Leonard Lester (1870–1952) was an artist, writer, and public speaker.

Background

Leonard was born in Penrith, Cumberland, England on February 4, 1870 to Edward Lester and Mary Hannah Ashby. He died on June 26, 1952 in San Diego, California.

In England, he attended the Akworth and Wigton Quaker schools. At the age of thirteen he became interested in writing. In 1889, at age nineteen, he emigrated to Canada with his family. A few years later, they moved south to the United States briefly living in  Galena, Kansas before settling in Pasadena, California. Leonard established his studio in Pasadena. He also kept studios in Redlands, Santa Barbara, and Los Angeles.

In 1901 he returned to England where he set up a studio in a castle. He got sick and became unconscious (he didn't know for how long) and was feeble with asthma after that incident. The following year Leonard went to Germany, then hitch-hiked and walked to France and Italy with a walking stick he'd fashioned from an apricot tree.

Career

Leonard created drawings for the Chicago World's fair in 1893, and in 1894 Harper Brothers magazine paid him $75 for photo-like drawings of Native American baskets. While in Chicago, he met the leader of the Theosophical Society and became a member.

After studying art for two years (1894-96) at the Art Institute of Chicago, the Art Students' League in New York City, and the Pennsylvania Academy of Fine Arts, he returned to California.

From 1906 to 1916, Leonard went to Cuba where he taught at a Theosophical school directed by his sister, Amy Lester Reineman. He visited Pinar del Rio, Las Quatitas and Santiago. The schools closed during the war, so Leonard came back to the United States.

In the 1920s he lived and worked at Madam Tingley's Theosophical School, Roja Yoga College, at Pt. Loma, Califonria. Following the 1929 stock market crash, many of the older Lomaland residents who could support themselves were requested to leave to help ease the bad financial situation.

In 1930 he moved to Alpine, California and, on January 4, 1931, he married Marian Plummer and artist and former teacher at the Theosophical school. For awhile they lived just off of Tavern Road. He and Marian had a studio at the Julian Eltenge Ranch.

Compared with other San Diego County artists he was relatively unknown because his poor health prevented him from entering many exhibitions. Nevertheless, he was respected by the art community and his paintings won awards in the United States and abroad. In April of 1937, Leonard exhibited a group of his paintings and pastel drawings at Studio 6 the House of Hospitality, Balboa Park, San Diego, CA.

Leonard lived in the San Diego area at intervals totaling 35 years. He didn't consider himself a great artist. He was a modest man who shunned publicity. He attributed most of his success to his artwork being nature studies. He continued painting up until a year before his death. Leonard died at the age of 82, at 3:33 a.m. on June 26th, the same time and date as his mother. She died in 1906. Fellow artists recalled him as a quiet, gentle man, who looked like a scholar and painted like a poet.

According to Leonard's widow, Marian Plummer Lester (1893-1991), Leonard was also a skilled writer and speaker. Marion willed most of Leonard's artwork, still in her possession, to the University of California at La Jolla. Her collection of photographs and documents relating to the Plummer family, containing some photographs of Leonard, were donated to the San Diego Historical Society. Their web site is at https://www.sandiegohistory.org/findaid/ac066.htm

His style

At Point Loma Art School, Leonard was part of a movement referred to as Symbolist art.

Interest in religious mysticism in the nineteenth century more-or-less paralleled the so-called Romantic Movement in art. There was a shift in consciousness that caused artists and writers to distrust the growing materialism of their times, to strike out against the Age of Reason, and to question the ability of reason to govern all things. Artists turned toward their inner experience and tried to create an art that could embody their dreams and emotions in pictorial forms. Visionary artists such as William Blake and certain of the Pre-Raphaelites and their followers, particularly Edward Burne-Jones, paved the way for the Symbolist Art Movement that flourished at the end of the century. Symbolist art, by using rhythms, colors, and symbols, created visual images that conveyed ideas, emotions and moods far above the obvious level of what was actually being depicted. It was an art that appealed to those who wished to remove themselves from the materialism and boredom of everyday life, and seek a higher level of consciousness.

Leonard's drawings in pencil and crayon are particularly noteworthy for their delicacy of touch and sensitivity to detail. His work reveals an artist who was very close to nature. His scenes have a quiet serene quality sometimes described as mystic or ethereal. In fact, his works have been described as among the most ethereal produced by Lomaland painters. Especially superb are his atmospheric effects which have a beauty and soothing calmness that makes the onlooker feel at peace. Columnist Marg Loring with the San Diego Art Guild described him as a painter of the 'quiet landscape'. She went on to say:

He portrays nature's moods, penetrating beyond mere physical aspects to express poetic and spiritual meanings. Believing that the painter's work is to perceive as well as to present, he studies nature's manifestations deeply and imparts with his brushes emotion as well as form.

His philosophy

Leonard was an accomplished writer and his philosophy on art was expressed in a number of articles in a Theosophy publication called "The Theosophical Path."

Leonard encouraged his readers to seek an escape from what he termed "external realism" by looking for a deeper knowledge or Reality. He wrote the following on page 74 of The Theosophical Path11:

"Where there is no vision, the people perish;" –and this is also true of Art. To be vitally creative, its vision must be open to the higher planes of Reality. The extreme reaction from so-called Realism in the art tendencies today, is, for the most part, but the substitution of other forms of externalism, equally limited in their appeal to sensation.

Leonard wrote the following:

Seeking to gain advantage over and excel others, or to excel in any pursuit for the sake of personal profit or advantage is not a high object at all. To suffer some disadvantage, some physical handicap may then become a blessing. Less preoccupation over the personal self, over efforts to excel or shine to advantage, to gain respect or admiration from others; and more resignation to the law, sympathy for others, letting trifling ambitions alone, treating things 'large and bye'. The gradual substitution of this state for the other is a step in advance on the pathway of ordinary daily life.

Part of Leonard's philosophy is revealed by the poem "The Salutation of the Dawn" by the Hindu poet Kalidasa, who lived sometime between the 3rd and 6th century A.D. and referred to as the "Shakespeare of India." Leonard made a drawing with the same title. The poem reads:

Listen to the exhortation of the dawn!

Look to this day, for it is life,

The very life of life!

In its brief course lie all the verities

And all the realities of your existence;

The bliss of growth; the glory of action;

The splendor of beauty.

For yesterday is but a dream,

And tomorrow is only a vision.

But today well-lived makes every yesterday

A dream of happiness,

And every tomorrow a vision of hope.

Look well, therefore, to this day.

Such is the salutation of the dawn.

Additional information on Marian Plummer Lester is available in "Artists in California, 1786-1940," by Edan Hughes (1989), and at the following website:

http://www.askart.com/askart/l/marian_plummer_lester/marian_plummer_lester.aspx.

References

1 Anonymous, 27 June 1952, "Leonard Lester, 82 Famous Artist, Dies," San Diego Evening Tribune.

2 Bruce Kamerling, 1991, 100 Years of art in San Diego, San Diego Historical Society, 108 p.

3 Bruce Kamerling, Fall 1980, Theosophy and Symbolist Art: The Point Loma Art School: The Journal of San Diego History, Vol. 25, No. 4, pp. 231-255.

4 E.M. Hughes, 1989, Artists in California, 1786-1940, 637 p.

5 Bruce Kamerling, Fall 1980, Theosophy and Symbolist Art: The Point Loma Art School: The Journal of San Diego History, Vol. 25, No. 4, pp 231-255.

6 Naomi Baker, 12 Sep 1954, "Alpine Gallery plans exhibition in memory of Grossmont Painter," San Diego Evening Tribune.

7 Ibid

8 Bruce Kamerling, Fall 1980, Theosophy and Symbolist Art: The Point Loma Art School; The Journal of San Diego History, Vol. 25, No. 4, pp. 231-232; see also, Edward Lucie-Smith, 1972, Symbolist Art, New York: Praeger Publishers.

9 Bruce Kamerling, Fall 1980, Theosophy and Symbolist Art: The Point Loma Art School: The Journal of San Diego History, Vol. 25, No. 4, pp. 231-232.

10 Conversation with Marian Lester, around 1960.

11 Leonard Lester, 1918, Thoughts on current art: The Theosophical path, Vol. 14, edited by Katherine Tingley, Published by the New Century Corporation, Point Loma, Calif., pp. 74-78.

12 Conversation with Marian Lester around 1960.

1870 births
1952 deaths

Leonard Lester


Paulo Flores (born 1972) is a musician from Angola.

Flores was born in Luanda and spent some of his childhood in Lisbon. His music is mostly written in Portuguese though some is in the Kimbundu language.  His music is often political dealing with the hardships of Angolan life, the war, and corruption. His Angolan style of music is known as Semba. Some of his music was featured in the French film La Grande Ourse. In April 2007 he performed at the first Trienale de Luanda and on 4 July 2008 Paulo Flores performed at a concert at Coqueiros stadium with about 25.000 people. In late July/early August 2009 he performed at the opening Luanda International Jazz Festival.

Paulo Flores is the peace ambassador of Luanda, so his tickets cannot exceed a limit of $5 per person in Luanda.

Beginning on 28 February 2011 the airline TAP Portugal began airing its "TAP With Arms Wide Open" (TAP de Braços Abertos) campaign, featuring its new slogan. Three singers, Flores, the Brazilian singer Roberta de Sá, and the Portuguese singer Mariza starred in a music video with the song "Arms Wide Open."

Personal
Paulo Flores has four sons: Joshua Teixeira Flores, Fabio Flores , Kiari Luã, Enzo Kimi and one daughter: Kesiah Carmen

Discography
 Kapuete Kamundanda, 1988
 Sassasa, 1990
 Thunda Mu N'jilla, 1992
 Brincadeira Tem Hora, 1993
 Inocenti, 1995
 Canta Meu Semba, 1996
 Perto do Fim, 1998
 Recompasso, 1999
 Xé Povo, 2003
 The Best, 2003
 Quintal do Semba, 2003
 Vivo, 2005
 Ex-Combatentes, 2009
 Ex-Combatentes Redux, 2012
 O País Que Nasceu Meu Pai, 2013

References

1972 births
Living people
Angolan expatriates in Portugal
Angolan folk singers
Singers from Lisbon
People from Luanda
Angolan songwriters
21st-century Angolan male singers
20th-century Angolan male singers

Paulo Flores


Thelymitra odora is a rare species of orchid in the family Orchidaceae and is endemic to a small area of South Australia. It has a single erect, channelled, linear leaf and up to four deep blue flowers. It is similar to T. pauciflora but is distinguished from that species by its slaty grey flower buds and a different lobe on top of the anther.

