The Oval, currently named for sponsorship reasons as the Kia Oval, is an international cricket ground in Kennington, located in the borough of Lambeth, in south London. The Oval has been the home ground of Surrey County Cricket Club since it was opened in 1845. It was the first ground in England to host international Test cricket in September 1880. The final Test match of the English season is traditionally played there.

In addition to cricket, The Oval has hosted a number of other historically significant sporting events. In 1870, it staged the first representative football match between England and Scotland, although this is not deemed to be an official international by FIFA. It hosted the first FA Cup final in 1872, as well as those between 1874 and 1892. In 1876, it held both the England v. Wales and England v. Scotland rugby international matches and, in 1877, rugby's first varsity match. It also hosted the finals of the 2004 & 2017 ICC Champions Trophy and the 2023 ICC World Test Championship Final.

History

The Oval is built on part of the former Kennington Common. Cricket matches were played on the common throughout the early 18th century. The earliest recorded match was the London v Dartford match in June 1724. However, as the common was also used regularly for public executions of those convicted at the Surrey Assizes (it was the south London equivalent of Tyburn), cricket matches had moved away to the Artillery Ground by the 1740s. Kennington Common was eventually enclosed in the mid-19th century under a scheme sponsored by the royal family.

In 1844, the site of the Kennington Oval was a cabbage patch and market garden owned by the Duchy of Cornwall. The Duchy was willing to lease the land for the purpose of a cricket ground, and on 10 March 1845 the first lease, which the club later assumed, was issued to Mr. William Houghton (then president of the progenitor Montpelier Cricket Club) by the Otter Trustees who held the land from the Duchy "to convert it into a subscription cricket ground", for 31 years at a rent of £120 per annum plus taxes amounting to £20. The original contract for turfing The Oval cost £300; the 10,000 grass turfs came from Tooting Common and were laid in the spring of 1845 allowing for the first cricket match to be played in May 1845. Hence, Surrey County Cricket Club (SCCC) was established in 1845.

The popularity of the ground was immediate and the strength of the SCCC grew. On 3 May 1875 the club acquired the remainder of the leasehold for a further term of 31 years from the Otter Trustees for the sum of £2,800.

In 1868, 20,000 spectators gathered at The Oval for the first game of the 1868 Aboriginal cricket tour of England, the first tour of England by any foreign side. Thanks to C.W. Alcock, the Secretary of Surrey from 1872 to 1907, the first Test match in England was played at The Oval in 1880 between England and Australia. The Oval, thereby, became the second ground to stage a Test, after Melbourne Cricket Ground (MCG). In 1882, Australia won the Test by seven runs within two days. The Sporting Times printed a mocking obituary notice for English cricket, which led to the creation of the Ashes trophy, which is still contested whenever England plays Australia. The first Test double century was scored at The Oval in 1884 by Australia's Billy Murdoch.

Surrey's ground is noted as having the first artificial lighting at a sports arena, in the form of gas-lamps, dating to 1889. The current pavilion was completed in time for the 1898 season.

In 1907, South Africa became the second visiting Test team to play a Test match at the ground. In 1928, the West Indies played its first Test match at The Oval, followed by New Zealand in 1931. In 1936, India became the fifth foreign visiting Test side to play at The Oval, followed by Pakistan in 1954 and Sri Lanka in 1998.  Zimbabwe, Bangladesh, Afghanistan and Ireland have yet to play a Test match at The Oval.

The Oval is referenced by the poet Philip Larkin in his poem about the First World War, "MCMXIV". During World War II, The Oval was requisitioned, initially housing anti-aircraft searchlights. It was then turned into a prisoner-of-war camp, intended to hold enemy parachutists. However, as they never came, The Oval was never actually used for this purpose.

The first One Day International match at this venue was played on 7 September 1973 between England and West Indies.  It hosted matches of the 1975, 1979, 1983, and 1999 World Cups. It also hosted five of the fifteen matches in the 2004 ICC Champions Trophy, including the final. The Oval once held the record for the largest playing area of any Test venue in the world. That record has since been surpassed by Gaddafi Stadium in Pakistan, although The Oval remains the largest in Great Britain.

Billionaire Paul Getty, who had a great affinity for cricket and was at one time SCCC President, built a replica of The Oval on his Wormsley Park estate.

The famous gasholders just outside the ground were built around 1853. With the gasholders long disused, there was much speculation as to whether they should be demolished; however, many believe they are an integral part of The Oval's urban landscape and, therefore, their future looks secure. In 2016 the main gasholder was given official protected status as a historically important industrial structure.

On 20 August 2006, The Oval saw the first time a team forfeited a Test match. Pakistan were upset after umpires Darrell Hair and Billy Doctrove awarded five penalty runs to the opposition and changed the ball after ruling that the team had tampered with it on the fourth day of the final Test against England. Pakistan debated the matter during the tea break and then refused to come out for the final session in protest. By the time they relented and decided to resume, the umpires had already called time on the match and awarded the game to England by default.

The Oval hosted its hundredth Test, against South Africa, on 27 July 2017, becoming the fourth Test venue in the world after Lord's, MCG and SCG to do so. Moeen Ali also became the first player to ever take a Test hat-trick at The Oval, bowling out South Africa in the second innings to win the match.

In Tests, the highest team score at The Oval is 903/7 declared by England against Australia on 20 August 1938. The leading run scorers are Len Hutton (1,521 runs), Alastair Cook (1,217 runs) and Graham Gooch (1,097 runs). The leading wicket takers are Ian Botham (52 wickets), Derek Underwood (45 wickets) and James Anderson (44 wickets).

In ODIs, the highest team score at The Oval is 398/5 by New Zealand against England on 12 June 2015. The leading ODI run scorers are Eoin Morgan (630 runs), Marcus Trescothick (528 runs) and Joe Root (480 runs). The leading ODI wicket takers are James Anderson (30 wickets) and Darren Gough (13 wickets).

In 2021, the Oval Invincibles were formed as a team in the newly-launched The Hundred competition. The initial games in both the men's and women's  competition were played on the ground.

End names
The north-western end of The Oval is traditionally known as the Vauxhall End, as it is nearer to the district of Vauxhall and its railway station. The opposite end (south-east) is known as the Pavilion End as it is the location of the Members' Pavilion.

21st-century redevelopment

At the end of the 2002 cricket season, Surrey started redeveloping the Vauxhall End. The development included demolishing the outdated Surridge, Fender, Jardine, and Peter May north stands, and creating in their place a single four-tier grandstand.  From completion until 2020 it was known as the OCS stand, as it was sponsored by Outsourced Client Solutions International Facilities Management Services.  As of the start of the 2021 season it is now known as the JM Finn stand because of a sponsorship deal with JM Finn    This work was completed in May 2005 and increased ground capacity to around 23,000.

In January 2007, Surrey CCC, announced plans to increase capacity by a further 2,000 seats, this time by redeveloping the Pavilion End. The Lock, Laker, and Peter May south stands were to be replaced by a new stand, which would have a hotel backing on to it. The Surrey Tavern at the entrance to the ground would be demolished, and a new pedestrian plaza would be created in its place, improving access to the ground and opening up views of the historic pavilion. These plans were delayed by objections raised by the Health & Safety Executive as the ground is close to a gasometer. Planning permission was eventually granted, but not before the credit crunch struck, as a result of which this development did not proceed.

In 2009, four masts of semi-permanent telescopic floodlights costing £3.7m were installed for use in late-day through evening matches. The floodlights were especially designed to comply with strict residential planning regulations to lessen their visual impact and any light overspill to residents, as well as to improve the game experience within the ground by reducing excess glare that can affect players, umpires, broadcasters and spectators.  Precision reflector systems were fitted for tight beam control to decrease overspill and direct light only where needed.  Each mast was made extendable to a maximum height of  and, when not in use, retractable to . At the end of each season, all four masts can be removed and stored away.

After the 2013 season, a new project was started to add 'wings' to either side of the OCS Stand at the Vauxhall End of the ground. The development was finished in time for the start of the 2014 season. Each 'wing' added 500 seats, increasing the capacity from 23,500 to 24,500.

In September 2015, the Peter May and Tony Lock stands were demolished, to be replaced by a single new and much larger stand named after Peter May. May led Surrey to their sixth and seventh consecutive County Championships in 1957 and 1958 and also captained England from 1955 to 1961, winning the Ashes in 1956. Construction of the new stand, which cost around £10m, began in September 2015. It officially opened on 15 May 2016, increasing the capacity of the ground by 1,300 seats to 25,300.

Following the demolition of the Tony Lock stand, the club renamed the Laker Stand as the Lock/Laker Stand, continuing to honour the contribution made by the spin partnership of Tony Lock and Jim Laker, who collectively took 3,108 wickets for the club.

The Lock/Laker stand was itself demolished in September 2019, and work began on the construction of a new development in its place, initially named "One Oval Square". The new structure will include a three-tier stand that will increase the ground's total capacity to almost 28,000, as well as providing state-of-the-art facilities for the Club's hospitality, conference and events businesses, and provide improved facilities for Members. The new stand is due to be completed in mid 2021. The project is part of a planned £50m long-term redevelopment of the ground by Surrey County Cricket Club which will see The Oval transformed into the largest cricket stadium in the western hemisphere, with a capacity of 40,000.

Floodlights were added in the shape of an O for oval on one side of the ground to emulate the e-shaped floodlights at Edgbaston.

Other sports

Football
The Oval was also an important site in the historical development of football in England. Football had been played in this part of London for many years prior to the inauguration of The Oval: "The Gymnastic Society", arguably the world's first organised football club, met regularly at nearby Kennington Common during the second half of the eighteenth century to play the game.

