself I allowed a queer subplot, in which Jordana Brewster and Michelle Rodriguez were making silent advances on each other. It was the ideal model for my queer sexuality in that it was both a subterfuge and an exploration vessel.
In keeping with the theme of films unfairly labeled 'dude-centric,' I then diverted my filmic fixation to another Michelle Rodriguez movie, Resident Evil (2003). If ever Bette Davis had been an irreverent, ballsy and vaguely queer fierce sex symbol to a generation before me, Milla Jovovich was that for me, as she and the subtly ferocious and ferociously queer Rodriguez brutalised the undead in the bowels of the Umbrella Corporation. Jovovich emerged as this sort of husky-voiced messiah, enigmatic and savage, of my sexual awakening. And so I scoured her filmography, an activity which caught a lot of guff. But it was guff I was willing to endure—she was quirky, she was brash, she was caricatured and she was embedded in stories that provided my imagination ample material.
Jovovich catalysed a trend I would build upon as my understanding of my sexuality matured and love of cinema matured. Particular actresses, more than individual films became the focal points of both my cinematic pursuits and my queer desires and imaginations. It was something other than voyeurism or naïve infatuation—it was a yearning that coupled with intrigue and a genuine desire to cultivate appreciation for films regardless of their critical reception. This appreciation was inextricably bound to a fondness and unexplainable attraction and connection to certain actresses. Entranced by Rachel Weisz, Winona Ryder and Nicole Kidman, I saw even their categorically clunky films more times than was reasonable. Through this dedicated fandom, I grew to understand and appreciate the variations of cinematic aesthetics, the nuances of style, what made a 'good' or 'bad' film and, more interestingly, what salvageable qualities existed in the 'bad' ones. And as my critical eye and palette developed—my comprehension and acceptance of my own sexuality became less dependent on queering the absence and more on articulating my actual desires in the real world.
Most crucially, this period of actress-loves and stabilising my sense of self created a silent language with my mother, who I felt closest to and most petrified to divulge to. When we watched films together there was an unuttered truce—which may sound superfluously poetic, but we've never dared discussed it to this day—in which we could forge some understanding about my sexuality that otherwise would have been unachievable. My mother and I could laugh and find sentimentality in the comforting repeatability of favorite lines, and create comprehension over the chasm that existed between us, in which the things about myself I felt I could not say (and which she perhaps infinite perspicacity knew) were safely conveyed in our mutual love of the films. She understood, and I felt joyously safe, in endlessly and ritualistically watching Rachel Weisz in The Mummy (1999) and idolising Weisz's Evelyn in her adorably intrepid perfection, and this was how we would speak, how we could relate. Films provided us a language of connection.
Peculiarly, or maybe appropriately, my return to what I had once deemed the gallows of queer cinema came after watching Ingmar Bergman's Persona (1966). Haunted by the paralysing awe of the performances and the subliminally palpable connection between Liv Ullmann and Bibi Andersson, I decided that I wanted some sort of migration back to a definitively queer text. I wanted to use my understanding of film and style and theories to untangle the films I once rebuked. I started with But I'm a Cheerleader—writing fastidiously about camp, about the crucial process of identity-forging in the eccentricities of certain films. I became devoted to resuscitating the queer canon I had scorned. And then, as I matured in my sexuality and self-assuredness as well as in my writing and cinematic sensibilities, something quite terrific happened to mainstream cinema.
Queer cinema, which was still the subjugated child in the grand scheme of film generations, was allowed to evolve and become a gorgeous (if flawed) creature. Exquisitely relentless pictures like Stranger Inside (2001) and Pariah (2011) could coexist with the aching and disquietingly choreographed Kyss Myg (2011) and the poignantly hilarious Appropriate Behavior (2014)—stylistically and thematically, queer cinema began to crack its limbs and clamber towards some sort of meaningful presence. Consecrating queer films not just as entities unto themselves, but as generically significant events—a piece like Peter Strickland's sublimely surreal Dukes of Burgundy (2014), indeed, is testament to the evolution and permutation of queer sensibilities into a much broader landscape of filmmaking. And even though the issue of escaping cis-white monopolisation in filmic representation prevails, diversity in queer cinema has taken tremendous strides. Moreover, Carol (2015) happened, which is a really really big deal.
All this is not to say that I have abnegated my tendency to 'queer the absence'. That tendency is an inextricable part of my love of cinema, and my articulation and understanding of myself. It has allowed me to be a rabid fan of The Walking Dead (because Carol, Michonne and Andrea have been some of the best damn subversively queer characters in recent memory) and it has allowed me to keep that feeling of connection to my mother and my friends in a way that's fundamental to who I am. Furthermore, I have continued to revisit vexing films like Loving Annabelle (2006) and Imagine Me & You (2005) with a nostalgic appreciation for their value, buried beneath the more flummoxing tropes.
In a recent class on transnational feminisms, a discussion of queer theory led to the question of why it was necessary even to have a queer theory separate from feminist theory. Aside from issues of poststructuralism and identity politics, the culture's need for queer theory is utterly like my need to queer the absence, to find a place for myself in other people's narratives. It is a distinct elocution, a realm in which the self can flourish both separate from and as part of a world of structure and limitations.
Eva Phillips is a US-based writer, currently completing her Master's Degree in English Literature.