Description
Thelymitra odora is a tuberous, perennial herb with a single erect, non-fleshy, channelled, linear leaf  long and about  wide with a purplish base. Up to four deep blue flowers  wide are borne on a flowering stem  tall. The flower buds are a slaty grey colour. The sepals and petals are  long and  wide. The column is white or pale blue,  long and  wide. The lobe on the top of the anther is tube-shaped and dark coloured with a yellow, slightly notched tip. The side lobes curve sharply upwards and have mop-like tufts of white hairs on their ends. The flowers open on warm, humid days. Flowering occurs between late October and early-November.

Taxonomy and naming
Thelymitra odora was first formally described in 2010 by Robert Bates from a specimen he collected near Lobethal in 2007. The description was published in the Journal of the Adelaide Botanic Garden. The specific epithet (odora) is a Latin word meaning "having a smell" or "fragrant", referring to fact that this is one of the few thelymitra to have a fragrance.

Distribution and habitat
This thelymitra is only known from the southern Mount Lofty Ranges where it grows in seepage areas and on the edges of firebreaks.

References

odora
Endemic orchids of Australia
Orchids of South Australia
Plants described in 2010

Thelymitra odora


Ridgely is a town in Caroline County, Maryland, United States. The population was 1,639 at the 2010 census.

History
The town was established on May 13, 1867 by the Maryland and Baltimore Land Association. The land around present day Ridgely was purchased by the Maryland and Baltimore Land Association from Thomas Bell and the Reverend Greenbury W. Ridgely. The town was named after the Rev. Greenbury W. Ridgely.

A railroad boom in the 1860s on the Delmarva Peninsula was fueling land speculation. Civil engineer J.J. Sickler from Philadelphia was commissioned to design the town's layout. The Land Association began construction and built four buildings, including a railroad station, hotel, and two private residences during the first year. James K. Saulsbury constructed a combined store and residence, now known as the Ridgely House.

During the Land's Association's first year, it went bankrupt; Ridgely was left unfinished and sparsely populated. Most properties were sold at public auction, and Ridgely began to grow gradually as a result of its location on the railroad line now called the Maryland and Delaware.

Ridgely's economy flourished as a result of its local crop production, including strawberries, huckleberries, vegetables, eggs, and poultry.  Most crops were processed in Ridgely or sent to various locations on the railroad.  As the nation began to rely on highways instead of railroads for transportation and industry began to concentrate in larger urban areas, Ridgely's economy declined.

Ridgely became known as the "Strawberry Capital of the World" as a result of its prosperous agricultural business.  Every May, Ridgely hosts the Strawberry Festival to celebrate its past. A Ridgely Historical Society was created in 2005 for the same purpose.

Geography
Ridgely is located at  (38.944896, -75.883489).

According to the United States Census Bureau, the town has a total area of , all land.

Demographics

2010 census
As of the census of 2010, there were 1,639 people, 604 households, and 412 families residing in the town. The population density was . There were 667 housing units at an average density of . The racial makeup of the town was 77.1% White, 16.3% African American, 0.9% Native American, 0.2% Asian, 2.5% from other races, and 3.1% from two or more races. Hispanic or Latino of any race were 5.9% of the population.

There were 604 households, of which 44.7% had children under the age of 18 living with them, 46.9% were married couples living together, 16.1% had a female householder with no husband present, 5.3% had a male householder with no wife present, and 31.8% were non-families. 27.2% of all households were made up of individuals, and 9.8% had someone living alone who was 65 years of age or older. The average household size was 2.71 and the average family size was 3.26.

The median age in the town was 32 years. 30.9% of residents were under the age of 18; 6.9% were between the ages of 18 and 24; 30.4% were from 25 to 44; 22.9% were from 45 to 64; and 8.9% were 65 years of age or older. The gender makeup of the town was 47.0% male and 53.0% female.

2000 census
As of the census of 2000, there were 1,352 people, 513 households, and 349 families residing in the town. The population density was . There were 553 housing units at an average density of . The racial makeup of the town was 81.58% White, 15.61% African American, 0.22% Native American, 0.59% Asian, 0.96% from other races, and 1.04% from two or more races. Hispanic or Latino of any race were 3.18% of the population.

There were 513 households, out of which 39.6% had children under the age of 18 living with them, 49.5% were married couples living together, 15.0% had a female householder with no husband present, and 31.8% were non-families. 26.9% of all households were made up of individuals, and 10.7% had someone living alone who was 65 years of age or older. The average household size was 2.63 and the average family size was 3.21.

In the town, the age distribution of the population shows 30.4% under the age of 18, 8.1% from 18 to 24, 31.1% from 25 to 44, 19.6% from 45 to 64, and 10.8% who were 65 years of age or older. The median age was 33 years. For every 100 females, there were 89.6 males. For every 100 females age 18 and over, there were 87.1 males.

The median income for a household in the town was $35,750, and the median income for a family was $38,929. Males had a median income of $27,356 versus $19,844 for females. The per capita income for the town was $15,581. About 7.8% of families and 11.3% of the population were below the poverty line, including 12.4% of those under age 18 and 14.6% of those age 65 or over.

Arts and culture

Historic places
Oak Lawn was listed on the National Register of Historic Places in 1975. Marble Head was listed in 2002.

Points of interest
 Adkins Arboretum
 Tuckahoe State Park

Strawberry Festival
Ridgelyites boast of the widest main street of any town in Maryland; it was once considered "The Strawberry Capital" and still holds a Strawberry Festival each May.

Government

Town Officials and Staff
Commissioners: Anthony Casey, John Hurley, and Leonard John Buckle
Clerk-Treasurer:  Stephanie Berkey
Assistant Clerk:  Melissa Leonard
Zoning Administrator:  Melissa Leonard
Director of Public Works:  David Crist
Chief of Police: Jeff Eckrich

Infrastructure

Transportation
Transportation to and from Ridgely is primarily by road, and three state highways serve the town. These include Maryland Route 312, which is signed north-south but has an alignment closer to north-northeast by south-southwest, and Maryland Route 480, which is signed east-west but has an alignment closer to east-northeast by west-southwest. Maryland Route 776 also traverses Ridgely, serving as a local connector.

The Ridgely Airpark serves the area also.

Postal service
The main ZIP code for Ridgely is 21660, but is assigned eight other "216" zip codes due to its status as a home to fulfillment companies that receive and ship mail-in offers.

Notable people
 Home Run Baker, Baseball Hall of Famer.
 Buck Herzog, a former major league baseball player with the New York Giants, Boston Braves, Cincinnati Reds, and Chicago Cubs from 1908 to 1920.
 Jimmie Foxx, Baseball Hall of Famer.
 Thomas Alexander Smith, congressman
 Frank E. Williams (1865–1920), state senator, Presbyterian minister and editor and publisher of The Cecil Whig

References

External links

Towns in Maryland
Towns in Caroline County, Maryland

Ridgely, Maryland


Garden Battery is an artillery battery in Sliema, Malta. It was built by the British between 1889 and 1894. The battery is located at Tigné Point, between Cambridge Battery and Fort Tigné.

History
The battery was first proposed in 1885, and was built between April 1889 and December 1894 at a cost of £7806, as part of a new series of fortifications meant to house breech-loading (BL) guns.

Garden Battery had a ditch connecting Fort Tigné with Cambridge Battery. It was armed with two 6 inch and one 9.2 inch BL guns on disappearing mounts. The 6 inch guns were located on the ends of the battery while the 9.2 inch gun was in the centre.

The battery's armaments were removed in 1907. From 1937, just before World War II, an anti-aircraft unit was stationed at the battery, and four QF 3-inch 20 cwt anti-aircraft guns were installed. These were removed in 1943, and the battery was decommissioned and handed to civil authorities some time later.

Eventually, the battery's ditch was filled in and other buildings were built over the glacis and gun emplacements. The battery was believed to have been destroyed.

Present day

In the late 1990s, the green light was given to excavate and dismantle the area of battery to build a tunnel as part of the Tigné Point development project. However, in 2000-2001 The Malta Environment and Planning Authority (MEPA) appealed for the preservation of the battery. The developers, MIDI plc, changed the original plans and agreed to preserve and restore the battery.

The area was eventually excavated and the battery was rediscovered in 2005, so the gun emplacements can be seen once again. When development of the area is complete, the battery is to form part of a heritage route.

Further reading
Planned restoration

References

Sliema
British fortifications in Malta
Batteries in Malta
Buildings and structures completed in 1894
World War II sites in Malta
19th-century fortifications

Garden Battery


Paul Baum (22 September 1859 – 15 May 1932) was a German painter. At first he was an Impressionist painter, but later developed to be a Post-Impressionist. He was one of the main post-impressionist German artists. He worked as a teacher at different art schools. Today, he is mostly known for his landscape paintings. Most of the landscapes were from Flanders or the Netherlands.

1859 births
1932 deaths
German painters

Paul Baum


The Disenchanted Forest is a 1999 documentary film that follows endangered orphan orangutans on the island of Borneo as they are rehabilitated and returned to their rainforest home. It centres on the three main Borneo Orangutan Survival Foundation (BOS) projects - Wanariset, Nyaru Menteng and Mawas. It is narrated by Brooke Shields.

Synopsis
In the Bornean rainforest Dr. Anne Russon, primate psychologist, broaches new territory in the attempt to understand orangutan intelligence and psychology. Orangutans, like humans, have "culture." They do not rely solely on animal instinct for survival. Instead a rich and complex society of elders and peers provides the young with critical knowledge that is necessary for their survival in the rainforest. The destruction of the orangutan's habitat to make way for palm oil plantations and the illegal pet-trade threaten the lives of these great apes. When they are taken out of their habitat or when it is destroyed, their culture is disabled.

Dr. Willie Smits, director of the Wanariset Orangutan Reintroduction Project, and his team rescue hundreds of orangutans. Dr. Smits is committed to preserving orangutan habitat and returning captives back into rainforest homes.

Dr Carl Van Schaik, primatologist, discusses the rapidly diminishing opportunity to learn about human evolution as the number of wild orangutans dwindles precariously. He believes questions such as, 'where does our culture come from?' can be answered through the study of orangutan culture and in this context discusses the incredibly fragile culture of the solitary orangutan.

At Wanariset the orphans learn the skills they need to survive in the wild. When they are old and skilled enough they are released into protected rainforest. Without mothers and more knowledgeable elders, strange 'Lord of the Flies' communities evolve in the forest. Eventually the orangutans learn to sustain themselves without human aid.