Between 1950 and 1963, amateur club Corinthian Casuals played their home matches at The Oval, with the pitch at the Vauxhall End.

First international football match

The Oval was the venue for the first representative football match in the world on 5 March 1870, England against Scotland, organised by The Football Association. The game resulted in a 1–1 draw, but is not recognised by FIFA as the first official international match because the Scotland team was selected only from London-based Scottish players. Similar representative international matches between England and Scotland took place at The Oval until February 1872.

On 8 March 1873, the England national team beat Scotland 4–2 in the first officially recognised international match to be played in England. England continued to play occasionally at The Oval until 1889.

First FA Cup final

The Oval was the site of the first FA Cup final, and also both semi-final matches. On 16 March 1872, The Wanderers beat the Royal Engineers 1–0 to win the first FA Cup.  This final was notable for the Engineers' then innovative footballing style of teamwork rather than individual play.  C. W. Alcock, Secretary of The Football Association, was the prime mover in the creation of the competition. He had also just become Secretary of Surrey CCC, so The Oval was the natural choice of venue for the final. Alcock was also captain of the successful Wanderers side. Apart from 1873, The Oval hosted all subsequent FA Cup finals until 1892.

Rugby
Between 1872 and 1879, The Oval held seven full cap international rugby union matches. The final of the United Hospitals Challenge Cup, the oldest rugby union cup competition in the world, was also first held at The Oval on Wednesday 3 March 1875.

Hockey
From 1935 to 1949 England women's international hockey matches were played at The Oval. One of these matches, in 1938, was the first match in any team sport to be televised by the BBC, as a trial for broadcasting the Oval Test later that year.

Baseball
On 12 March 1889, the Oval hosted an exhibition baseball game between the Chicago Whitestockings and an "All-American" team as part of Albert Spalding's 1888-1889 baseball world tour. The Oval was reported to have been full, and the match was attended by the Prince of Wales who greeted the players following the game.

Conferences and events

As well as being an international sporting venue, The Oval has a conference and events business. The Corinthian Roof Terrace built on the OCS Stand in 2013 features panoramic views of the London skyline.

Other events
The ground has also hosted other sporting events and also music concerts.

On September 18, 1971, a day-long rock concert was held at The Oval to raise funds for famine relief in war-torn Bangladesh. Featuring The Faces and headlined by The Who, a crowd of over 40,000 people attended, with the stage sited at the Vauxhall End. The following year, two more successful concerts were held; the first featuring Frank Zappa and Hawkwind, the second featuring Emerson, Lake and Palmer and Genesis.

The Oval has hosted exhibition matches for Australian rules football. The first such match was held between  and a team of All-Stars in 1972. In 1987, the Oval hosted what became known as the Battle of Britain between Carlton and North Melbourne, which included numerous fights and future multiple AFL Premiership coach Alastair Clarkson, at the time only a teenager, breaking Ian Aitken's jaw. In 2005, a record crowd for Australian rules football in England (18,884) saw Fremantle defeat the West Coast Eagles in the Western Derby (thus far, the only edition of the fixture to not be played in Perth). In 2012, approximately 10,000 attended a post-season exhibition match between Port Adelaide and the Western Bulldogs, which Port Adelaide won by 1 point.

In 2011, ahead of an NFL International Series game at Wembley Stadium, the Chicago Bears used The Oval as a practice facility.

Oval gasometer and gasworks

A tall Victorian gasometer, sited less than 50 metres beyond the north-eastern stadium wall, has been a dominating feature of the view from the ground since the mid 1800s. A movement to preserve iconic gasometers across the UK as important and historic monuments of Britain's industrial heritage has emerged in recent years, with the one visible from The Oval often cited as a particularly notable example. The skeletal but decorative wrought iron structure is a landmark in the area and has become an intrinsic part of The Oval's history and urban allure. The cricket commentator Henry Blofeld once said in a broadcast, "As the bowler runs in, it's so quiet you can hear the creak of the gasometer."

Although long unused as a gas holder, the aging structure was only officially decommissioned in 2014, with plans to demolish it being announced in 2013. Blofeld stated: "In comparison, pulling down the Victoria Memorial in front of Buckingham Palace would be child's play.". After local public protest at the proposed demolition, in March 2016 the structure was given Grade II listed status to protect its future.

Transport connections

See also

List of international cricket centuries at the Oval
Archbishop Tenison's School – a historic school located next to the ground, often used as a vantage point for TV cameras and crews
Gasworks Gallery, next to the ground
History of Test cricket from 1877 to 1883
History of Test cricket from 1884 to 1889
History of Test cricket from 1890 to 1900
List of cricket grounds in England and Wales
List of Test cricket grounds

References

External links

 Cricinfo page on The Oval
 Aerial view of The Oval at Google Maps
 Annotated aerial photograph
 Images of The Oval

Cricket grounds in London
Cricket in London
Defunct football venues in England
FA Cup final venues
Kennington
Sport in the London Borough of Lambeth
Sports venues completed in 1845
History of the London Borough of Lambeth
Surrey County Cricket Club grounds
Test cricket grounds in England
Corinthian-Casuals F.C.
Defunct rugby union venues in England
Australian rules football grounds
World War II prisoner-of-war camps in England
1845 establishments in England
1999 Cricket World Cup stadiums
1975 Cricket World Cup stadiums
1979 Cricket World Cup stadiums
1983 Cricket World Cup stadiums
2019 Cricket World Cup stadiums

The Oval


The International R series is a model range of trucks that was manufactured by International Harvester.  Introduced in 1953 as the replacement for the International L series, the model line marked the introduction of the IH "tractor" grille emblem on International road vehicles.  Sharing a cab with its predecessor, the R-series marked the introduction of four-wheel drive vehicles and the wider use of diesel engines.

Ranging from light-duty pickup trucks to tandem-axle semitractors, the series was produced across a wide variety of applications and design configurations.

During 1955, light and medium-duty versions of the model line were renamed the S-series.  Heavy-duty vehicles remained in production into the 1960s (under multiple model designations), ultimately replaced in 1972 by the Paystar line.

Model overview

Light duty
Including the R-110 through R-130 model lines, the light-duty trucks included pickup trucks, panel trucks, and chassis-cab vehicles (R-130).  In the transition to the R-series, the grille design was simplified with a body-color grille receiving two large horizontal slots.

Produced in 115 and 127-inch wheelbases, International pickup trucks (R-110 through R-130 series) were powered by a Silver Diamond 220 inline-6 engine; mated to a 3-speed manual transmission, the engine produced 100 hp.  For 1954, the R-100 was introduced.  Priced $60 less than the R-110, the new model line received different brakes and suspension tuning; the SD-220 was retuned for 104 hp output.  As an option, International introduced both an overdrive manual transmission and a 3-speed automatic transmission (a version of the GM Hydramatic); another option included power steering.

While sharing much of its body with its initial 1930s design, the Metro van followed the design of International light trucks, adopting the powertrain of the R-series pickups.  Derived from the R-series panel truck, in 1953, International introduced the International Travellall truck-based station wagon (a forerunner of the full-size SUV).

Medium duty

Including the R-140 through R-180 model lines, the medium-duty trucks were produced as chassis-cab conventional trucks.  The medium-duty trucks also served as the basis for the "Schoolmaster" cowled bus chassis.  The Loadstar made its return, denoting high-capacity versions of each model family.  For 1953, International introduced factory-produced four-wheel drive trucks for the first time (in the R-140 and R-160 series); previous 4x4 trucks were conversions (by either International or second-party manufacturers).

The medium-duty trucks were powered by multiple engines, dependent on model series.  The R-140 and R-150 shared the SD-220 with the light-duty trucks, while the R-160 was powered by a 108 hp SD-240 I6.  The R-170 retained the Super Blue Diamond 269 from the L-series, producing 101 hp; a 130 hp Super Black Diamond 282 I6 (standard in the R-180) was offered as an option.

The medium-duty R-Series (R-160 through R-180, along with R-190 and R-200 heavy-duty) chassis served as the basis for the Fageol van, a bus-style delivery van assembled by Twin Coach.

Heavy duty

The heavy-duty R-series range included multiple model families developed for multiple applications.  Alongside the standard conventional (R-190, R-200, R-210, R-220), a "D" denoted models with diesel engines and an "F" denoted tandem rear axles; an "H" was used for heavy-duty models.  Other R-series models were developed primarily for heavy-duty applications, including the R-306 (developed for fire trucks), and the long-nose RD-305/405 (to fit Cummins diesel engines).  An "RC/RDC/RDFC" model family was a COE, derived from conventional-cab trucks.

The R-series served as the basis for other model ranges, including the V-series; introduced in 1956, the V-series was developed to accommodate the introduction of V8 engines from International, receiving a slightly restyled hood and redesigned grille.

Following the introduction of the S-series, the heavy-duty R-series underwent several model revisions.  After becoming part of the S-series, the R-series COE was replaced by the DCO-400 "Emeryville" tilt-cab COE in 1957.  In 1960, International began to consolidate several heavy-duty models of the R-series and V-series, creating the construction-oriented F-series; the 1962 introduction of the Fleetstar short-hood conventional also was phased in as a replacement for multiple models of the R-series.  In 1965, the construction trucks dropped a letter prefix, becoming the 210/230 series; the model line was produced through 1972, when it was replaced by the Paystar.