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If you are contacting us to donate furniture, women's clothes, baby goods, toys, toiletries or household items…
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June 6th, 2013, 05:06 PM #1EXCLUSIVE Merchant! TANDEMKROSS
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text: Technology Solutions presents 'next generation social prescribing' 2. June 2017 Jon-Hoffman International (0) On May 18, members of the PCG Technology Solutions team in the UK represented PCG at a one-day conference to present its technology solution for 'social prescribing.' The event, organised by the King's Fund, brought together more than 400 senior representatives including national and local leaders for strategic collaboration and sharing of best practices. The event was a sell-out within weeks, attracting double the number of expected delegates, demonstrating the significant appetite for social prescribing in the UK. Such was the level of interest that the Prince of Wales, President of the King's Fund attended to show his support for the innovative work that is taking place in this area. [More]


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Frozen 4-Piece Set £30 (Was £60) @ ASDA Direct
A while back ASDA told us they have a preorder for Disney's Frozen Friends Collection Gift Set for £37.50 and that if you waited till it was on the shelves, it would set you back £50. It went on to the shelves at £60 in the end but has now been reduced by 50% to £30 - who knows how long for though?
We were camping over the weekend, and one of our neighbouring campers had both the Elsa and Anna dolls with her, and she was by far the most popular girls on the site all weekend. Our kids were off and away all weekend, and we could just about follow their voices around the site as the gaggle of girls took turns pretending to be Elsa or Anna - and at one stage we had Elsa One, Elsa Two and Elsa Three too. It was quite funny!
Well, you can own Princess Anna and Queen Elsa, Reindeer Sven and Snowman Olaf now, no more waiting.
The lovely dolls in this Disney Frozen dolls collection closely resemble the favorite characters from the movie. They each wear a pretty gown with a crown in a matching color.
Go on, you know your fan will love it.
TOPICS: Disney Deals Toys


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Sandusky® Flat-Panel TV Carts; For 37" LCD
Item #: 901-IP303227
Model #: IP3032274409
Brand: Sandusky Lee
Not yet rated.Be the first to Write a Review
$382.99 Each
Help with furniture delivery, assembly,...Read more + Read less -
protection plans and more.
Plus, you've got choices! You'll find options for those DIYers on a budget, those that want us to do all the work and everyone in-between. Want all the details? Get them right here.
- Cart holds up to a 37" flat panel television or monitor and features a wider base for greater stability
- Universal mounting system works with standard flat panel televisions; monitors can be adjusted to reduce glare and provide better viewing angles
- 2 top shelves include grommet holes for wire management
- Middle shelf ideal for DVD/VCR players or speakers systems
- Heavy-duty steel construction with black power-coat finish
- 5" industrial-grade swivel casters (2 locking) for mobility
- Size: 44Hx32Wx27-1/2"D
- Manufacturer's 1-year limited warranty
- Assembly required
|Brand : Sandusky Lee
|Weight : 69.00 lbs. per Each
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An employee removing a piece of monitoring equipment that was causing problems likely caused a massive outage that left more than 2 million people without electricity across the Southwest and northern Mexico.
Dan Froetscher (FRO-shur), a vice president at Arizona Public Service Co., says it wasn't a deliberate act that knocked out power at a substation in North Gila northeast of Yuma, Arizona. He would not say whether it was mistake or how much experience the employee had.
Power officials say the outage should have been limited to the Yuma area. They were investigating why it wasn't contained. Froetscher says they're not absolutely certain the outages are related.
The outage extended to southern parts of Orange County and San Diego and cities south of the border.