With the impending extinction of orangutans, opportunities to observe and interact [with] them in their natural setting are reduced.

"Poignant without sentimentality...making us think hard about the meanings and values of culture and nature." Prof. Lorraine Daston, Director, Max Planck Institute for the History of Science

Awards
Commendation, The Genesis Awards, 2002.
Finalist, Marion Zentz Best Newcomer Award, Jackson Hole Film Festival, 2001.
Merit Award for Educational Value & Merit Award for Production Value, International Wildlife Film Festival, Missoula, Montana, 2002.
2nd Place EarthVision Environmental Film & Video Competition, 2001.
Merit Award, Columbus, Ohio, 2002.
Best Cinematography, Festival du Cinéma de Bruxelles, 2004.

Festivals
 International Primatogical Society Film Festival
 Merit Awards, International Wildlife Film Festival, Missoula
 Finalist, Best Newcomer Award, Jackson Hole Wildlife Film Festival
 Honorable Mention, Columbus International Film & Video Festival
 Commendation, The Genesis Awards
 Best Cinematography, Brussels Film Festival
 2nd Place, EarthVision Environmental Film and Video Competition
 Mill Valley International Film Festival
 Rocky Mountain Women's Film Festival
 Ekotopfilm, Slovakia
 Hot Springs Documentary Film Festival
 Cork International Film Festival
 Tahoe International Film Festival
 Hazel Wolf Environmental Film Festival
 Breckenridge International Film Festival
 San Diego Asian American Film Festival
 River Run Film Festival
 Temecula Valley Film Festival
 Gaia Film Festival, San Diego
 Sedona Film Festival
 Tangle River Environmental Film Festival
 Artivist Film Festival
 EcoVision Festival, Palermo
 Reel 2 Real International Film Festival for Youth

See also
 Orangutan Island (NHNZ)
 Orangutan Diary (BBC)
 The Burning Season

References

External links

1999 films
American documentary films
Documentary films about nature
Nature conservation in Indonesia
Environmental issues in Indonesia
Orangutan conservation
1999 documentary films
Borneo
Films about apes
2000s English-language films
1990s English-language films
1990s American films
2000s American films

The Disenchanted Forest


The National Centre for Research and Development (NCRD, Polish: Narodowe Centrum Badań i Rozwoju) is an implementing agency in Poland, as it is understood according to the Act on Public Finance of 27 August 2009, established to carry out tasks within the state policies on science, innovation, as well as science and technology.

Organisation
The Centre's mission is to support Polish companies and science units in developing their abilities to create and make use of solutions based on research results. The above is done for the benefit of the society and to provide a developmental impulse to the Polish economy.

Summary
The chief aim of the Centre is to support the creation of innovative solutions and technologies that increase the competitiveness and innovation of the Polish economy. The NCRD is to strengthen the collaboration between business and academia, leading both to a greater engagement of entrepreneurs in research funding, as well as to a more effective commercialization of this research. While carrying out those tasks, the Centre ensures that public money spent on R&D activities delivers best possible benefits to the Polish economy.

Thanks to its extensive program offer, the NCRD is able to provide financial support for a project on every level of technological readiness – from preliminary industrial research up to the development of an innovative product, service or technology. NCRD programs also include those that fund international intellectual property protection or the foreign expansion of newly established innovative companies.

The NCRD also attaches great importance to supporting young scientists. In agreement with the Ministry of National Defence, the Ministry of Interior and the Internal Security Agency, the NCRD also undertakes activities related to research on Poland's defense and security. The aim of the programs carried out is not only to increase the potential of Polish scientific and industrial entities, but also to strive for technological independence through the creation of Polish know-how in terms of defence, security and technology.

In carrying out its tasks, the Centre also collaborates with other subjects as well as creates sectoral programs as a direct response to the needs of entrepreneurs from selected areas of the Polish economy. The Centre also attempts to engage VC funds in financing R&D and performs tasks commissioned by the Minister of Science and Higher Education. In 2007, ERANET and EUREKA projects as well as he supervision of commissioned research programs has been passed on to the NCRD.

International co-operation is another significant area of the NCRD's activities. Since 2011, the NCRD has also been an intermediate body for priorities within the area of supporting higher education and the R&D sector. The budget devoted to R&D has systematically been on the rise and in 2018 amounts to PLN 6.8B.

The NCRD is funded from the State Treasury and EU funds.

Directors of the NCRD

 Bogusław Smólski, 2 July 2007 – 31 December 2010.
 Krzysztof Jan Kurzydłowski, 1 January 2011 – 20 January 2016.
 Maciej Chorowski, 21 January 2016 – 29 July 2019.
Wojciech Kamieniecki, since 30 July 2019.

Legal status
Since 1 July 2007, the NCRD has been operating upon the Act on the National Centre for Research and Development of 30 April 2010 (Journal of Laws of 2010, no. 96, item 616).

See also
The National Science Centre (Poland)
The Polish National Agency for Academic Exchange
Polish Development Fund

References

External links
 NCRD website

2007 establishments in Poland
Government agencies established in 2007
Government agencies of Poland
Organisations based in Warsaw
Science and technology in Poland
Research and development organizations


USS Turkey (AMS-56/YMS-444) was a YMS-135 subclass  of s built for the United States Navy during World War II.

History
Turkey was a coastal minesweeper of the United States Navy laid down as YMS-444 on 16 November 1943 at Kingston, New York, by C. Hiltebrant Dry Dock Co., Inc.; launched on 20 July 1944; and commissioned on 26 December 1944.

YMS-444 completed fitting out at New York and, in January 1945, made a shakedown voyage to Little Creek, Virginia. On 6 February, she arrived at Norfolk, Virginia, and remained there while members of her crew attended Fire Fighting School. Then, late in February, she returned to New York. In March, the auxiliary motor minesweeper began operating out of Tompkinsville, New York.

On 20 July, she departed New York and, after a stop at Miami, Florida, steamed through the Panama Canal to the California coast, arriving at Los Angeles, California on 8 September. On the 17th, she set her course westward for Pearl Harbor and the Marshalls. Although the war was over when YMS-444 arrived in the Pacific Ocean, there were still enormous tasks left for the minesweepers. YMS-444 pursued her duties operating out of Saipan and Eniwetok in October 1945. In November, she moved on to the Ryūkyūs and Japan, sweeping mines in the Kyūshū-Korea and Honshū areas, and remained in Japanese waters into the new year.

On 24 February 1946, she departed Kure and set her course, via the Marianas and Marshalls, for Pearl Harbor and California. After pausing at San Pedro, California, in April, she got underway for the Panama Canal Zone on the 27th. It was 6 June before she departed the Canal Zone and set her course, via Charleston, for New York City. She was decommissioned on 30 August 1946 and remained in the 3rd Naval District as a U.S. Naval Reserve training ship.

For the next six years, YMS-444 operated out of New York ports and on the Great Lakes. During part of this period she was docked at the USNR Station Fall River.On 1 September 1947, she was named USS Turkey and redesignated a motor minesweeper, AMS-56. She was placed in commission, in reserve, in April 1950, and she returned to active status on 21 November.

Turkey returned to the Atlantic Ocean in March 1952 and was assigned to serve with the Mine Forces, Atlantic Fleet, in August. During the following four years, she operated out of U.S. East Coast ports with occasional voyages to the Caribbean. On 7 February 1955, she was reclassified an old coastal minesweeper MSC(O)-56.

She arrived at Charleston on 9 November 1956 and was decommissioned there on 23 November 1956. Then, on 1 May 1957, she departed Charleston, steamed via New York, Halifax, and Montreal, and reported to the Commander, 4th Naval District, Toledo, Ohio, on 27 May 1957.

In 1960, Turkey was transferred to the 1st Naval District to continue as a Reserve training ship. As such, she operated out of Fall River, Massachusetts, until September 1968 when she was replaced as a training ship by . Her name was struck from the Naval Vessel Register as of October 1968, and she was sold in August 1969.

Her ultimate fate is unknown.

References

External links
 Photo gallery at navsource.org

YMS-1-class minesweepers of the United States Navy
Ships built in Kingston, New York
1944 ships
World War II minesweepers of the United States
Training ships of the United States Navy
Cold War minesweepers of the United States

USS Turkey (AMS-56)


Carl Maria von Weber wrote his Clarinet Concerto No. 2 in E major, Op. 74, J. 118 in 1811, and premiered on December 25, 1813.  It is composed of three movements:

 Allegro
 Romanze: Andante con moto
 Alla Polacca

A typical performance lasts 23 minutes. The 1st movement typically lasts for approximately 8:30 minutes, the 2nd movement for approximately 7 minutes and the 3rd movement for between 6:30 and 7 minutes depending on the tempo.

Like all of Weber's clarinet works except for the Grand Duo Concertant, it is dedicated to Heinrich Baermann, who was soloist at the premiere

Instrumentation
The concerto is scored for a solo clarinet and an orchestra consisting of 2 flutes, 2 oboes, 2 bassoons, 2 horns, 2 trumpets, timpani and strings.

First movement
The 1st movement, in E-flat major, begins with an exposition of the main theme by the orchestra. The clarinet soloist enters with a high F (E-flat in terms of concert pitch) followed by a 3 octave jump before repeating the opening theme. This 3 octave jump, along with other large leaps, is stylistic of this movement. The majority of the first half of the movement sits very comfortably in E-flat major before modulating to D-flat major where much of the previous clarinet melodic material is repeated. The movement finishes with a rather virtuosic clarinet part extending to a written A-flat, which is near the limits of clarinet range.

Second movement
The 2nd movement, by stark contrast in G minor, is reflective of Weber's many operas. With its operatic phrasing, this movement exhibits the rich tone of the clarinet. The clarinet melody has very expressive dynamics, often going from fortissimo to piano in the space of one bar. After the initial statement of the melody, the work moves into an orchestral section in G major which acts as a sort of extended dominant to C minor when the clarinet enters again. It is in the C minor section when we begin to see short note values which adds to a very operatic style. Once again the orchestra goes into a section in G major, which exactly imitates the previous section, also in G major. Suddenly the clarinet enters in E-flat major with a virtuosic scale followed by numerous runs. In this E-flat major section there is some very large leaps, one being 3 octaves and a tone at bar 56. The work shifts back to G minor with a recitative, once again in the operatic style. This is taken very freely with the clarinet and orchestra taking turns in playing. After the recitative, the original melody is repeated and followed by a rather short cadenza before the work finishes with a long concert G from the clarinet.