S-series (1955-1957)

For 1955, International replaced the R-series light and medium-duty trucks with the S-series, ranging from the S-110 to the S-184 truck.  The model line also included the Schoolmaster bus chassis, Travelall wagon, and Metro delivery van.  Distinguished by a redesign to the front fascia, the S-series marked the introduction of four-wheel drive to light-duty vehicles.

During 1957, the S-series was replaced by the completely new A-series, forming the basis for International light trucks through 1968.  The front sheetmetal of the S-series was adopted by the International Metro (used by its hooded Metroette variant) through 1962. The S-184 continued production in Brazil until 1966 (when Chrysler purchased the Brazilian subsidiary of International Harvester).

For 1978 production, International revived the S-series name, using it on the medium-duty replacement for both the Loadstar and Fleetstar; the final model line designed by International Harvester, the S-series would be produced in various forms into the 21st century.

Production output
Production figures for 1953 were 123,026 (77,817 trucks built at Springfield, 38,613 at Fort Wayne, 626 at Emeryville and 5,970 at Bridgeport), plus another 13,912 trucks built at Chatham, Canada, for a grand total of 136,938.

In 1954, the production totalled 105,463 units (Fort Wayne built 33,637, Emeryville handled 680, Bridgeport produced 7,041, while Canadian Chatham plant churned out  7,073 units).

The biggest seller during the 1954-55 period was the R-110 model, with 72,659 built.

See also
List of International Harvester vehicles

References

Crismon, F W (1995). "International Trucks", p. 246-262, 'Motorbooks International Publishers and Wholesalers'.

Further reading

External links
International Harvester R (Internet Movie Cars Database)
Marque website

R series
Pickup trucks
Vehicles introduced in 1953
1950s cars
1960s cars
1970s cars

International R series


Miroslav Hák (9 May 1911, in Nová Paka, Bohemia – 29  June 1978, in Prague) was a Czechoslovak photographer. He was one of the members of Group 42.

Miroslav Hak was one of the most outstanding figures in the history of Czech modern photography and ranked among the innerly rich and actually never fully recognized and recognizable personalities in the sphere of art. He studied under his father, the photographer František Hák. Between 1925 and 1931 Hák worked as a photographer in Prague on publications including Pestrý týden and in Bratislava.

In 1937 he joined the avant-garde D34 Theatre of Prague as a photographer and from 1940  he worked in the film industry.

Between 1942 and 1948 Miroslav Hák associated with the Prague-based Group 42, which united avant-garde Czech photographers. From 1954 he served as a photographer at the Institute of Art Theory and History of the Czechoslovak Academy of Sciences.

References

Bibliography
Jan Kříže: Miroslav Hák, Pressfoto, Praha 1981, Evid. číslo: 31238-6257
Jiří Kolář: Miroslav Hák, fotografie z let 1940–1958, edice Umělecké fotografie, svazek 2, SNKLHU, Praha, 1959

External links
ARTMUZEUM.cz  Miroslav Hák
Miroslav Hák Exhibition Letohrádek Portheimka, Prague, 28.09.2011

1911 births
1978 deaths
Czechoslovak photographers
Portrait photographers
Group 42
People from Nová Paka

Miroslav Hák


Sentimental Journey is the debut solo album by English rock musician Ringo Starr. It was released by Apple Records in March 1970 as the Beatles were breaking up. The album is a collection of pre-rock 'n' roll standards that Starr recalled from his childhood in Liverpool. As a departure from the experimental quality that had characterised solo LPs by George Harrison and John Lennon since 1968, it was the first studio album by an individual Beatle to embrace a popular music form.

Starr began recording Sentimental Journey in London in October 1969, in response to Lennon's private announcement that he was leaving the Beatles. He recruited George Martin to produce the sessions and used different musical arrangers for each song. Starr made a promotional film for the song "Sentimental Journey", in which he performed with an orchestra and dancers at the Talk of the Town nightclub. The cover of the album shows Starr in front of a pub in the Dingle area of Liverpool, where he grew up.

The album's impact was compromised by Paul McCartney's refusal to delay the release of his solo debut, McCartney, and by McCartney then initiating the group's break-up. Despite receiving mixed reviews from music critics and confusing Beatles fans through its choice of music, Sentimental Journey charted inside the top ten in the United Kingdom and peaked at number 22 on the Billboard Top LPs chart in the United States. The album was a forerunner to standards collections by artists such as Harry Nilsson and Linda Ronstadt, and to the vogue from the late 1990s onwards for rock artists such as Bryan Ferry, Rod Stewart and Boz Scaggs to embrace big band music.

Background

Despite his limited songwriting experience, Ringo Starr was encouraged to make a solo album by his Beatles bandmates. His mother Elsie Starkey and stepfather Harry Graves also supported the idea when Starr visited them at their Liverpool home. His mother said that Starr had a good singing voice. He first considered making a country music album, but then decided to record a collection of old standards that would reflect his mother's favourite songs. The tapes from the Beatles' January 1969 Get Back film project captured Starr expressing a wish to make an album of standards.

Starr committed to the project in order to keep active following John Lennon's unpublicised decision in September 1969 to leave the Beatles, signalling that the group were effectively no more. Starr described his mindset at the time: "I sat in the garden for a while wondering what the hell to do with my life ... It was quite a dramatic period for me – or traumatic, actually." He asked Beatles producer George Martin to produce the album. Starr compiled a list of the songs he wished to record, and Martin and Beatles aide Neil Aspinall contacted the musical arrangers.

The material Starr selected included works from the big band era and songs well known through recordings by Bing Crosby, Doris Day, Frank Sinatra, Fats Waller and Matt Munro. Starr explained their appeal in a 1990 interview: "I was brought up with all those songs, you know, my family used to sing those songs, my mother and my dad, my aunties and uncles. They were the first musical influences on me." He decided to have each song arranged by a different musician – ranging from his London associates Martin, Paul McCartney, Klaus Voormann and Maurice Gibb, to American arrangers and producers such as Richard Perry, Quincy Jones and Elmer Bernstein. He thought the variety would add an element of interest to the project.

Recording

October 1969 – January 1970
The recording for Sentimental Journey was initially sporadic, as Starr was involved in other musical activities through to the end of 1969. These included participating in sessions for Leon Russell with George Harrison in October. He also played drums on Harrison's productions for Apple Records artists Doris Troy and Billy Preston.

The session musicians on the album were credited as the George Martin Orchestra. Although many of the arrangements incorporated drums and other rock instruments, Starr's role was confined to that of lead vocalist. Preston played keyboards on some of the songs. Aspinall recalled inviting some of the arrangers to create the backing tracks themselves, with their chosen musicians, and that the tapes were then sent to London for Starr to add his vocals. EMI engineer Phil McDonald was the main recording engineer in London, and Geoff Emerick prepared some of the mixes for the album. Sessions began on 27 October, when Starr, backed by an orchestra, recorded "Night and Day" at EMI Studios (now Abbey Road Studios). Martin conducted the orchestra from an arrangement by Chico O'Farrill. The track was mixed the same day.

The next session took place on 6 November at Wessex Sound Studios. Starr and the orchestra, conducted by Martin, recorded "Stormy Weather", although the song was omitted from the album. The following day, they recorded the backing track for the McCartney-arranged "Stardust", which nearly earned the album the title of Ringo Stardust. On 14 November, Starr added his vocal to "Stardust" and began recording "Dream". Arranged by Martin, the latter was finished on 18 November at Trident Studios. The backing track for "Blue, Turning Grey Over You", from an arrangement by jazz bandleader Oliver Nelson, was taped on 28 November and completed on 4 December, although Starr did not record his vocal until early in 1970.

Returning to other projects, Starr spent time promoting The Magic Christian, a film in which he co-starred with Peter Sellers. This included being filmed at several London locations for a BBC2 documentary devoted to him, for the show Late Night Line-Up. He also appeared on With a Little Help from My Friends, an all-star television tribute to Martin that was first broadcast on the ITV network on 24 December. For the latter, Starr lip-synched to his Abbey Road composition "Octopus's Garden" in a Yorkshire Television studio on 14 December, after recording a new vocal at EMI on 8 December. On 3 January 1970, he joined Harrison and McCartney to record "I Me Mine" and add overdubs to "Let It Be", for their inclusion on the album accompanying the documentary film from the Get Back sessions, now titled Let It Be.

On 14 January, at Olympic Sound Studios, Starr recorded his vocals for "Love Is a Many Splendored Thing" and "Sentimental Journey". The backing track for "Love Is a Many Splendored Thing" had been taped at A&M Studios in Los Angeles on 26 December, when Jones conducted a 27-piece orchestra playing his arrangement. The Perry-arranged "Sentimental Journey" was also recorded in the US late the previous year; the backing featured an unusual mix of instruments, including a "talking guitar" solo. On 26 January, Starr and his wife Maureen Starkey left for the US to attend the premiere of The Magic Christian and promote the film.

February–March 1970
Authors Chip Madinger and Mark Easter write that after the intermittent recording since October the previous year, work on Starr's debut album began "in earnest" in early February 1970. From this point, EMI's Studio 2 became the main location. A 3 February session was devoted to a remake of "Love Is a Many Splendored Thing", since Jones and Martin were unhappy with the previous recording. Jones flew to London to work on the new version; Starr recorded a vocal that day, only to replace it on 5 February. More time was spent on "Love Is a Many Splendored Thing" than on any other song, as strings were then added to the remake on 17 February, followed by backing vocals and further instrumentation on the 19th.