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- Worldwide Rank #218,559,229
- Follower/Following Ratio 0.01
- Daily New Followers 0
m s Twitter Stats
@001110111 - Tracking m s Twitter profile since November 10, 2014
m s's story
m s, also known as @001110111 has a novice's presence on Twitter and is ranked by us in the 20% percentile for account strength. Active on Twitter since August 2013, m s made it to having a respectable 4 Twitter followers and to being ranked 218,559,229 for number of followers among all Twitter users.
The plot thickens when considering m s's follower-to-following ratio, which is 0.01. Which is not surprising given this account's audience size.
@001110111 doesn't tweet all that much, with an average of 0 tweet(s) per day in the past 30 days. That's pretty consistent with a total of 19 since @001110111 joined Twitter.
This account is tracked by us Only November 2014. As of November 23 2017 we track 283182048 Twitter accounts, so feel free to search for other accounts you're interested in and reveal their Twitter story!
m s Tweets
@001110111 has posted 0 tweets in the last 17 days, which translates to an average of 0 tweets per day.
m s Twitter Followers
@001110111 has 4 followers on Twitter.
This account is #218,559,229 in the worldwide rank of the most popular Twitter users.
m s Following on Twitter
@001110111 is following 346 Twitter accounts.
Last month this account followed 219 users.
m s Predictions & Milestones
@001110111 will hit 4 followers in the next 3 months, and 4 in one year.
You are on m s's Twitter stats page
We track these Twitter stats since November 10, 2014 . You can see how many followers m s lost or gained and what the prediction is for tomorrow or the next 15 days, together with all kinds of other stats like rank compared to all Twitter users, tweets etc.
Why don't you give it a try and compare m s to yourself ? Or if you are m s get even more feature rich & up-to-date stats with our premium Twitter Stats.
Twitter Counter is the #1 Twitter stats site powered by Twitter. It all started in June 12, 2008 and we grew rather rapidly because of our Twitter Counter badge. The button is a nice small image that shows your visitors how many followers you have on Twitter. Within a year the button was on many many blogs around the world and we displayed more than 100 million buttons in one month. We track follower stats for over 283.182.048 users now.


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The TGAlerts™ reports upon threats or terror capability developments of imminent interest in near real time. The Service is unique in three important ways.
First, it covers the Deep Web by means of Virtual HUMINT™ operations, i.e. we create virtual entities that we then operate as insiders within terrorist and insurgent networks online, even when such are password-protected or membership by reference only, or friends only.
Second, our reports do not shy away from the technical – quite the opposite, we try to maintain a legitimate TECHINT focus on C-IED and HME-related developments, as such represent the brass tacks of terrorist capabilities evolution.
And lastly, in order to avoid inundating subscribers with the low threshold of "just news", TGAlerts™ provides a high level of analysis, context and interpretation above and beyond what the "Alert" rubric might seem to indicate, with a focus on C-IED, TECHINT and HME-related items of interest via dedicated "TGNotes".