Third movement

Considered staple clarinet repertoire, the 3rd movement in E-flat major is an exhibition of technique and style on the part of the soloist. The polonaise is a slow ballroom dance, yet some soloists choose to take the movement at a far faster speed than what is traditional or intended for the true polonaise dance; nonetheless, many soloists dedicated to the text choose to take the movement at the danceable speed of a traditional polonaise. Once again, Weber regularly uses rather large leaps to embellish the clarinet melody which is usually made up of semiquavers (16th notes). The melody is often dotted and syncopated to give a somewhat cheeky feel to the work, with these sections being marked by a "scherzando," implying playfulness. Measures 19-20 are regarded as one of the hardest fragments for clarinet repertoire because of the clarinet playing without orchestra with very fast leaps, all slurred. The work sits very comfortably in E-flat major until Weber uses a series of diminished chords to send the work into C major. However, this is short lived as the work comes back to E-flat with the original melody being stated again first in E major, and then the tonic. The work finishes with one of the most glittery, virtuosic passages in the clarinet repertoire marked "brillante", made up of largely arpeggios and scalic runs in sextuplet semiquavers.

References

External links

Weber 02
Compositions by Carl Maria von Weber
1811 compositions

Clarinet Concerto No. 2 (Weber)


In association football, the referee is the person responsible for interpreting and enforcing the Laws of the Game during a match.  The referee is the final decision-making authority on all facts connected with play, and is the match official with the authority to start and stop play and impose disciplinary action against players and coaches during a match.

At most levels of play, the referee is assisted by two assistant referees (formerly known as linesmen), who advise the referee on whether the ball leaves the playing area and any infringements of the Laws of the Game occurring outside of the view of the referee. The final decision on any decision of fact rests with the referee, who has authority to overrule an assistant referee. At higher levels of play, the referee may also be assisted by a fourth official who supervises the teams' technical areas and assists the referee with administrative tasks, and, at the very highest levels, additional assistant referees and/or video assistant referees. Referees and other game officials are licensed and trained by its member national organisations.

In certain countries such as the Russian Federation, they are called as a "judge" in the court of law.

Powers and duties

The referee's powers and duties are described by Law 5 of the Laws of the Game. The referee:

Overall
enforces the Laws of the Game
controls the match in cooperation with the other match officials
acts as timekeeper, keeps a record of the match and provides the appropriate authorities with a match report, including information on disciplinary action and any other incidents that occurred before, during or after the match
supervises and/or indicates the restart of play

Advantage
allows play to continue when an offence occurs and the non-offending team will benefit from the advantage, and penalises the offence if the anticipated advantage does not ensue at that time or within a few seconds

Disciplinary action
punishes the more serious offence, in terms of sanction, restart, physical severity and tactical impact, when more than one offence occurs at the same time
takes disciplinary action against players guilty of cautionable and sending-off offences
has the authority to take disciplinary action from entering the field of play for the pre-match inspection until leaving the field of play after the match ends (including kicks from the penalty mark). If, before entering the field of play at the start of the match, a player commits a sending-off offence, the referee has the authority to prevent the player taking part in the match (see Law 3.6); the referee will report any other misconduct
has the power to show yellow or red cards and, where competition rules permit, temporarily dismiss a player, from entering the field of play at the start of the match until after the match has ended, including during the half-time interval, extra time and kicks from the penalty mark
takes action against team officials who fail to act in a responsible manner and warns or shows a yellow card for a caution or a red card for a sending-off from the field of play and its immediate surrounds, including the technical area; if the offender cannot be identified, the senior coach present in the technical area will receive the sanction. A medical team official who commits a sending-off offence may remain if the team has no other medical person available, and act if a player needs medical attention
acts on the advice of other match officials regarding incidents that the referee has not seen

As well as other various duties and powers described fully in Law 5 of the Laws of the Game, pursuant to current updates.

Regulation
Referees and assistant referees are regulated at a national level. FIFA requires that each national organisation establish a referees committee composed of former officials that has authority over refereeing in that territory. FIFA also mandate that referees pass tests to show sufficient physical fitness and knowledge of the Laws of the Game, as well as an annual medical. Generally, referees are required to have greater experience to officiate higher level matches (see, for example, the multiple tiers of refereeing in England). The most elite officials, those who are permitted to officiate international games, are listed on the FIFA International Referees List.

Kit and equipment

Referees wear a kit distinguishing themselves from the players. Usually this comprises  a shirt of a different colour to the players of both teams.

In the early 20th century, referees wore a blazer rather than a shirt similar to that of the players. Traditionally that uniform was almost always all black, unless one of the teams was wearing a very dark shirt in which case the referee would wear another colour (usually red) to distinguish themself from both teams.

At the 1994 World Cup finals, new shirts were introduced that gave officials a choice of burgundy, yellow or white, and at the same time the creation of the Premier League in England saw referees wear green jerseys: both changes were motivated by television considerations. Since then, most referees have worn either yellow or black, but the colours and styles adopted by individual associations vary greatly. For international contests under the supervision of FIFA, Adidas uniforms are worn because Adidas is the current sponsor. FIFA allows referees to wear five colours: black, red, yellow, green and blue. Along with the jersey, referees are required to wear black shorts, black socks (with white stripes in some cases), and black shoes.  The badge, which displays the referee's license level and year of validity, is often affixed to the left chest pocket.

All referees carry a whistle, a watch, penalty cards, a data wallet with pen and paper, and a coin for determining which team has the choice of ends or kick-off. Most are encouraged to have more than one of each on them in case they drop a whistle or a pen runs out and so on. Often, referees use two watches so that they can use one to calculate time lost for stoppages for the purposes of added time. At the highest levels, referees wear a full duplex radio with customised headset to communicate between with their assistants, and assistant referees use electronic flags, which send a signal to the referee when a button is pushed. In matches with goal-line technology, referees will have on their person a device to receive the system's alerts.

Whistle
Referees use a whistle to help them control matches. The whistle is sometimes needed to stop, start or restart play but should not be used for all stoppages, starts or restarts. FIFA's Laws of the Game document gives guidance as to when the whistle should and should not be used. Overuse of the whistle is discouraged since, as stated in the Laws, "A whistle which is used too frequently unnecessarily will have less impact when it is needed." The whistle is an important tool for the referee along with verbal, body and eye communication.

Before the introduction of the whistle, referees indicated their decisions by waving a white handkerchief. The whistles that were first adopted by referees were made by Joseph Hudson at Mills Munitions in Birmingham, England. The Acme Whistle Company (based at Mills Munitions Factory) first began to mass-produce pea whistles in the 1870s for the Metropolitan Police Force. It is frequently stated the referee's whistle was first used in a game between Nottingham Forest and Sheffield Norfolk in 1878; however the last such fixture known to have taken place between the two clubs was in 1874. The Nottingham Forest account book of 1872 apparently recorded the purchase of an "umpire's whistle" and in 1928 an article by R M Ruck about his playing days in the early 1870s referred to the use of a whistle by umpires to indicate an infringement.

The whistle was not mentioned in the Laws of the Game until 1936 when an IFAB Decision was added as footnote (b) to Law 2, stating "A Referee's control over the players for misconduct or ungentlemanly behaviour commences from the time he enters the field of play, but his jurisdiction in connection with the Laws of the Game commences from the time he blows his whistle for the game to start."

In 2007, when IFAB greatly expanded the Laws of the Game, an Additional Instructions section became available, which is a full page of advice on how and when the whistle should be used as a communication and control mechanism by the referee.

History
Referees in football were first described by Richard Mulcaster in 1581.  In this description of "foteball" he advocates the use of a "judge over the parties".  In the modern era, referees are first advocated in English public school football games, notably Eton football in 1845.  A match report from Rochdale in 1842 shows their use in a football game between the Bodyguards Club and the Fearnought Club.

In the early years of the codified sport it was assumed that disputes could be adequately settled by discussion between gentlemen players who would never deliberately commit a foul.  However, as play became more competitive, the need for officials grew. Initially there existed two umpires, one per team, who could be appealed to with the referee (the game's timekeeper) being "referred" to if the umpires couldn't agree.

The promotion of referees to the dominant position they occupy today, and the reformation of umpires into the linesmen role, occurred as part of a major restructuring of the laws in 1891.

Positioning and responsibilities

The predominant system of positioning and division of responsibility used by football match officials throughout the world is known as the Diagonal system of control (DSC).

The referee has final decision-making authority on all matters. The referee is assisted by two assistant referees who advise the referee. An assistant referee's judgement is enforced only if the referee accepts that judgement, and the referee has the authority to unilaterally overrule an assistant referee. The referee is the only official empowered with starting and stopping play, and meting out disciplinary actions such as cautions or send-offs.

The two assistant referees are instructed by the referee to each patrol half of a single touchline on opposite sides of the field. For example, on a field running north–south, one assistant referee (AR) would run on the eastern touchline from the north goal line to the halfway line, while the other assistant referee would run on the western touchline from the south goal line to the halfway line. In general, the assistant referees' duties would be to indicate (using their flags) when an offside offence has occurred in their half, when a ball has left the pitch, and if a foul has been executed out of the view of the referee (typically in their quadrant of the field). Generally, the ARs will position themselves in line with either the second to last opponent or the ball – whichever is closer to the goal line – to better judge offside infractions. However, the assistant referee will have specific positioning with respect to corner kicks, penalty kicks, and throw-ins.

The referee patrols the length of the field to cover the ground not covered by their two assistants, generally running in a diagonal pattern from the southeast quadrant of the field towards the northwest quadrant; hence the term "diagonal system of control" (DSC). Note that this pattern is not a specific route but a general guideline that should be modified to the style of play, nature of the game, the location of play at a given time, etc. In some cases the referee may even exit the field if it aids in their decision-making ability. The main idea is that the referee and assistants using the DSC should be able to position themselves quickly and easily to observe the important aspects of play (offside, ball in or out of play, goal-scoring opportunities, challenges for the ball) from multiple angles with multiple sets of eyes.

Note that the description above refers to a left diagonal system of control, known as "running a left" or "standard diagonal". If, before the match, the centre referee on this field decides to run from southwest to northeast, then the assistants must position themselves accordingly and the result will be a right diagonal system of control, otherwise referred to as "running a right" or "reverse diagonal".

In many cases in England, referees use more of a 'curve' based on a line running from the edge of the  box, and when near the centre circle they then curve to a line level with the other  box line. This is similar to the diagonal system, but with the speed of modern football it is easier to keep up with play. This also helps the referee avoid being in a common "passing lane" through the centre circle itself.