On 9 February, Starr added his vocal to Bernstein's arrangement of "Have I Told You Lately That I Love You?", which had been taped at A&M on 3 February. At Martin's urging, Starr recorded an improved vocal part on 18 February. "I'm a Fool to Care" was recorded at EMI on 11 February. Voormann, the song's arranger, conducted a 15-piece jazz orchestra and Starr added his vocal track. On 12 February, a 31-piece orchestra and a chorus of nine singers recorded Les Reed's arrangement of "Let the Rest of the World Go By". Starr added his vocal that day but then replaced it on 18 February. On 17 February, Francis Shaw conducted a 15-piece string section as a final addition to "I'm a Fool to Care". Following the 18 February overdubbing session, Starr taped an early version of his rock song "It Don't Come Easy" (then titled "You Gotta Pay Your Dues"), with Harrison directing the musicians.

On 20 February, final mixing took place on "I'm a Fool to Care", "Let the Rest of the World Go By", "Sentimental Journey" and "Have I Told You Lately That I Love You?" Starr recorded his vocal for "Blue, Turning Grey Over You" on 24 February. At De Lane Lea Studios the following day, Johnny Dankworth conducted a 20-piece orchestra on his arrangement of "You Always Hurt the One You Love"; Starr then added his vocal to the track. The songs "Autumn Leaves" and "I'll Be Looking at the Moon" were thought to be outtakes from the February 1970 sessions and were subsequently sought out by collectors. According to Madinger and Easter, however, studio documentation does not support their existence, and the two songs were merely listed as candidates for inclusion in a contemporaneous magazine article.

Starr and Martin moved to Morgan Sound Studios on 5 March, at McCartney's suggestion. They taped the basic tracks, with a 36-piece orchestra, for "Whispering Grass (Don't Tell the Trees)", arranged by Ron Goodwin, and the Gibb-arranged "Bye Bye Blackbird". Goodwin and Gibb each conducted the orchestra and Starr added vocals to both songs. On 6 March, recording for the album was completed at Morgan, with the addition of saxophone (played by Dankworth), drums and piano on "You Always Hurt the One You Love". This and four other tracks were mixed that evening at EMI Studios.

Packaging and promotional film

The album was first announced in December 1969 with the title Ringo Stardust. Beatles historian Bruce Spizer comments on the aptness of the eventual title, since Starr was "literally taking his fans on a sentimental journey" through his choice of songs.

The LP cover consisted of a photograph by Richard Polak, showing the Empress pub in Dingle, the area of Liverpool where Starr grew up. The Empress was his local pub as a young man; according to author Alan Clayson, in past decades, all of the album's standards would have been sung by happy patrons in the bar there. A photo of Starr dressed in a tuxedo was superimposed so that he appears to be standing at the door to the pub. The figures in the windows are his relatives, superimposed from family photos. The back cover had a photo of Starr in casual clothing, standing outside a building and gesturing towards the wall. The track listing, with the name of each arranger, and other album credits appear in white as if printed on the wall.

To promote the album, Starr made a promotional film for the title track, which was directed by Aspinall and shot before an invited audience at the Talk of the Town nightclub on 15 March 1970. Starr sang the song live over a mix of the studio recording in which his main vocal had been removed, and the Talk of the Town Orchestra, conducted by Martin, played along behind him. Doris Troy, Madeline Bell and Marsha Hunt appeared as backing singers.

In author John Winn's description, in its grand production, the "Sentimental Journey" clip rivals the sequence for "Your Mother Should Know" that closed the Beatles' 1967 TV film Magical Mystery Tour. The stage backdrop contained the LP cover image blown up and expanded to include more of the Dingle neighbourhood. Large flags hung down from each side of the set; midway through the song, from opposite sides of the stage, male dancers appear from under the American Stars and Stripes and female dancers appear from under the British Union Jack to congregate around Starr. Towards the end, a large platform carrying Troy, Bell and Hunt lowers from the ceiling.

Release
Apple Records released Sentimental Journey in the UK on 27 March 1970 (with the catalogue number Apple PCS 7101) and in the US on 24 April (as Apple SW 3365). Following avant-garde and other experimental solo albums by Harrison and Lennon (the latter in collaboration with Yoko Ono) since 1968, it was the first studio album in the popular music vein by an individual Beatle. The "Sentimental Journey" promo clip first aired on Frost on Saturday on 29 March, during Starr's live appearance on the show. In the US, it was shown on The Ed Sullivan Show on 17 May. Starr also promoted the album with interviews for BBC Radio 1's Scene and Heard, BBC Radio 2 and Radio Luxembourg.

The release of Sentimental Journey was the source of friction between Starr and McCartney, who was estranged from his bandmates due to their appointment of Allen Klein to manage the band's Apple Corps organisation. McCartney refused to have his debut solo album, McCartney, held back in Apple's release schedule to allow for Sentimental Journey and the Beatles' Let It Be album. The two musicians had a heated exchange at McCartney's St John's Wood home on 31 March, when Starr personally delivered a letter from Harrison and Lennon explaining the need to delay the release of McCartney. To placate McCartney, Starr conceded the point, but the confrontation contributed to McCartney announcing the Beatles' break-up in his promotion for McCartney.

According to NME critic Bob Woffinden, the album was seen as a "grievous faux pas" amid the publicity surrounding McCartney's announcement on 9 April, since it appeared as though Starr had similarly tried to launch a solo career on the news that the Beatles had broken up. Starr later rued that, because McCartney was issued so soon after his record, it "slayed" Sentimental Journey. The album peaked at number 7 on the UK Albums Chart and number 22 on the US Billboard Top LPs chart, despite the lack of a supporting single. In the US national charts compiled by Cash Box and Record World, it reached number 21 and number 20, respectively. The album sold 500,000 copies there within the first two weeks of release, but failed to achieve gold certification by the Recording Industry Association of America as McCartney and Let It Be did.

In music journalist Paul Moody's description, Sentimental Journey established Starr as "the rootsiest and least affected of the Fab Four". In a Radio 1 interview with Johnny Moran, Harrison described it as "a great album" and "really nice". By contrast, Lennon told Rolling Stone editor Jann Wenner in December 1970 that he was "embarrassed" by the record. Starr later likened the project to "the first shovel of coal in the furnace that makes the train inch forward". He told music journalist Paul Du Noyer in 2001: "if it did nothing else it got me off my bum, back into recording. Then I started to write a bit, and I did 'It Don't Come Easy', 'Back Off Boogaloo', tracks that George Harrison co-wrote with me." Following the album's release, he considered offers for a Las Vegas concert season, performing for hotel diners in the style of Elvis Presley's engagements at the International, but decided against it.

Capitol Records released a budget edition of the album in February 1981. Sentimental Journey was remastered and reissued on CD in 1995, on 1 May in the UK and on 15 August in the US. The promotional clip for the title track appeared on the CD/DVD version of Photograph: The Very Best of Ringo Starr.

Critical reception

Contemporary reviews
Sentimental Journey received an unenthusiastic response from music critics. According to Beatles biographer Nicholas Schaffner, the reaction from critics and fans was "one of embarrassed silence", while journalist John Blake said it was the subject of derision. In his review for Rolling Stone, Greil Marcus called the album "horrendous" but added, "at least it's classy." He also wrote: "There is a certain thrill to hearing Ringo swing immediately and finally flat on 'Stardust', reportedly Judy Agnew's favorite song. She won't like this version, which just might keep Ringo from being presented with an invitation to sing one of the nominated songs on next year's Academy Awards show. But a Grammy seems inevitable."

In a review that Alan Clayson highlights as especially kind, Andy Gray of the NME said that Starr's singing might surprise listeners, as it was not instantly recognisable as him, and was "mostly ... on the beat and on the melody line". Gray described the arrangements as "top-class" and predicted "healthy sales" for the LP.

John Gabree of High Fidelity considered that the impressive cast of musical arrangers was merely "compensating for the fact that Ringo can't sing" and dismissed most of the material as "some of the tiredest junk ever written". Village Voice critic Robert Christgau said the album's appeal was confined to "over-fifties and Ringomaniacs". In Stereo Review, Don Heckman wrote that Sentimental Journey suggested that Starr had long hidden "the heart of a determined romantic" behind his Charlie Chaplin-like acceptance of his standing as the Beatles' "comic relief". Heckman criticised the selection of standards as "unbelievably hoary" but said the contrast in arrangements was stranger still, from O'Farrill's "pseudo-Basie" contribution to Bernstein's "Hollywood Bowl rock".

Retrospective assessments and legacy

Writing in the late 1970s, NME critics Roy Carr and Tony Tyler called the record "a gawky, badly sung, overly sentimental selection of moribund mambos" and "the most embarrassing (to date) of all Beatles solo excursions". Bob Woffinden described it as a project that "begged failure" due to the material and the unsuitability of Starr's voice, and because, even if Starr had sung them "perfectly", the Beatles had "revolutionised popular music" and provided a "fresh set of classics" that made such sentimental songs redundant. He also rued that, after fans had bought the album out of loyalty, they were then wary of Starr's far more worthy follow-up, Beaucoups of Blues.

NPR music critic Tim Riley reacted more favourably: "Backed by full jazz band and occasional strings, Ringo poses as a Liverpudlian Jack Jones, with surprisingly good results." Riley added that the album had "a deceptively easy feel, and the strongest moments ... ('Dream' and 'Blue, Turning Grey Over You' ...) confirm his fundamental appeal as a personality."