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blocked out of olean by collegiate activities, we "settled" for this modest accommodation 15 miles away... we were, frankly, amazed at the quality... check-in was pleasant even though we ourselves presented some complications and a complimentary breakfast topped it off... it's about 15 miles down a straight road to one of the world's finest restaurants, sprague's in portville... but the olean events were a great break for us and we'd gladly stay here again...
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Recently I participated in a tournament and managed to win $6000 on a slot. I sent a withdrawal request, and contacted a day later to check progress. I was advised everything was fine and it would be processed after midnight the following business day. The next evening I got a call, at 2:30 am telling me my winnings were void because my individual bets exceeded more than 10% of my bonus balance, which I only had because it was required in order to participate in the tournament, and was playing the game they had specified.
The thing is though I now feel like the whole promotion is setting people up to fail, why are they even offering smaller bonus amounts if they need to deposit over $300 minimum (at 50% bonus) to be able to play a game for a tournament which is $15 minimum each spin. If this is such a common mistake, why yet hasn't a warning been added to the terms and condition, I feel as if they encourage the mistake? Does this make sense to you? I feel like I've been scammed
The Bonus codes they offered were as follows:
Amount % Bonus Code
And this is the rule they say I broke:
"Placing single or multiple bets equal to or greater than 10% of the value of the bonus credited to the player account on a single game or hand, increasing the balance then changing the gaming pattern significantly (bet, game type, bet structure, etc) in order to complete the wagering requirements for that bonus."
This, in particular, is what still gives me pause. Because that rule is referring to cheating the system in order to complete the wagering requirements for that bonus (which was $4, so I clearly wasn't doing that), whereas I was simply trying to participate in the tournament as was advised, and as the tournament demanded. I didn't raise the bet or change my the betting pattern at all, as the rule references, I just hit spin, on the minimum amount needed to play all lines, on the game they specified. The bonus I used from the REALKICK promotion so I could enter the tournament was the smallest one. Knowing what I know now, and if it was my only bonus as it very well could have been and may have been for some, it would of been literally impossible to play the game required (Safe Hackers) under 10% of that bonus, even playing only one line at minimum bet.
I've now read these rules repeatedly, and I felt that I have honoured them to the best of my ability given the participation requirements of the game I was given to play by the REALKICK tournament. I feel that it is clear my exceeding the 10% allotted amount was NOT in order to complete the wagering requirements for a bonus, and therefore I have not broken this rule.
When I pleaded all of this with the casino, and after much pushing of my VIP manager, they decided to give me a $500 bonus a month for 6 months (total of $3000) on the condition that I deposit a minimum of $100 a month and remain an active member.
To summaries. I was participating in a tournament, betting what it required to play, which had no relevance whatsoever on the wagering requirements for the bonus I was required to take in order to enter. And, note, in this particular tournament that anyone using REALKICK1 and REALKICK2's codes winnings would also be void, and only at over three times the REALKICK3 amount to be valid.
I am a daily player. I've spent thousands and thousands in this casino and this was my first ever big withdrawal. I know that they don't technically have to give me anything, so I don't really know how to proceed with this. Maybe I should just feel grateful... but I just feel so wronged.
Any advice you could offer would be greatly appreciated.
Kind regards,
P.s. I have screenshots for all of this but for some reason they wouldn't copy into this message. If you have a direct email instead I would be happy to send them through.


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Enjoy getting dirty? Spend some time at a local Farm charity.
Cause Areas
WhenIt's flexible! We'll work with your schedule.
Where201 Trail RdHershey, PA 17033
If you have a Church group, Civic club, or even an office group that wants to give back their time to a local non-profit program, then we are the Farm for you.
Hope Springs Farm is a non-profit day program serving local adults who have Intellectual Developmental Dissabilities and Autism. During their day here they work ofn the flower and vegatable gardens, care for their animals and take care of the grounds. On this 17 acre Farm that's a lot of work, so we need your help to keep things looking great.
Get your group together, or just yourself, and pick a weekday or weekend date to come out and pitch in for this wonderful program that is changing the lives of so many local adults and their families.
- Gardening
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- Farming
Good Match For
Kids Teens People 55+ Group
Requirements & Commitment
- Just a few hours will make a huge impact!
- Be ready to get dirty and have some fun!