In international matches the left-wing diagonal shown above has been universal since the 1960s. It is now predominant across the world. England until recently was an exception to this convention. Until 1974 referees in the Football League were required to run both diagonals during a match, most opting to run from right wing to right wing in the first half before switching to the left-wing diagonal for the second half. The chief reason for this alternation was to avoid linesmen wearing down the same part of the touchline during matches – this was important given the generally lower quality of pitches at the time. However switching diagonal was also justified in terms of allowing officials to patrol different areas of the field during games. From the 1974–75 season English referees were allowed to run the same diagonal throughout the same match. Most initially opted for the right-wing diagonal although over the years the left-wing diagonal became increasingly popular and the preferred choice of most referees by the early 2000s. From 2007–08 the left-wing diagonal has been mandatory in English professional football although some referees at lower levels still use the opposite approach.

Its implementation as a standard practice for referees is attributed to Sir Stanley Rous, former referee and President of FIFA from 1961 to 1974.

Other systems of control
While the Laws of the Game mandate a single referee with assistants as described above, other systems are used experimentally or explicitly by some non-FIFA-affiliated governing organizations.

Dual system (two referees)
The dual system, has two referees with no assistants. The system is used some matches played under the rules of the National Federation of State High School Associations (NFHS) in the United States, and in other youth or amateur matches. Both referees have equal authority, and the decision of one referee is binding on the other. Each referee is primarily responsible for a specific area of the field similar to those of the assistant referees in the diagonal system, except that the referees are allowed and encouraged to move away from the touch line into the field, particularly as play approaches the goal lines. Like the assistant referees in the diagonal system, each referee is responsible for patrolling one touch line and one goal line and determining possession for the restart if the ball goes out of play on either of those two boundaries.

Positioning in the dual system is similar to that used by officials in basketball: each referee is either termed the "lead" or the "trail", depending on the direction of the attack. If the attack is against the goal to the referee's right (when facing the field from their assigned touch line), then that referee is the lead, and the other is the trail. The lead is positioned ahead of the play, even with the second-to-last defender to the extent possible, while the trail is positioned behind the play. Both are responsible for calling fouls and misconduct and determining the restart when the ball goes out of play on one of their assigned boundary lines. Since the lead is in a better position to determine offside, the lead is responsible for calling offside, while the trail provides an extra monitor for fouls and misconduct while the lead's attention is focused on offside. When the attack changes direction, the trail becomes the lead and vice versa.

Double dual system (3 referees)
The double dual system uses three referees, all equipped with whistles, positioned much as in the traditional diagonal system of control mandated by IFAB.  Each referee has the same authority for decision making. It is authorized in the United States for college and high school matches although it is rarely used.

See also

List of FIFA international referees
Assistant referee (association football)
Fouls and misconduct (association football)
FIFA World Cup referees
FA Cup Final referees
Football refereeing in England

References

The Man in Black: History of the Football Referee, Gordon Thomson, Prion Books Ltd, 14 October 1998,

Laws of association football

Positions of authority
Sports officiating
Association football occupations

Referee (association football)


Cherry Island (, meanin Murdoch's Island) is the ainly island in Loch Ness, Hieland, Scotland, an is a ensaumple o a crannog. The island is aboot 140 m frae the shore near the soothren end o the loch. The island wis oreeginally 49 m by 51 m endlang, but is the nou smawer syne the level o the loch wis raised whan it becam pairt o the Caledonian Canaul. The heeze in the level o the loch caused a smawer naitural island near aboots Eilean Nan Con (forby kent in its Englifee'd form o "Dog Island"), tae be halely fluidit.

A castle stuid on the island upon the 15th century; this wis biggit o stane an aik wid an wis maist like yuised as a fortifee'd bield. It haes been suggestit that Eilean Muireach micht hae been a huntin ludge, wi Eilean Nan Con the hame for the huntin dugs.

References

Fremmit airtins

Islands o Hieland (cooncil aurie)
Scheduled Auncient Monuments in Scotland

Cherry Island (Loch Ness)


Buhe (Ge'ez: ቡሄ Buhē) is a feast day observed by the Ethiopian Orthodox Tewahedo Church and Eritrean Orthodox Tewahedo Church on 19 August (13 Nahase in the Ethiopian calendar). On this date, the Ethiopian Orthodox Church celebrates the Transfiguration of Jesus on Mount Tabor (Debre Tabor Ge'ez: ደብረ ታቦር).

Observance
Buhe celebrated by Ethiopian Orthodox and Eritrean Orthodox Churches on 19 August (13 Nehase in Ethiopian calendar) in commemoration of Transfiguration of Jesus on Mount Tabor (Debre Tabor in Ge'ez). Buhe is one of old age religious and cultural festival.

Observations include people of the neighborhood tie a bundle of sticks together to make a chibo, and set it on fire while singing songs.  The main song is called "Hoya Hoye" with one singer singing while the others follow in a rhythmic way. It involves young boys singing songs of praise outside of people's homes, in exchange for fresh bread called mulmul. The boys then bless the family of the home for the following year.

References

Ethiopian Orthodox Tewahedo Church
Christian festivals and holy days
August observances

Buhe


Sukeroku (助六由縁江戸桜)  is a play in the Kabuki repertoire, and one of the celebrated Kabuki Jūhachiban ("Eighteen Great Plays"). The play is known in English as The Flower of Edo.

The play is strongly associated with the Ichikawa Danjūrō family of actors.

Plot
Events take place in Yoshiwara, a pleasure district of present-day Tokyo. Agemaki is a courtesan who is frequented by Sukeroku (who turns out to be samurai Soga Gorō). Sukeroku is continually looking for fights. An old samurai called Ikyū arrives and tries to subtly persuade Agemaki away from Sukeroku. Sukeroku does not succeed in provoking Ikyū to draw his sword.
A saké-seller named Shimbei shows up, and Sukeroku picks a fight with him, but Shimbei reveals himself to be Soga Jyūrō (Sukeroku's elder brother) in disguise.
Sukeroku explains to his brother (and later his mother) that he tries to provoke people into drawing their sword. If the sword turns out to be Tomokirimaru (their fathers sword), the person who holds the sword is probably the killer of their father and revenge can be exacted.

Ikyū tries to convince the brothers to join him. To demonstrate his power he hacks a leg of an incense burner. Thus revealing that his sword is in fact Tomokirimaru and he is Iga Heinaizaemon, an enemy of the family, and their father's killer.
Quite often the play ends here, although there are versions where Sukeroku kills Ikyū.

History
The work is derived from The Tale of the Soga Brothers.

In popular culture
The play is still regularly performed.

The Ichikawa family secured its control over the play in 1832 using the title Sukeroku Yukari Edo Zakura. As the play is extremely popular, other families have developed their own versions, such as Sukeroku Kuruwa no Momoyogusa performed by the Onoe Kikugorô line of actors.

In Junichiro Tanizaki's novel, "Diary of a Mad Old-Man", Sukeroku is referred to five times at the beginning of Chapter I.

Soga Gorō/Sukeroku is one of the playable fighters in the 2001 Xbox's exclusive fighting game Kabuki Warriors, alongside other famous Kabuki characters (such as Sato Tadanobu from Yoshitsune Senbon Zakura, Kumedera Danjo from Kenuki, Taira no Kagekiyo from Kagekiyo, among others).

In Kageki Shojo!!, one of the most recurring characters in both the manga and the anime, the legendary Kabuki actor Shirakawa Kaou XV (one of Kabuki's greatest tachiyaku, known for being a renowned aragotoshi (i.e. his main specialty is the aragoto style) and the father of Sarasa Watanabe, protagonist of Kageki Shojo!!) is known for his outstanding portrayal of Soga Gorō/Sukeroku (which is considered his best role of his entire repertoire of successful Kabuki roles).

Translation
The play was translated into English by James R. Brandon as part of a book containing five Kabuki plays. The book has been reprinted by the University of Hawaii Press (in 1992). The book is also part of the UNESCO Collection of Representative Works.

External references
 Holly Blumner and Naoko Maeshiba; "Sukeroku: A History." in 101 Years of Kabuki in Hawai'i; pages 42–44.
 Constantine Vaporis; "A Hero for the Masses: The Kabuki Play Sukeroku: Flower of Edo (1713)" in Voices of Early Modern Japan.
 Tamotsu Watanabe; Kabuki 101 monogatari; in Japanese

References

1713 plays
Plays set in the 11th century
Kabuki plays

Sukeroku


Arthur's Nose is the popular first book of the book series, written and illustrated by Marc Brown. It was published in 1976. Arthur is an aardvark. The character of Arthur inspired several other picture books and was also made into an animated television series.

In this first book, Francine the monkey teases Arthur for having a big nose. As a result, Arthur decides to get his nose cut shorter. However, instead, he leaves his nose the same and his friends are happy, except Francine.

References

1976 books
Children's picture books

Arthur's Nose


Charlie and the Great Glass Elevator (1972) is a children's book by British author Roald Dahl.

Plot
The book continues directly from the events of Charlie and the Chocolate Factory. Willy Wonka has just given his factory to Charlie. In a flying machine known as the Great Glass Elevator, they crash through the roof of Charlie's house and tell his family the good news.

On their way to the factory, the elevator makes a noise. Charlie and his family find themselves in orbit around the Earth.  An adventure begins with Willy Wonka leading the way.

Other websites
Official Roald Dahl Website

1972 books
English children's books
Charlie and the Chocolate Factory (franchise)

Charlie and the Great Glass Elevator


"This is the Girl" was the first single from British rapper Kano's second studio album London Town and the first from British singer Craig David's fourth studio album Trust Me. The song was released in 2007 and reached its peak of number 18 in the UK charts on 18 September 2007.

The song samples lyrics from Jay Z's song "Big Pimpin'", which Jay Z says, "Under the canopy, my stamina be enough for Pamela Anderson Lee", which Kano says instead, "Under the canopy, my stamina be enough for Angelina Jolie".

Music video
The music video starts off with Kano finishing rapping "London Town" in a concert, then the music of "This Is The Girl" starts, while Kano is writing the lyrics for the song with headphones on. The rest of the video has Kano and Craig David performing in a studio and Kano on a tour bus, with girls coming up to him, but he rejects them. Directed by Paul Minor.

Formats and track listings

UK CD:
 "This Is the Girl" (radio edit)
 "P's & Q's" (live)

UK 7" vinyl:
 "This Is the Girl" (album version)

UK 12" vinyl:
 "This Is the Girl" (radio edit)
 "This Is the Girl" (album version)
 "F*** the Chorus"
 "F*** the Chorus" (instrumental)

Chart performance

"This Is the Girl" peaked at number eighteen on the UK Singles Chart and is Kano's highest-charting single in the UK, spending ten weeks inside the UK top 75, only one week less than David's second single from Trust Me, "Hot Stuff (Let's Dance)", which peaked inside the top ten.