Sentimental Journey predated standards collections by other rock artists, including Harry Nilsson's A Little Touch of Schmilsson in the Night, Linda Ronstadt's What's New and Rod Stewart's It Had to Be You: The Great American Songbook. On this point, William Ruhlmann of AllMusic writes: "Coming more than a decade before the fad for standards albums by rock-era pop stars like Linda Ronstadt, the album was taken not as a career move, but as a highly eccentric and expensive novelty of a kind only Beatles could afford to indulge. In retrospect, it remains harmlessly charming, if unexceptional."

Bruce Spizer comments that Starr's album was "indeed novel" for a rock musician, particularly as he was yet to turn 30 and big band music was highly unfashionable in 1970. In addition to citing Ronstadt's 1980s albums with arranger Nelson Riddle and Stewart's series of Great American Songbook releases, Spizer views it as a precursor for "aging rockers" such as Bryan Ferry with As Time Goes By and Boz Scaggs with But Beautiful to "belatedly [jump] on the big band wagon" over subsequent decades. In 2017, following Bob Dylan's recent albums exploring the Great American Songbook, Pitchfork included Sentimental Journey in its list of eight recommended standards collections that "surprise" and "involve artists finding themselves within songs meant for all". The writer admired Martin's production and said that Starr's "everyman charm" bypassed his vocal limitations and ensured that the selections became "his own".

Track listing

Personnel
According to Bruce Spizer's book The Beatles Solo on Apple Records (except where noted):
Ringo Starr – vocals
Billy Preston – piano on "I'm a Fool to Care", organ on "Love Is a Many Splendored Thing"
George Martin – conductor on "Night and Day", "Dream" and "Sentimental Journey"
Ron Goodwin – conductor on "Whispering Grass"
Maurice Gibb – conductor on "Bye Bye Blackbird"
Klaus Voormann – conductor on "I'm a Fool to Care"
Francis Shaw – conductor on "I'm a Fool to Care" (supplementary strings) and "Love Is a Many Splendored Thing"
Johnnie Spence – conductor on "Blue, Turning Grey Over You"
John Dankworth – orchestral conductor and saxophone on "You Always Hurt the One You Love"
Les Reed – conductor on "Let the Rest of the World Go By"

Charts

Notes

References

Sources

External links

Starr's 1970 promotional film for "Sentimental Journey" at YouTube
"Why Ringo Starr Began His Solo Career with 'Sentimental Journey'" at Ultimate Classic Rock
 "Your Mother Should Know: Ringo Starr's 'Sentimental Journey'" at uDiscover

1970 debut albums
Ringo Starr albums
Apple Records albums
Albums produced by George Martin
Albums recorded at Olympic Sound Studios
Albums recorded at Morgan Sound Studios
Albums recorded at Trident Studios
Albums recorded at A&M Studios
Albums arranged by George Martin
Albums arranged by Klaus Voormann
Albums arranged by Maurice Gibb
Albums arranged by Paul McCartney
Albums arranged by Quincy Jones
Albums arranged by Oliver Nelson
Albums conducted by George Martin
Albums conducted by Klaus Voormann
Albums conducted by Les Reed (songwriter)
Traditional pop albums
Covers albums
Jazz albums by English artists

Sentimental Journey (Ringo Starr album)


Kerugoya  is the biggest town in Kirinyaga County, located 10 kilometres east of Karatina and 40 kilometres west of Embu.
It is situated in the former Kirinyaga district. Travel directions by road from Nairobi, is through Thika road past Thika, Kenol and Makuyu (along the Thika Road). The road leads through Makutano until Sagana town, where a road branches off the East towards Kagio town up to Kirinyaga University branching North towards the town.

You can also drive through the Plains of Mwea branching east at Makutano, famous for the largest rice irrigation scheme in Eastern Africa, passing numerous communes inhabited by the Kikuyu, majority of whom practise Subsistence farming.

Kerugoya town mostly serves as an urban area to the inhabitants of Kangaita, Kimunye, Kagumo and Karia.

Name
The word is Kerugoya comes from Kikuyu words 'Kiri-guoya' which means 'The fearful (Bush)'. The place was formerly covered with thick bushes and when the whites arrived in the villages, they named the so-called 'Kithaka kiri guoya' (Gichugu Dialect). Hence the modern name Kerugoya.

Administration
Kerugoya forms a local authority together with another township, Kutus. It is known as Kerugoya/Kutus municipality. The municipality has a population of 39,441, of whom 14,056 are classified urban (1999 census ).

The municipality has six wards: Kerugoya Central, Kerugoya North, Kerugoya South, Kutus South, Kutus Central and Nduini. Most of these wards belong to Kerugoya/Kutus Constituency. Kerugoya was also headquarters of the former Central division of Kirinyaga District.

Education
A famous deaf school Kerugoya School for the Deaf is based in Kerugoya Town. Others are, Kirinyaga Township Primary School, Kerugoya Boys High School, Kerugoya Girls High School, Facing MT. Kenya High. others are Kerugoya Good shepherd academy kerugoya St. Joseph Academy and many more.

In 2011, Kenya Certificate of Primary Education Kirinyaga county mean mark was number 1 out of 47in the whole country.

The Kirinyaga University, formally known as Kirinyaga Technical Institute as well as Kirinyaga University College, is situated in Kerugoya. It received the charter to operate as independent university in October 2016 by Kenyan president Uhuru Kenyatta among 8 other universities.

Economy
Kerugoya is the biggest town in Kirinyaga county in terms of area, population, business capacity and amenities. It is associated as economic hub of the region given the big arable farms held by local farmers: Tea, coffee, macadamia and others food stuff are among the crops grown in the upper area, as the region is most suitable for farming.

To support agricultural and dairy farming there are several agro-vet business and officers from the Ministry of Agriculture.

There are various banks (among them Equity bank, CBA, Cooperative Bank, Family Bank, Barclays Bank, Sidian Bank, Bingwa Sacco, Kirinyaga Farmers Sacco, Muhigia Sacco and FEP Bank). This shows good performance economically.

Milk production in Kirinyaga county is on the rise with many farmers favoring dairy farming for its handsome rewards. Kirima Slopes Co-operative Society buys milk from farmers and then sells it to Brookside Dairy. In the year 2014, the cooperative society which is a community-based initiative received Ksh.89 million as payment for milk sold to Brookside company.

Transport
When traveling from Nairobi, the capital city, Kerugoya town is easily accessible by use of public service vehicle (Matatu). it costs an average of 250 to 300 KES and it typically takes about two hours of travel at a legal speed limit of 80 km/h. Mostly these vehicles are located in Tea Room and Nyamakima bus stages. The widely used Saccos are as follows: KUKENA, Supreme Shuttle, 2NK or Private vehicle etc.

Kerugoya has multiple gas stations such as Total, Kobil, and National Oil.

References

External links

Kirinyaga County
Populated places in Central Province (Kenya)
County capitals in Kenya

Kerugoya


John Cain Arena is a multi-purpose sports and entertainment arena located within Melbourne Park in Melbourne, Victoria, Australia. It is the second-largest venue and show court for the Australian Open, the first Grand Slam professional tennis tournament held each calendar year. The arena also hosts various other sporting and entertainment events throughout the year.

The arena has sometimes been dubbed "The People's Court" during Australian Open matches, owing to its accessiblity for Australian Open patrons with a ground pass (i.e. the cheapest form of ticketing available) and the close proximity of spectators to the players, with the arena developing a reputation for being an incredibly passionate venue with a terrific atmosphere, particularly when Australians are playing on the court.

History

Construction commenced in the late 1990s, and was completed in 2000. The arena features a cycling track, which is covered over with seating for court events. The tennis court is a GreenSet surface (between 2008 and 2019 the surface was Plexicushion) and the roof is retractable, making it one of the few venues where tennis can be played during rain.

The venue is able to hold a maximum spectator capacity of 11,000 for events such as music concerts where general floor seating or standing room is available. For basketball, netball and tennis the capacity is 10,500. When the velodrome is in use the northern and southern banks of seats, which cover the turns of the velodrome, are raised to reveal the track while the floor seating is removed leaving a reduced capacity of 4,500.

Following the renovation of the Margaret Court Arena as part of a A$363 million upgrade to Melbourne Park in time for the 2015 Australian Open, which included a retractable roof and an increase in capacity from 6,000 to 7,500, both Melbourne United (formerly the Melbourne Tigers) and the Melbourne Vixens announced their intentions to move from the arena to the smaller capacity Margaret Court Arena (MCA) from 2015. However, Melbourne United abandoned their move to MCA after the 2015–16 NBL season and continue to play their games at John Cain Arena, while the Vixens will continue to split their games between John Cain and Margaret Court Arenas, with John Cain used for games expected to attract a larger crowd.

Naming rights

During construction, the project was referred to as the Melbourne Park Multi-Purpose Venue. When it opened in 2000, a sponsor was immediately assigned naming rights and it became known as the Vodafone Arena. This arrangement lasted for eight years. On 12 May 2008, it was announced that its name would change to Hisense Arena in a multimillion-dollar deal that was originally supposed to last six years. Meanwhile, temporarily throughout the 2006 Commonwealth Games, the Hisense Arena reverted to being called "Multi Purpose Venue" for the duration of the sporting event. In 2014 the naming contract with the multinational Hisense was extended for a further three years. Despite the contract ending at the conclusion of 2017, Hisense Arena remained the name of the venue for several more months, effectively for free.

In August 2018, Tennis Australia announced it had bought the naming rights and had elected to call it Melbourne Arena, saying it preferred a non-commercial title "iconic with the city". The non-corporate name was to be in effect for five years, though the Victorian Government and Tennis Australia did not rule out extending the arena's name beyond that period.