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Casino hostess Helena Wong isn't having much luck.
On Friday, a federal judge slapped the VIP hostess at the brand new Horseshoe Casino in Baltimore with a preliminary injunction barring her from contacting a list of clients she collected at her last job, at the Maryland Live Casino in Hanover.
The ruling comes after Maryland Live, located just 12 miles away from Horseshoe, accused Wong in a lawsuit of stealing a proprietary list of more than 1,000 dice-tossing, lever-pulling, big-spending high-rollers -- an elite group of gamblers whose business is worth "hundreds of millions of dollars,'' according to a Maryland Live Senior Vice President of Marketing Mario Maesano, who testified in court Friday.
The casino sued Wong last week after a Maryland Live client, identified in court papers only as Customer A, forwarded a pair of emails he received from Wong on Aug. 20 and 21. The first invited him to tour Horseshoe, and offered "a night or two'' of play. The second asked the roughly 20 recipients of the email "PLEASE DO NOT repeat or show this email to any of MD Live's personnel. This is a confidential email between us.''
Maryland Live filed a suit against Wong on Aug. 22 accusing her of misappropriating "sensitive, confidential and proprietary information'' in the form of "a list containing the names and contact information of Maryland Live's most valuable customers.'' The suit underscores an atmosphere of fierce competition in Maryland, which is poised to become a gambling hotspot. Maryland is now host to five full-service casinos, and is expecting a sixth in 2016.
As a VIP hostess at Maryland Live, Wong's job was to keep those customers happy. But Customer A, who testified in court Friday and introduced himself as Philip DePalo, was disturbed to receive Wong's email advertising services at Horseshoe.
"I'm in the business world and it's just unprofessional,'' DePalo said. "You go out and do your own research, you don't take it from someone.''
That didn't stop him from taking Wong up on her offer to attend Horseshoe's soft launch.
"I'm not an idiot,'' DePalo said.
But Wong, who took the stand, maintained she did nothing wrong. Wong said she declined to sign a non-compete contract presented to her months into her employment, prompting her to resign from Maryland Live. The 20 people she emailed, Wong said, were clients she met personally, and did not come from the client list database. Though Wong did have access to the list, she was not permitted to print it out.
Wong said she did keep a notebook full of names and phone numbers -- a practice, she said, that is commonplace in the gambling business. Wong added that when she started her job at Maryland Live, she contacted clients she met at her previous job at Revel Casino in Atlantic City.
"I'm absolutely not a thief,'' Wong said. "I stole nothing.''
Still, U.S. District Judge Marvin Garbis sided with the casino, and barred Wong from further contact with the 20 customers she'd reached out to until the case is resolved.
"It seems to me your client has gathered through her work at Maryland Live confidential information that she shouldn't use until we sort (the case) out,'' Garbis told Wong's attorney, Robert Shaffer. Garvis added, however, that if those clients contact Wong, she is free to respond.


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Sunday 22 March 1942
It was Sunday, under the sign of Aries. The US president was Franklin D. Roosevelt (Democratic).
Famous people born on this day include Jon Arthur English and Jorge Ben Jor.
Reap the Wild Wind, directed by Cecil B. De Mille, was one of the most viewed movies released in 1942
while The Moon Is Down by John Steinbeck was one of the best selling books.
But much more happened that day: find out below..
You can also have a look at the whole 1942 or at March 22 across the years.
Old Newspapers
Have a look at the old newspapers from 22 March 1942 and get them!
TV Series
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Which were the most popular movies released in the last months ?
Find out your future
Get a FREE Numerology report based on the digits of 22 March 1942!
Wish him/her..
Historical Events
Which were the important events of 22 March 1942 ?
- Blessed Genta of Maaseik
- The fourth day of Quinquatria in ancient Rome, held in honor of Minerva.
- World Water Day.
- Easter Sunday - 1818, 2285. In the Gregorian Calendar 22 March is the earliest date on which Easter Sunday can fall (25th April is the latest).
- Saint Octavian
- Saint Lea of Rome
- Saint Reinhilde of Ghent
Famous Birthdays:
- Jon Arthur English: Composer.
- Jorge Ben Jor: Brazilian musician.
- Alain Gottvallès: French swimmer, he won a gold medal at the 1962 European championship, in the 100m (freestyle).
- Jack Guittet: .
- Bernd Herzsprung: German actor.
- Jorge Jor: Brazilian singer-songwriter
- Dick Pound: Canadian amateur sports executive
- World War II: In the Mediterranean Sea, the Royal Navy confronts Italy's Regia Marina in the Second Battle of Sirte.
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Genealogy: find out your family heritage
Which were the most popular books released in the last weeks ?