References

Craig David songs
Kano (rapper) songs
2007 singles
Songs written by Fraser T. Smith
Songs written by Craig David
Song recordings produced by Fraser T. Smith
2007 songs
Songs written by Kano (rapper)
679 Artists singles

This Is the Girl


is one of the two  of Kodokan Judo. It is intended as an illustration of the various concepts of  that exist in judo, and is used both as a training method and as a demonstration of understanding.

History

The katame-no-kata was developed by Jigoro Kano as a method of illustrating principles of grappling to allow students to more effectively apply them in randori. Initially, the kata consisted of ten techniques. These were subsequently appended, bringing the number to fifteen.

The Katame no Kata was developed at the Kodokan between 1884 and 1887 following the development of the Nage no Kata. It is composed of three groups of grappling techniques each with five representative techniques. Your goal is to acquire the methods of controlling your opponent in your practice of Katame No Kata.

Description

The katame-no-kata consists of fifteen techniques, grouped in three categories:

Osae-komi-waza
The five holding techniques demonstrated in Katame no Kata are:
Kesa-gatame (in the Kuzure-kesa-gatame variant) (袈裟固)
Kata-gatame (肩固)
Kami-shiho-gatame (上四方固)
Yoko-shiho-gatame (横四方固)
Kuzure-kami-shiho-gatame (崩上四方固)

Shime waza
The five chokes demonstrated are:
Kata-juji-jime (片十字絞)
Hadaka-jime (裸絞)
Okuri-eri-jime (送襟絞)
Kata ha jime (片羽絞)
Gyaku-juji-jime (逆十字絞)

Kansetsu waza
The five joint locks demonstrated are:
Ude-garami (腕緘)
Ude-hishigi-juji-gatame (腕挫十字固)
Ude-hishigi-ude-gatame (腕挫腕固)
Ude-hishigi-hiza-gatame (腕挫膝固)
Ashi-garami (足緘)

Videos of katame-no-kata

 Katame-no-kata demonstration from Poland, filmed in 2006.  No narration, but there is background music.  Participants are identified as "Niedomagala and Nowakowski."

References

 Jigoro Kano, Kodokan Judo, Kodansha International.
 Tadao Otaki and F. Draeger, Judo Formal Techniques, Tuttle Martial Arts.

External links
 Katame-no-kata page on the JudoInfo site with instructions and photos.

Judo kata

Katame-no-kata


Space Shuttle America (also known as Space Shuttle America – The Next Century) was a motion simulator ride at the Six Flags Great America theme park in Gurnee, Illinois, that opened in 1994. The ride's main feature was a full-scale replica of an American Space Shuttle orbiter. It closed permanently after the 2007 season and was removed on December 5, 2009.

Storyline
The storyline of the ride was that riders have boarded a new Space Shuttle called America, which is capable of transporting passengers to the fictional Armstrong City using the LRVM (Lunar Run Velocity Management) Warp. Armstrong City is located a short distance from Tranquility Base, the site of the first crewed Moon landing.

Guests entered a building that has a small replica of Launch Control at Cape Canaveral. Several TV screens display fake NASA TV recordings about the shuttle and security cam views of the fictional facility that attendees are supposedly touring. Shortly before boarding, there is a notice about a large meteor that is approaching Earth.

In the movie, the shuttle takes off horizontally and the Pas-Com (Passenger Compartment) rises out of the cargo bay so riders can do some orbital sightseeing. The shuttle passes Space Shuttle Destiny, which is doing some cleanup work around the atmosphere. Next the shuttle passes an HBO satellite and Space Station Freedom. The shuttle enters LRVM warp and exits a short distance from the Moon. The shuttle then flies over the Sea of Tranquility and Armstrong City. Shortly before landing at Armstrong, an alert is sent to the shuttle crew ordering them to investigate a meteor danger in the area. The shuttle, not even getting a chance to land, takes off again towards an asteroid belt. America is then hit by an asteroid and is now fighting to survive in the asteroid field. America begins blasting asteroids with its 'particle beam' (laser). The shuttle then spots the meteor and is alerted it is heading on a direct course to Earth. Unable to destroy it from a distance, the shuttle flies through a canyon and a cave and destroys it from the inside. The shuttle, now crippled, heads immediately back towards the LRVM and warps back to Earth.  As the shuttle prepares for re-entry, the hydraulics for the Pas-Com malfunction, preventing it from being retracted, but the fault is corrected just in time. The shuttle lands and the ride ends.  The script was written by Tim Prokop, who also wrote the scripts for the preshow and post-show.

The fictional events take place in 2094.

The movie was shown for a short while at Six Flags Over Texas, and was made by DreamQuest Images.

Shuttle
Outside the building that houses the queue and the ride itself is a fiberglass mock-up of a Space Shuttle orbiter that has authentic "tiles" used in actual Space Shuttle orbiters. The shuttle was built to the exact scale of the real STS craft, but is neither an official NASA shuttle nor capable of spaceflight.

Other movies
The building that shows Space Shuttle America also showed:

Escape from Dino Island in 3D (1999–2001)
Stargate SG-3000 (2004–2005)
Superstition (Playing during Fright Fest in 2001, 2003, 2005, 2006, and 2007 and maybe before 2001)

Removal

High operating costs and dwindling popularity doomed Space Shuttle America after a thirteen year run.  Its final operating season was 2007. For the following time period when the ride was closed, the interior was used as a temporary office/storage by employees. The shuttle and building were finally removed in December 2009. After plans to build a roller coaster on the site were canceled, the park expanded Hurricane Harbor into the area for the 2011 season.

References

Fiction set in the 2090s
Simulator rides
America, Space Shuttle
Six Flags Great America
Outer space in amusement parks
America, Space Shuttle

Space Shuttle America


Magomed Gadaborshev () (? – July 9, 2009) was a Russian-Ingushetian colonel who headed Ingushetia's Forensics and Investigations Center.

On July 7, 2009, attackers opened fire on Gadaborshev's car as he drove through the city center of Nazran, the largest city in Ingushetia. He suffered gunshot wounds in the attack and fell into a coma. Doctors pronounced Gadaborshev dead on July 9, 2009.

Gadaborshev's killing followed a string of attacks on and assassinations of Ingush officials in the preceding weeks. The President of Ingushetia, Yunus-Bek Yevkurov, was seriously wounded in a bombing on June 22, 2009. The deputy chief justice of the Supreme Court of Ingushetia Aza Gazgireeva and former deputy prime minister Bashir Aushev were also assassinated in separate shootings in June 2009.

References

2009 deaths
Assassinated Russian people
Deaths by firearm in Russia
Ingush people
People murdered in Russia
Russian military personnel
Year of birth missing

Magomed Gadaborshev


Arthur Moore Lascelles VC MC (12 October 1880 – 7 November 1918) was an English recipient of the Victoria Cross, the highest and most prestigious award for gallantry in the face of the enemy that can be awarded to British and Commonwealth forces. He was educated at Uppingham School and attended the University of Bangor, North Wales but abandoned his medical studies in 1902 and emigrated to South Africa.

Details
He was 37 years old, and an acting captain in the 3rd Battalion, The Durham Light Infantry, British Army, attached to 14th Battalion during the First World War when the following deed took place for which he was awarded the VC.

On 3 December 1917 at Masnieres, France, during a very heavy bombardment Captain Lascelles, although wounded, continued to encourage his men and organize the defence until the attack was driven off. Shortly afterwards the enemy attacked again and captured the trench, taking several prisoners. Captain Lascelles at once jumped onto the parapet and followed by his 12 remaining men rushed across under very heavy machine-gun fire and drove over 60 of the enemy back. Later the enemy attacked again and captured the trench and Captain Lascelles, who later managed to escape in spite of having received two further wounds.

He was killed in action, Fontaine-au-Bois, France, on 7 November 1918.

The medal
His Victoria Cross was displayed at the Durham Light Infantry Museum & Durham Art Gallery, Durham, England.

References

Sources

DLI Biography

1880 births
1918 deaths
People from Streatham
Durham Light Infantry officers
British World War I recipients of the Victoria Cross
Recipients of the Military Cross
British Army personnel of World War I
British military personnel killed in World War I
People educated at Uppingham School
British Army recipients of the Victoria Cross
Military personnel from London
Burials in France

Arthur Moore Lascelles


In macroeconomics and finance, a transfer payment (also called a government transfer or simply fiscal transfer) is a redistribution of income and wealth by means of the government making a payment, without goods or services being received in return. These payments are considered to be non-exhaustive because they do not directly absorb resources or create output. Examples of transfer payments include welfare, financial aid, social security, and government subsidies for certain businesses.

Unlike the exchange transaction which mutually benefits all the parties involved in it, the transfer payment consists of a donor and a recipient, with the donor giving up something of value without receiving anything in return. Transfers can be made both between individuals and entities, such as private companies or governmental bodies. These transactions can be both voluntary or involuntary and are generally motivated either by the altruism of the donor or the malevolence of the recipient.

For the purpose of calculating gross domestic product (GDP), government spending does not include transfer payments, which are the reallocation of money from one party to another rather than expenditure on newly produced goods and services.

Criticism
A criticism of transfer payments is that they do not produce outcomes that are economically advantageous. Governments pool taxes and other sources of revenue together and spend the money to further a certain agenda. Some of the spending pays for goods and services, such as buildings, equipment, and government worker salaries. These expenditures are exchanges in which money is traded for something with a recognized value. The payments may be viewed as boosting industrial activity and employment. However, government transfer payments do not boost production or economic activity. For example, foreign aid does not necessarily prompt foreign trade. Additionally, some argue that welfare programs, such as unemployment benefits, reduce incentives to take paid work.

Furthermore, the macroeconomic effect of transfer payments is reduced in the lower income countries and regions/states. The reasons for such disparity are the following:

 the level of transfer payments is subject to the fiscal capacities of the administering entity
 the size of transfer payments is generally dependent on the previous earnings of the beneficiary
 largest share of transfer payments is typically administered to the older age groups, which constitute to a smallest share of population of the lower income countries, regions or states

Methods of payment

Cash

More than 100 million poor people worldwide receive a government transfer payment. It is estimated that 90% of high-income nations make these payments via electronic transfer methods, whereas over half of the world's developing countries utilizes paper payments such as cash or checks. Transfer payment via cash is the most popular method of transferring benefits to beneficiaries. However, cash transfer programs are constrained by three factors: financial resources, institutional capacity, and ideology, particularly in countries in the Global South. Many governments in poorer countries, where cash transfers could potentially have the most impressive impact, are often unwilling to implement such programmes due to fears of inflation and more importantly, dependency on the transfers.