On 3 February 2020, Victorian Premier Daniel Andrews announced that the arena would be renamed "John Cain Arena" in honour of John Cain, Jr., the late State Premier of Victoria, who is regarded as a critical figure in keeping the Australian Open in Melbourne in the mid 1980s. The new name came into effect in December 2020.

Events

Australian Open

Every year, the venue hosts many matches as part of the Australian Open tennis tournament. It has usually only been used for day matches in the first 10 days of the tournament. In 2012 the venue began hosting night matches during the first week of the tournament, at the same time as matches being played on the adjacent Rod Laver Arena. The first Australian Open match played at the venue was on 15 January 2001 and lasted less than ten minutes, when Monica Seles advanced to the second round after Brie Rippner was felled with injury in the second game of the match. The first match completed on the court was Tim Henman's first round win over Hicham Arazi.

Basketball

John Cain Arena is the main home court of National Basketball League (NBL) teams Melbourne United and South East Melbourne Phoenix. Formerly, the Victoria Titans and South Dragons used it as their home, until high rental prices forced the teams to find other venues. Until this move the venue was largely devoid of sporting events outside of the two weeks of the Australian Open tournament held each January. The Dragons, founded in 2006 until they withdrew from the competition after winning the championship in 2009, played three seasons at the arena. For the 2012–13 NBL season, the Tigers (now renamed Melbourne United) returned to the venue, and played 7 of their 13 home games at the arena. They later shifted all home matches to the venue. The Phoenix, who made their debut in the 2019–20 NBL season, share their home with John Cain Arena and the State Basketball Centre in Wantirna South.

The largest basketball crowd was on 4 December 2016 during the 2016–17 NBL season when 10,300 fans saw Melbourne United defeat the New Zealand Breakers 98–74. This broke the previous basketball attendance record of 9,308 set in 2008 in a local derby game between the South Dragons and Melbourne Tigers.

The venue co-hosted the 2007 FIBA Oceania Championship where the Australian national basketball team won the gold medal.

John Cain Arena has also hosted several Harlem Globetrotters Exhibition Games during their tours of Australia.

On 4 February 2023, John Cain Arena hosted a WNBL game between the Southside Flyers and the Sydney Flames following increased interest in the match due to the participation of Hall of Fame player Lauren Jackson. The game set a WNBL record of 7,681 spectators.

Netball

Netball is played regularly at the venue. It is the home court of the Melbourne Vixens and Collingwood Magpies in the Suncorp Super Netball competition. The Melbourne Phoenix and Melbourne Kestrels also played games at the arena in the Commonwealth Bank Trophy before merging to form the Vixens. The Vixens also used it for home games in the ANZ Championship.

The Australian Diamonds sometime play home international fixtures at the venue. The venue also hosted the 2016, 2017 and 2018 Fast5 Netball World Series.

The largest netball attendance at the arena was on 20 November 2004 when 10,300 saw the Diamonds defeat New Zealand 53 to 51.

Commonwealth Games

During the 2006 Commonwealth Games the stadium was used for basketball and other sports. Its name was changed to Multi-Purpose Venue with all Vodafone-related signage covered over with black shrouds because Telstra, a competitor of Vodafone, was a major sponsor of the games.

Cycling

In 2004 and 2012, the UCI Track Cycling World Championships were held at the venue. Other events were UCI World Cup events and Australian Madison Championships.

Ice hockey

On 14 and 15 June 2013, the venue played host to an ice hockey exhibition series between teams representing the United States and Canada.

Entertainment

The arena hosts several musical and entertainment events each year, in concert with other venues in the precinct. On 26 February 2007, Irish boy band Westlife held a concert for The Love Tour supporting their LP The Love Album. On 18 September 2018, Taiwanese vocal pop band Mayday held a concert for Life Tour supporting their album History of Tomorrow. From 2011 to 2013 the venue hosted the Melbourne judges' audition stages of the Seven Network singer search program The X Factor. Its also been the home to the Victorian State Schools Spectacular since 2008.

In November 2022, a stampede occurred outside the venue prior to a concert for American singer Steve Lacy, with poor organization by stadium management being blamed for it. The concert was originally fixtured to be held at The Forum in Melbourne's central business district, but was upgraded due to high demand.

See also

List of sports venues named after individuals
List of tennis stadiums by capacity
List of indoor arenas in Australia

References

External links

 Official website
 John Cain Arena at Austadiums

2000 establishments in Australia
Sports venues completed in 2000
Sports venues in Melbourne
Retractable-roof stadiums in Australia
National Basketball League (Australia) venues
Basketball venues in Australia
Netball venues in Victoria (state)
Velodromes in Australia
Boxing venues in Australia
Tennis venues in Australia
Indoor arenas in Australia
Melbourne Vixens
Collingwood Magpies Netball
Melbourne United
South Dragons
South East Melbourne Phoenix
Sport in the City of Melbourne (LGA)
Buildings and structures in the City of Melbourne (LGA)
2006 Commonwealth Games venues
Track cycling at the 2006 Commonwealth Games
Arena

John Cain Arena


Dave Trott is a creative director, copywriter, and author. Trott studied at the Pratt Institute in New York City, majoring in advertising before going on to found the advertising agencies Gold Greenlees Trott, Bainsfair Sharkey Trott and Walsh Trott Chick Smith. In 2004 he was given the D&AD President's Award for lifetime achievement in advertising.

Career history

Dave Trott trained in New York at Carl Ally Inc. He then moved back to London in 1971 as a trainee copywriter at Boase Massimi Pollitt where his campaigns included Pepsi's "Lipsmackinthirstquenchin" and Courage's "Gercha" with John Webster. In 1980, Trott founded the advertising agency GGT with Mike Gold and Mike Greenlees. GGT was behind Toshiba's "Hello Tosh gotta Toshiba", Holsten Pils, Cadbury's Flake, Red Rock Cider, Cadbury's Creme Eggs, LWT posters, and Ariston's "Ariston-and-on-and-on". GGT was voted Agency of the Year by Campaign magazine, and Most Creative Agency in the World by Advertising Age magazine of New York.

In 1990 Trott left GGT and set up Bainsfair Sharkey Trott, which he left in 1993, He then set up WTCS with Amanda Walsh, Murray Chick, and Gordon Smith. This morphed into CST and in 2011 merged with The Gate London, Trott was the Chairman of The Gate until August 2014 when he left the agency.

In January 2017 he appeared on BBC Radio 4's The Museum of Curiosity. His hypothetical donation to this imaginary museum was a ploughman's lunch which "traditional" dish, as he noted, was invented in the 1960s as a marketing campaign for British cheese.

Published works

In 2010 Trott wrote Creative Mischief, a book which detailed the things he had learned in his 40-year career in advertising. This was followed in 2013 by the release of his book Predatory Thinking: A Masterclass in Out-Thinking the Competition. In 2016, Trott's third book One + One = Three was released.

References

External links
 Dave Trott's Twitter Account
 Dave Trott's Website
 Dave Trott's Blog at Campaign Magazine

British copywriters
Living people
Date of birth missing (living people)
1947 births
Trott, David
Pratt Institute alumni
Advertising directors

Dave Trott (advertising executive)


Miss USA 1997 was the 46th Miss USA pageant, held at Shreveport, Louisiana in January and February, 1997.   Delegates arrived in the city on January 19, the preliminary competition was held on February 2, 1997 and the final competition on February 5, 1997. The event, held at the Hirsch Memorial Coliseum was broadcast live on CBS.

At the conclusion of the final competition, Brook Lee of Hawaii was crowned by outgoing titleholder Ali Landry of Louisiana, becoming the fourth Hawaiian to win the Miss USA pageant and the first win in 19 years, since Judi Andersen in Miss USA 1978. After Lee won the Miss Universe 1997 title three months later, first runner-Up Brandi Sherwood of Idaho immediately inherited the Miss USA title on the night of the latter competition. Sherwood became the first Miss Teen USA winner (Miss Teen USA 1989) and the third Miss Teen USA state delegate in a row to hold the Miss USA title. Upon Sherwood inheriting the Miss USA 1997 title, she also became the first Idaho delegate to hold the Miss USA title.

The pageant was held in Shreveport, Louisiana for the first time, having been held in South Padre Island, Texas the previous three years and in Wichita, Kansas the four years prior.  The new location was announced in August 1996, and then reigning Miss USA, Louisiana native Ali Landry, was invited to attend the official contract signing.

The pageant was hosted by George Hamilton for the only time, and Marla Maples Trump, soon-to-be ex-wife of pageant owner Donald Trump, offered colour commentary for the only time. Randy Newman provided entertainment during the competition.

Just prior to the final event it was announced that broadcaster CBS had entered a partnership with Trump, becoming half-owners of the Miss USA pageant and the associated Miss Teen USA and Miss Universe competitions.

While the delegates were in Louisiana, over sixty corporate sponsors provided funding for events, which included dinners, receptions and cocktail parties.  There were over three hundred volunteers involved.  The delegates were involved in more than forty-five hours of rehearsals prior to the preliminary competition and final show.

This was the first year in which delegates were allowed to choose whether they wanted to wear one-piece or two-piece bathing suits for the preliminary and final swimsuit competitions. In previous years, the delegates were all assigned to only wear either one or the other.