In-kind transfer
In-kind transfer payments consist of individual goods and services provided to households by governmental bodies and non-profit institutions serving households (NPISHs), which are either acquired on the market or produced as non-market output by governmental bodies or NPISHs.

The items included are:

 Social security benefits, reimbursements
 Other social security benefits in kind (e.g. food stamps)
 Social assistance benefits in kind
 Transfers of individual non-market goods or services

Social security benefit
Primarily, social security benefits are designed to provide income continuity to those persons who have retired from labour force because of either inability to work (physical disability or mental trauma), to find employment or due to old age (retirement).

These include, but are not limited to:

 Unemployment compensations
 Old age insurance
 Civil service pensions
 State and local government pensions
 Survivors benefits
 Supplemental Security Income

Around the globe

Australia
In Australia, the horizontal fiscal imbalance arises because of the mismatch between the tax revenues and government expenses for the various state and territorial governments.  This imbalance is addressed by a horizontal fiscal equalisation (HFE) policy overseen by the Commonwealth Grants Commission.

Canada

In Canada, Federal-Provincial transfers usually refer to a system of payments from the federal government to the provinces as part of Canada's "fiscal federalism" through explicit and implicit redistribution. These transfers are intended to assist provinces with less fiscal capacity than others in providing comparable public services in all regions, including health and education. Transfers include explicit programs such as equalization payments, Canada Health Transfer (CHT) and the Canada Social Transfer (CST) (formerly the Canada Health and Social Transfer) and Territorial Formula Financing. There are also implicit transfers that result from federal taxation and spending decisions and policies.

Canada's transfer payments originated in the British North America Act (1867)'s Sections 118 as provincial subsidies. By 1907, these payments were altered as new provinces joined the Dominion. In a 1957 arrangement, poorer provinces received annual payments: Prince Edward Island received $2.5 million and the three provinces, Newfoundland, Nova Scotia, and New Brunswick each received $7.5 million. These payments ended and were rolled into the 1967 equalization program intended to "enable each province to provide an adequate level of public services without resort to rates of taxation substantially higher than those of other provinces."

In Canada, transfers payments are contentious and equalization formulas are often revised. Implicit transfers through federal taxation, for example, are greater in higher income provinces such as British Columbia, Alberta, Saskatchewan, and Ontario and lower in provinces such as Manitoba, Quebec, and the Atlantic provinces. Canada measures average fiscal capacity of each province which varies widely. Alberta is the highest at $12,577 per person and PEI is the lowest at $6,013 per person. In 2016 federal income tax in Alberta was more than $8,000 compared to less than $3,000 in PEI. All provinces pay the same federal tax rates.

Economist Trevor Tombe wrote that by 2018, transfer payments had become "complex arrangements" that are much larger than the original subsidies and are "more equally distributed". By 2018, inter-provincial redistribution has decreased to less than 2% of Canada's GDP, its lowest in 60 years. In the early 1980s it was 3.5%.

China

Since July 2011, existing regional and local social security schemes, including pooling arrangements, are gradually being unified under the country's first national law on social transfer payments. The government aims to establish a comprehensive, equitable, and unified pension system that covers both urban and rural residents by 2020. In 2016, the government decided to establish a unified health insurance system for both rural and non-salaried urban residents. The government has also announced that medical insurance and maternity insurance programs will be merged.

India

India has four types of social transfer payments – old age and disability benefits, sickness and maternity benefits, work injury transfers, and unemployment benefits. Most sources of payments are employers (via provident funds), and the government.

United States

The U.S. still utilizes paper transfer payments in its Social Security administration as many recipients, particularly those in lower-income categories, are unbanked, i.e. do not have a bank account to facilitate direct deposits. However, the U.S. has been able to implement electronic transfer systems in its food stamps and education assistance programs.

See also
 Barnett formula
 Government budget
 Public finance
 Transfer payments multiplier
 Welfare state
 Workfare

References

External links
 Department of Finance (Canada): Federal Transfers to Provinces and Territories

Government in Canada
Payments
Taxation and redistribution

Transfer payment


Kelli Arena is an American television journalist  known as a former Washington, D.C., correspondent for CNN.

She is the chief of strategic communications for the National Security Agency.
Arena was formerly the Executive Director of the Global Center for Journalism and Democracy at Sam Houston State University, and held the Dan Rather Endowed Chair. She also owned her own communications firm RKC Solutions.

Career
Arena started with CNN in 1985 as a production assistant. In 1989 she was named the executive producer of daytime programming for CNN financial news. In 1990, she produced the program Moneyline with Lou Dobbs. In 1991, she went to work for CNN in London as an executive producer for the program World Business Today. She returned to New York in 1992 and was named News Director for all of CNN's financial programming.

She started her on-air career in London as a business reporter in 1993, later moving to Tokyo in 1994. In 1995 Arena moved to Washington DC covering U.S. government news as a business reporter. Arena was promoted to Justice Correspondent in 2000.

She had reported for CNN programs American Morning, The Situation Room, and Anderson Cooper 360°.

She left CNN in January 2009.

She appeared as a panelist on truTV's In Session.

References

Living people
American television reporters and correspondents
Year of birth missing (living people)
Tisch School of the Arts alumni
CNN people

Kelli Arena


A Ticker tape was the earliest electrical dedicated financial communications medium, transmitting stock price information over telegraph lines.

Ticker tape may refer to:
Ticker Tape (record label), a record label founded in 2011 by the English band Radiohead
Ticker Tape (Gorillaz song), a track on the album Humanz by the British virtual band Gorillaz

See also
Ticker tape parade, a celebratory parade

Ticker tape (disambiguation)


Dastar Corp. v. Twentieth Century Fox Film Corp., 539 U.S. 23 (2003), was a copyright and trademark case of the Supreme Court of the United States involving the applicability of the Lanham Act to a work in the public domain.

Background
In 1948, Fox obtained the exclusive rights to create a television series, Crusade in Europe, based on a 1948 book Crusade in Europe, written by Dwight Eisenhower and published by Doubleday.  The 26-episode series showed World War II film footage from the US military and other sources, with a voice soundtrack based on a narration of the book. In 1975, Doubleday renewed the copyright on the book. Fox, however, did not renew the copyright on the TV series and so the show entered the public domain in 1977.

In 1988, Fox reacquired the television rights to the book and licensed it to other companies the right to distribute Crusade in Europe on video. In 1995, Dastar purchased Betacam videotapes of the original TV series, copied the tapes, edited them to about half the original length, created new packaging, and sold the TV series as World War II Campaigns in Europe. The new videotapes and advertising mentioned Dastar and its employees as the producer but did not mention the original Crusade in Europe book, TV series, or producers.

Fox sued in 1998 by claiming that Dastar had infringed the copyright to the Crusade in Europe book and that under the Lanham Act, it had illegally done a "reverse passing off" by passing off the work of others as its own work. The district court found for Fox and awarded it double the profits that Dastar had made. The Court of Appeals reversed the copyright claim and sent it back to the district court on remand, but it upheld the "reverse passing off" Lanham Act ruling and affirmed the award of double the profits.

Decision
The U.S. Supreme Court, ruling only on the "reverse passing off" claim, reversed the decisions of the appeals court and district court, ruling 8–0 in favor of Dastar. The Court reasoned that although the Lanham Act forbids a reverse passing off, the rule regarding the misuse of trademarks is trumped by the fact that once a copyrighted work (or even a patented invention) enters into the public domain, anyone in the public may do anything with the work, with or without attribution to the author.

Justice Antonin Scalia, writing in the decision, noted that the Court in the past has held that the Lanham Act "does not exist to reward manufacturers for their innovation in creating a particular device; that is the purpose of the patent law and its period of exclusivity." Therefore, claims about authorship cannot be used as an end-run around the underlying philosophy of a time limit on exclusive ownership of a copyright or patent. Allowing such restrictions on a public domain work would serve, Scalia wrote, "to create a species of mutant copyright law that limits the public's 'federal right to "copy and to use"' expired copyrights," and that would effectively create "a species of perpetual patent and copyright, which Congress may not do," according to Article I of the US Constitution.

Scalia noted that if Dastar had instead purchased the post-1988 videotapes and copied them, that would have been a clear copyright infringement.

Analysis
In reconciling this case with the earlier Eldred v. Ashcroft, Kurt M. Saunders considered Dastar a reassurance from the Supreme Court that, although Eldred said Congress was free to extend copyright durations, a work outside of copyright was free to use.

Subsequent history
On remand, the district court, after the Supreme Court's ruling, dismissed Twentieth Century Fox's Lanham Act claims as well as analogous California state law unfair competition claims. The only remaining issue was whether the plaintiffs had a copyright in the underlying work, Eisenhower's book Crusade in Europe. The district court held a bench trial and determined that the plaintiffs owned a valid copyright in the book and that Dastar had infringed that copyright by including portions of the book's narrative in its film version.  Dastar appealed, but the Ninth Circuit affirmed.

See also
List of leading legal cases in copyright law
List of United States Supreme Court cases, volume 539
List of United States Supreme Court cases
 (also had legal issues relating to an out-of-copyright adaptation of a work still under copyright)

References

External links

United States trademark case law
United States copyright case law
2003 in United States case law
20th Century Fox litigation
Public domain in the United States
United States Supreme Court cases
United States Supreme Court cases of the Rehnquist Court


"The Ragtime Dance" is a piece of ragtime music by Scott Joplin, first published in 1902.

Publication history
Although the piece was performed in Sedalia, Missouri on November 24, 1899, it wasn't published until 1902. John Stillwell Stark had planned publishing it  in September 1899, but had doubts about the marketability of the piece and delayed publication. When he eventually published it in 1902, at the urging of his daughter, it was a commercial failure.

The 1902 arrangement was a short ragtime folk ballet suitable for stage performance, complete with narration and choreography.  The narrator recounts a "dark town" ball that took place at 9 p.m. on a Thursday night and included a cakewalk.  The choreography is for four couples.

Four years later, Stark republished the piece in a piano rag arrangement, stripped of its narration and choreography and substantially shortened. The copyright for this arrangement was registered December 21, 1906.
The cover art for the 1906 sheet music featured an African American couple dancing in formal attire: the lady holds a fan, and the gentleman holds a top hat and cane.

Marvin Hamlisch incorporated "The Ragtime Dance" into a medley for the soundtrack of the Oscar-winning 1973 film The Sting.  The song also appeared in the soundtrack of the 1978 film Pretty Baby and the 1980 Broadway musical revue Tintypes.

Music (1906 arrangement)
The overall structure is: Intro AA BB CC D E F.

It opens in the key of B-flat major, but modulates to E-flat major at the start of the "B" section.

The piece was subtitled "A Stop-Time Two Step".  "Stop-time" refers to an unusual effect used in the second half of the piece. Starting with the "D" section, the pianist is instructed to "Stamp the heel of one foot heavily upon the floor" in time with the beat.  Joplin reused this effect in his 1910 "Stoptime Rag".

Reception and legacy
In November 1970, Joshua Rifkin released a recording called Scott Joplin: Piano Rags on the classical label Nonesuch, which featured as its third track "The Ragtime Dance". It sold 100,000 copies in its first year and eventually became Nonesuch's first million-selling record. The Billboard "Best-Selling Classical LPs" chart for 28 September 1974 has the record at #5, with the follow-up "Volume 2" at #4, and a combined set of both volumes at #3. Separately both volumes had been on the chart for 64 weeks. The album was nominated in 1971 for two Grammy Award categories: Best Album Notes and Best Instrumental Soloist Performance (without orchestra), but at the ceremony on March 14, 1972, Rifkin did not win in any category. In 1979 Alan Rich in the New York Magazine wrote that by giving artists like Rifkin the opportunity to put Joplin's music on record Nonesuch Records "created, almost alone, the Scott Joplin revival."

See also
 List of compositions by Scott Joplin

References

Sources

External links

1902 songs
1906 songs
Rags by Scott Joplin
Compositions for solo piano

The Ragtime Dance


Hélène Joy is an Australian actress. She is best known for her work in television series Durham County and Murdoch Mysteries.

Biography
Joy was born and raised in Perth, Australia. She began acting in Kewdale Senior High School in Perth. She subsequently toured Europe with a youth theatre company. She spent a year as a theatre major at Curtin University before winning a place at the Western Australian Academy of Performing Arts in Perth where she obtained an acting diploma. She won the Academy's Leslie Anderson Award for Best Performer.

Career

Television and film
She had minor roles in Australian television series such as: Snowy River: The McGregor Saga (1996), Water Rats (1996–97), Big Sky (1997), and Stingers (1999). After three years, at the urging of her then boyfriend, she moved to Vancouver, British Columbia, Canada.

After arriving in Vancouver, Joy found work on shows such as First Wave (2000), The Outer Limits (2001), The Chris Isaak Show (2002), and The Twilight Zone (2002). In 2003, she landed the lead role of Judy Surgick in the short-lived CBC TV sitcom An American in Canada (2003–04) which was a 2003 Gemini Award nominee for Best Ensemble Performance Comedy Series/Program. In 2005 she appeared in the feature film Desolation Sound.

While still in Vancouver, Joy began landing roles in Toronto, including a supporting role in the TV movie The Murdoch Mysteries:Under the Dragon's Tail (2004). After moving to Toronto, she played recurring roles in TV series such as This Is Wonderland (2005–06) and ReGenesis (2006). She then starred in Durham County between 2007 and 2010, and appeared as Doc in the primetime soap opera MVP: The Secret Lives of Hockey Wives (2008).

In Christmas 2007, Joy appeared in the fantastical musical film version of the Nutcracker ballet, The Secret of the Nutcracker starring opposite Brian Cox for the CBC. Joy starred in An Old Fashioned Thanksgiving with Jacqueline Bisset for Hallmark in 2008.

Joy has made guest appearances on Heartland, Rookie Blue (2011), Republic of Doyle (2012) and The L.A. Complex (2012) among other programs.

Although she played a different character in Under the Dragon's Tail, the third made-for-television film about William Murdoch and his unique ways of doing detective work, the book's author, Maureen Jennings, was so impressed with Joy's acting ability that she successfully pressed the TV show's producers to select her for the role of Dr. Julia Ogden. As a result, Joy was hired for the part and has played this continuing character in the period detective drama Murdoch Mysteries since 2008.

Theatre
Joy's theatrical career began in Australia with roles in the Shakespeare Program at the Bell Shakespeare Company. She then played a number of roles at the Melbourne Theatre Company: Ophelia in Hamlet, Lady Macbeth in Macbeth, and Juliet in Romeo and Juliet. She made her Canadian theatrical debut in 2012 in Australian playwright Andrew Bovell's Speaking in Tongues at The Company Theatre in Toronto.

Voice acting
She supplied the voice of Sunnyside and Shelly in The Eggs (2004), Gabby and Polly in Faireez (2005), Patsy and Mrs. Berton in The Secret World of Og (2006), Opal in Pearlie (2009), and Vice Principal Victoria in Detentionaire (2012).

Awards and nominations
In 2006, Joy was nominated for a Gemini Award for Best Performance by an Actress in a Featured Supporting Role in a Dramatic Program or Mini-Series for her work in the TV movie The Murdoch Mysteries: Under the Dragon's Tail as well as being nominated for Best Performance by an Actress in a Guest Role Dramatic Series  for ReGenesis. In 2011, and again in 2012, she was nominated for Outstanding Actress in a Drama Series for her work in Murdoch Mysteries by the Monte-Carlo TV Festival Awards.

She won a Leo Award in 2005 for Best Lead Performance by an Actress in a Feature Length Drama for her role in Desolation Sound.

She won the Gemini Award for Best Performance by an Actress in a Continuing Leading Dramatic Role in 2008 for her role in Durham County.

Personal life

Joy left Australia and followed her boyfriend to his native Vancouver. She has been a vegan and enjoys travelling all over the world during her time off. Joy trained and is licensed as a real estate agent in Australia; she has subsequently taken up property development.

In late December 2021, Joy gave birth to a daughter, Harrison Joy.

Filmography

Film

Television

References

External links

Living people
Actresses from Perth, Western Australia
Actresses from Vancouver
Australian emigrants to Canada
Australian film actresses
Australian television actresses
Australian voice actresses
Best Actress in a Drama Series Canadian Screen Award winners
Canadian film actresses
Canadian television actresses
Canadian voice actresses
1978 births

Hélène Joy


Aluf (Maj. Gen.) Mordechai (Motti) Hod (Hebrew: מרדכי הוד; 28 September 1926 – 29 June 2003) was the Commander of the Israeli Air Force during the 1967 Six-Day War.

Biography
Hod was born in the British Mandate of Palestine in Kibbutz Degania in 1926. Hod originally had the surname Fein which he changed later on to Hod, keeping with the prevalent custom that period of taking a Hebrew surname when joining the armed forces.

Hod studied at a local Agriculture College before enlisting in the British Army in 1944, where he served as a driver. With the end of the Second World War Hod joined the Haganah's Palmach groundforce. In this capacity he assisted Aliyah Bet, illegal Jewish immigration from Europe to Palestine. He was arrested and jailed for two weeks in Rome for taking part in such actions.

Hod began his flight training career in Italy but was soon sent to Czechoslovakia. The newly created IAF was in need of modern military aircraft, and had purchased several Spitfires and Messerschmitts in that country.  Once purchased it was necessary to fly them to Israel, and after learning to fly the new planes, Hod accompanied a group of fellow aviators on the seven-hour flight on 22 December 1948.

Back in Israel, Hod's IAF career commenced. Despite some previous experience flying, Hod attended the IAF Flight Academy, and graduated with its first class on 14 March 1949. A year later Hod was again sent abroad, this time to learn how to fly the Gloster Meteor in Britain, which would be Israel's first jet fighter. Returning to Israel in 1951, Hod was appointed commander of a squadron of P-51 Mustangs. During the 1956 Suez Crisis Hod led several support missions, including fighter escort for planes laden with paratroopers and air cover for troops on the ground. For the decade after the conflict Hod continued to advance through the ranks of the IAF. He became a base commander in 1957, and three years later the head of IAF Operations. Just one year later in 1961, Hod was promoted to head of the Air Department in the General Staff. He would stay in this post until 27 April 1966, when Hod became Commander of the IAF. During his tenure, the Mossad conducted Operation Diamond to smuggle a Soviet-built MiG-21 into Israel.

Slightly more than a year into his job, Hod faced an enormous predicament.  Egyptian President Gamal Abdel Nasser had closed the Straits of Tiran, and Israel was facing the possibility of a three front war against Egypt, Jordan, and Syria.  Hoping to retain the advantage of surprise, Israel launched Operation Focus, the opening airstrike in what would become known as the 1967 Six-Day War.  Hod's strike, leaving only 12 planes to defend Israel, and aided with intelligence from Mossad and Aman, succeeded in destroying most of the Egyptian Air Forces. Later strikes annihilated Jordanian and Syrian Air Forces as well as part of Iraqi Air Force.  This ensured Israeli air superiority for the rest of the war.  In an interview years later, Hod described the 45 minutes it took the first wave of 183 aircraft to reach targets in Egypt as "the longest 45 minutes of my life." Hod also had to deal with the USS Liberty incident, in which Israeli aircraft attacked an American ship off the coast of the Sinai Peninsula, killing 34 servicemen.

The War of Attrition between Israel and Egypt would last from 1968 to 1970, and during that time Hod directed airstrikes near the Suez Canal as well as deeper into Egyptian territory.  He also succeeded in downing a number of Soviet-piloted MiG aircraft operating on behalf of Egypt.

In April 1973, Hod stepped down, just 6 months prior to the 1973 Yom Kippur War.  Because of the war he was quickly recalled to act as the Air Force advisor to Maj. Gen. Yitzhak Hofi, who was then in charge of Israeli Northern Command.  Before moving into the private sector Hod had one more stint in government, tasked with developing defense projects as an assistant to the Defense Minister.  During his military career, Hod met and married an IAF sergeant, Penina. They had three children; two sons and one daughter.

With his military career over, Hod entered the civilian aviation market in 1975 by founding CAL Cargo Air Lines.  He served as its president until 1977, when he left to become president of El Al, the Israeli national airline, a position he would hold to 1979.  Hod later was appointed chairman of the main aerospace manufacturer in Israel, Israel Aircraft Industries.  He died on 29 June 2003.

References

Israeli aviators
Israeli Air Force generals
Israeli Jews
Jews from Mandatory Palestine
Palmach members
1926 births
Hod, Mordechau
British Army soldiers
Burials at Kiryat Shaul Cemetery

Mordechai Hod