See also
Miss Universe 1997
Miss Teen USA 1997

References

External links
Miss USA official website

THE HEAVY BURDEN OF MISS USA

1997
February 1997 events in the United States
1997 beauty pageants
1997 in Louisiana

Miss USA 1997


Koga may refer to:

Places

Japan
 Koga, Ibaraki (古河)
 Koga, Fukuoka (古賀)
 Koga Domain

Elsewhere
 Koga, a town in Tanzania
 Koga (crater) on Mars

Other uses
 Koga (surname)
 Kōga-ryū, a school of ninjutsu
 Koga clan, Japanese clan
 KOGA (formerly Koga Miyata), bicycle brand from the Netherlands
 Koga Cycling Team, a defunct Dutch cycling team

Fictional characters
 Koga Gō, a character in the Bleach franchise
 Koga, a Fuchsia City gym leader and Elite Four member in the Pokémon universe
 Koga, a ninja dog clan in the manga and anime Ginga: Nagareboshi Gin
 Koga, the name of the ninja clan that trained Firefly in the G.I. Joe universe
 Koga, the leader of the eastern yōkai-wolf tribe in the Inuyasha series
 , the Japanese name for the manga Basilisk by Masaki Segawa

See also
 Koka (disambiguation)
 Kouga (disambiguation)
 KOGA (disambiguation)

Koga


Yarmouth is a census-designated place (CDP) in the town of Yarmouth in Cumberland County, Maine, United States. The population was 6,125 at the 2020 census. It is part of the Portland–South Portland–Biddeford, Maine Metropolitan Statistical Area.

Geography
Yarmouth is located at  (43.800577, −70.19403).

According to the United States Census Bureau, the CDP has a total area of , of which  is land and , or 2.10%, is water.

Demographics

As of the census of 2000, there were 3,560 people, 1,386 households, and 927 families residing in the CDP. The population density was . There were 1,433 housing units at an average density of . The racial makeup of the CDP was 98.54% White, 0.42% Black or African American, 0.03% Native American, 0.37% Asian, 0.22% from other races, and 0.42% from two or more races. Hispanic or Latino of any race were 0.48% of the population.

There were 1,386 households, out of which 38.2% had children under the age of 18 living with them, 55.9% were married couples living together, 8.6% had a female householder with no husband present, and 33.1% were non-families. 28.3% of all households were made up of individuals, and 10.2% had someone living alone who was 65 years of age or older. The average household size was 2.49 and the average family size was 3.10.

In the CDP, the population was spread out, with 27.5% under the age of 18, 5.2% from 18 to 24, 27.3% from 25 to 44, 26.7% from 45 to 64, and 13.3% who were 65 years of age or older. The median age was 40 years. For every 100 females, there were 93.3 males. For every 100 females age 18 and over, there were 86.0 males.

The median income for a household in the CDP was $51,271, and the median income for a family was $69,766. Males had a median income of $48,272 versus $34,732 for females. The per capita income for the CDP was $29,599. About 3.5% of families and 4.5% of the population were below the poverty line, including 6.0% of those under age 18 and 8.7% of those age 65 or over.

References

Census-designated places in Maine
Portland metropolitan area, Maine

Census-designated places in Cumberland County, Maine

Yarmouth (CDP), Maine


Château de Malle is a sweet white wine ranked as Second Cru Classé (French, "Second Growth") in the original Bordeaux Wine Official Classification of 1855. Belonging to the Sauternes appellation in Gironde, in the region of Graves, the winery is located in the commune of Sauternes. The gardens of the chateau are classified among the Notable Gardens of France by the Committee of Parks and Gardens of the French Ministry of Culture.

History
The estate has, over the centuries, known numerous trials and tribulations. Both good and bad fortune. The Château was not inhabited regularly for practically two generations. In the early fifties Pierre de Bournazel took over the property inherited from his uncle and godfather, Pierre de Lur-Saluces. He was a man possessed by a love of the land and of stone and he decided to re-instil life into the buildings and vineyards which undeniably were in a state of considerable neglect. He rebuilt the fermentation cellar, studied estate management, followed a course in oenology and together, with the help of his wife, made it a point of honour to re-establish the initial shape and form of the rooms of the Château whilst retaining their original appearance.

In 1956 he replanted the entire vineyard which had been destroyed by frost. Pierre de Bournazel became, as time went by, a major figure in the viticultural world of Bordeaux.
He became the president of the Classified Growth Association of Sauternes and Barsac and in 1959 created the "Commanderie du Bontemps de Sauternes et Barsac".
Since the death in 1985 of her husband the Countess de Bournazel has taken great pains to continue the magnificent task which he commenced. Whilst continuing with the work of renovating to its previous splendour both the Château and the gardens, she has also managed to surround herself with an efficient team, responsible for continuing the task of enhancing the quality and value of the vineyard. She is today seconded by her sons.
Château de Malle produces three excellent and prestigious wines - Château de Malle, Sauternes, "Grand Cru Classé" Great Classified Growth in 1855, Château de Cardaillan, a red Graves, and the M. de Malle a dry white Graves.

Gardens

The gardens of the château were created between 1717 and 1724 by Alexandre Eutrope de Lur Saluces. They were inspired by the gardens that he saw in Florence during his grand tour of Italy and his time spent at the court in Versailles.  The park has a wide central axis and two terraces, with groups of statues and vases.  The statues were done by Italian artists brought there for that purpose in the early part of the 18th century, and represent figures from Greek mythology: Cephalus, Aurora, Cupid, Aphrodite (Venus), Adonis, and Flora, the goddess of flowers and gardens. Other statues represent wine-making, the  joys of the hunt and fishing, wine and intoxication. To the east of the first terrace is a small theater, decorated with figures from the Italian commedia dell'arte: Pantalone, Scaramouche and Harlequin.  A stairway leads to a second terrace, where there are statues symbolizing of earth, wind, air and fire.

Production
Château de Malle owns a total of  vineyards in the communes of Preignac, Toulenne and Fargues. Of these,  are in the Sauternes appellation,  are dedicated to the production Graves Blanc and  to Graves Rouge.

In the Sauternes appellation, production consists of the classified growth Château de Malle, as well as the unclassified Château de St Hélène. The composition of Château de Malle is 70% Sémillon, 28% Sauvignon blanc and 2% Muscadelle, and one-third new oak is used for the barrels.

A dry white wine called M de Malle is produced in the Graves appellation. It is composed of 70% Sauvignon blanc and 30% Sémillon, and is aged 6–9 months in oak, of which 30% new oak.

Red Graves wine is produced under the names Château de Cardaillan (50% Cabernet Sauvignon and 50% Merlot) and Château Pessan (60% Merlot and 40% Cabernet Sauvignon).

References

External links
Château de Malle official site
Committee of Parks and Gardens of France: Gardens photos and descriptions

Bordeaux wine producers
Châteaux in Gironde
Gardens in Gironde
Historic house museums in Nouvelle-Aquitaine
Museums in Gironde
Monuments historiques of Gironde

Château de Malle


In chemistry, an enantiomer is a special kind of isomer. It is a molecule that looks exactly like another one when viewed in a mirror. The subject of mirror-image chemicals is known as chirality.

If you try to put the two molecules on top of each other, they will not be the same (they will not superimpose). This is because they have one chiral centre. It is important that they only have one, otherwise the two molecules are called diastereoisomers.

Both enantiomers of a molecule have the same basic properties. For example, they have the same boiling point and NMR spectrum. Therefore they are difficult to separate. It is sometimes very important to separate them because in some drug molecules one enantiomer might have the right effect but the other might be dangerous. One famous example is thalidomide: one enantiomer of the molecule causes birth defects.

Difference between a chiral molecule and enantiomers

A chiral molecule is a molecule that is not superimposable on its mirror image, while enantiomers are the set (all of) the molecules which are mirror images of eachother

Molecule A and B have mirror images (A' and B' respectively). A' and B' are not superimposable on A and B, thus, both A and B are chiral molecules since their mirrors are not the same as the originals, but only [ A and A' ] and/or [ B and B' ] are enantiomers.

In other words, a chiral molecule X is chiral if its image X' is not the same, while the set of both [ X and X' ] are enantiomers.

References

Stereochemistry

Enantiomer


The 1927 Navy Midshipmen football team represented the United States Naval Academy during the 1927 college football season. In their second season under head coach Bill Ingram, the Midshipmen compiled a 6–3 record, shut out two opponents, and outscored all opponents by a combined score of 192 to 84.

The annual Army–Navy Game was played on November 26 at the Polo Grounds in New York City; Army

Schedule

References

Navy
Navy Midshipmen football seasons
Navy Midshipmen football

1927 Navy Midshipmen football team


The Kegelstatt Trio, K. 498, is a piano trio for clarinet, viola and piano in E-flat major by Wolfgang Amadeus Mozart.

History
Mozart wrote the piano trio on 10 sheets (19 pages) in Vienna and dated the manuscript on 5 August 1786. According to Mozart's 17-year-old student Karoline Pichler, the work was dedicated to another student of Mozart's, Franziska von Jacquin; Mozart and the von Jacquin family – father Nikolaus Joseph von Jacquin and his youngest son Gottfried – were quite close friends. They performed house concerts together, where Nikolaus played the flute and Franziska the piano. In a letter to Gottfried from 15 January 1787, Mozart praises Franziska's studiousness and diligence. Mozart dedicated a number of works to the von Jacquin family. One year later, Mozart wrote two Lieder, "" (K. 520) and "" (K. 530) explicitly for Gottfried von Jacquin to use under his own name.

The German word  means "a place where skittles are played", akin to a duckpin bowling alley. Mozart wrote that he composed the 12 Duos for Two (French) Horns (not basset horns as is commonly thought), K. 487, "while playing skittles"; on the first page of the autograph manuscript of K. 487, Mozart inscribed the following: "" (Vienna, 27 July 1786 while playing skittles). A week and a half later, Mozart composed and dated the trio E K. 498. He entered this work into his list of compositions simply as: "" (A trio for piano, clarinet and viola). There is no evidence that Mozart gave any nickname to the K. 498 trio; the moniker Kegelstatt first appears ascribed to the K. 498 trio in Ludwig von Köchel's 1862 thematic catalogue of Mozart's music.

This clarinet-viola-piano trio was first played in the von Jacquin's house; Anton Stadler played clarinet, Mozart the viola, and Franziska von Jacquin the piano. The clarinet was still a relatively new instrument in Mozart's time, and this trio, along with his Clarinet Quintet and Clarinet Concerto (the latter two for basset clarinets in A), helped increase the instrument's popularity.

The trio was published in 1788 by Artaria, transcribed – probably with Mozart's consent – for violin, viola and piano, and the original clarinet part was described as an "alternative part": . Due to this unusual scoring, the piece is sometimes adapted to fit other types of trios; e.g. a clarinet-violin-piano trio, a violin-cello-piano trio, a clarinet-cello-piano trio, or a violin-viola-piano trio, as in that first publication by Artaria.

No composer before Mozart had written for this combination of instruments. In the 19th century Robert Schumann wrote Märchenerzählungen (Op. 132), Max Bruch in 1910 "Eight pieces for clarinet, viola, and piano" (Op. 83) and Carl Reinecke "Trio for piano, clarinet and viola" (Op. 246).

In March 1894 the manuscript came into the possession of the musicologist and composer Charles Théodore Malherbe when he bought it from Leo Sachs, a banker in Paris, who had bought it from Johann Anton André who bought it as part of a large purchase of manuscripts from Mozart's widow Constanze (the ) in 1841. In 1912 it was donated to the Bibliothèque nationale de France, Département de la Musique, Malherbe collection, Ms 222.

Analysis
The manuscript notes the clarinet part as "Clarinetto in B" and uses the written pitch. The viola part uses the C-clef in the alto position. The labelling of the piano part shows a correction by Mozart where he started to write "Ce" (for "cembalo", the Italian word for the harpsichord) and then replaced it with "Piano forte". However, this part is labelled "Cembalo" for the second and third movements. The key signature of E major in Mozart's late chamber music indicates close friendship.

The trio consists of three movements:

The first movement is not the more traditional Allegro as an opening movement, but a more contemplative Andante. Following on from this, the second movement is of course not the traditional slow movement, but a moderate Menuetto, and the last movement, while lively, is not the standard Allegro. In short, the contrasts in tempo in this trio are not as stark as in most piano trios.

I. Andante
The Andante is written in the time signature of  time and consists of 129 bars; a typical performance would last just over six minutes. It repeats neither its exposition nor the remainder of the movement, which is unusual for Mozart's mature chamber music. A particularly recognizable feature of this movement's principal theme is the gruppetto (turn) which appears 67 times.

II. Menuetto
The second movement is written in  time and consists of 158 bars, almost all of which are repeated; a typical performance would last about six minutes. The key signature of this movement is B major, the dominant key to E from the first movement.

The opening menuetto of this movement consists of the exposition of a four-bar theme (bars 1–12, repeated), and its development (bars 13–41, also repeated). The piano's pounding bass line and sharp dynamic contrasts set the mood of this theme apart from any conventional light and frilly notions of a Minuet. During the development, the dialogue between the instruments becomes intensified, and Mozart shows his grasp of counterpoint without ever sounding academic or "learned".

The following trio opens with a chromatic four-note phrase, to which the viola responds with a run of lively triplets, accompanied by chromatic chords from the piano (bars 42–62, repeated). In the development of that theme, the four-note phrase and the lively triplets are then taken up by the piano, and clarinet and viola present some chromatically rising lines, before all three instruments start a concerto-like conversation where the 4-note phrase is only heard twice in the piano left hand (bars 63–94, repeated).

The final part of the trio starts with a variation of the trio's four-note phrase, which is briefly developed (bars 95–102) before returning to the brighter theme of the Menuetto whose treatment ends the movement without repeats.

III. Rondeaux: Allegretto

The last movement is written in the time signature of cut common time  (or alla breve, similar to )  and consists of 222 bars; a typical performance would last eight and a half minutes. The key signature, as is conventional, is the same as the opening movement, E-flat major. The musical format of this movement is a seven-part rondo, a rarity in Mozart's work; this seven-part structure also explains the title Rondeaux, the French plural form of Rondeau.

The structure is AB–AC–AD–A. Theme A is an eight-bar cantabile melody in two parts, drawn from the first movement and presented first by the clarinet, then taken up as a variation by the piano (bars 1–16). The melody of theme B – in B major – is played once by the clarinet (bars 17–24) before the piano plays an intermezzo of several bars. From bar 36 onwards, all three instruments play short phrases of that theme in turn, followed by a piano solo until bar 50. Theme C – in C minor – is presented by the viola and repeated (bars 67–76); all three instruments develop that theme in bars 77–90 (repeated). This development visits the subdominant minor scale (vi) of F minor before ending in the relative key of C minor. Theme D – in A major – is introduced in bar 116 by all three instruments almost in unison, and elaborately developed in bars 132–153 (repeated). In contrast to the previous development, this goes through the subdominant major scale (VI) of A-flat major. With the playful coda of bars 191 to 222, Mozart concludes the composition, "that does not merely satisfy the listener, but leaves him enchanted!"

References

External links

 Andante (4.4 MB), Menuetto (4.1 MB), Rondeaux (5.9 MB), mozart-archiv.de
 Analysis by Edward Klorman: annotated score and video version

Piano trios by Wolfgang Amadeus Mozart
1786 compositions
Compositions for clarinet
Compositions for viola
Music dedicated to students or teachers
Compositions in E-flat major

Kegelstatt Trio


Jarmere Jenkins is a retired American professional tennis player who became the hitting partner for Serena Williams. He was the 2013 Intercollegiate Tennis Association (ITA) National Player of the Year and male ACC Athlete of the Year after earning the national championships in indoor singles, outdoor doubles and team competition while also finishing runner up in outdoor singles. He was the first Atlantic Coast Conference athlete to win ACC athlete of the year solely for tennis accomplishments. In his first full year as a pro, he cracked the top 200 in the 2014 year end rankings at 193, but the costs of travel became prohibitive for him and he retired in 2017.

Background
He is from College Park, Georgia, where he attended Alpha Omega Academy. As a junior tennis player, he was the 2008 Orange Bowl doubles champion and singles finalist. He has competed in the Junior US Open, Junior French Open and Junior Wimbledon. He was finalist in the 2006 Junior US Open boys doubles. His highest junior ranking was 18 on January 1, 2008.

College career
As a freshman, he was All-ACC and the VaSID State Freshman of the Year. As a sophomore, he was All-ACC and VaSID All-State. As a junior, he was an ITA Singles and Doubles All-American and ACC Player of the Year. He ended the year ranked 6th nationally in both singles and doubles although he had ranked as high as 3rd and 5th during the year. He qualified for four consecutive NCAA Singles Championships (2010–13).

He was the 2013 ITA National Player of the Year, 2013 National Collegiate Athletic Association (NCAA) Tournament MVP for the National Champion University of Virginia men's tennis team, 2013 NCAA Doubles Champion, 2013 NCAA Singles runner-up, 2012 ITA Indoor Intercollegiate singles Champion and the 2013 Anthony J. McKevlin male ACC Athlete of the Year. Although John Lucas II won for both tennis and basketball, Jenkins is the first and only person to win ACC Male Athlete of the Year solely for tennis.

Professional career

He won his first professional tournament on June 30, 2013 at the $10,000 United States Tennis Association (USTA) Pro Circuit Linda Bogdan Memorial Futures Tournament. College Park, Georgia-native Jenkins, was invited to Norcross, Georgia to participate in the December 20–22 eight-man USTA wild card playoff for a spot in the main draw of the 2014 Australian Open. The field also included defending wild card playoff champion Rhyne Williams, Denis Kudla, Steve Johnson, Tennys Sandgren, Austin Krajicek, Bjorn Fratangelo, and Chase Buchanan. Jenkins lost to Kudla in two sets.

Jenkins visited Australia for six weeks in February 2014 and met with some success, including a victory over Luke Saville at the Australia F1 Futures tournament finals in Happy Valley. In late 2014, Jenkins won several tournaments. On September 20, Jenkins made tennis blooper highlights when he failed to execute the second half of an over and back double net jump. He went on to win the tournament. On September 21, the Costa Mesa Pro Classic became his fourth tournament championship as he defeated Dennis Novikov in straight sets in the finals after dispatching Daniel Manlow, Gregory Oullette, Clay Thompson, and Tennys Sandgren along the way. Three weeks later Jenkins faced the reigning US Open junior champion Omar Jasika who was making his first appearance in a Pro Tour singles finals and defeated the Australian teen in three sets to win the Cairns Tennis International Pro Tour event (Australia F7 Futures Tournament). In the Hutchinson Builders Toowoomba International final (Australia F8 Futures Tournament) the following week, Jenkins was nearly ousted in the first round when he fell behind 0–5 in the third set and faced a match point against Lawrence Bataljin. Jenkins prevailed 7–5 in that set and went on to win the tournament against top seeded Luke Saville who was returning from a two-month injury layoff. It marked consecutive Futures Tournament victories for Jenkins. Following the consecutive Australian ITF Men's Circuit wins and three Futures tournaments singles wins in five weeks (as well as 2 doubles wins in 3 weeks), Jenkins planned on moving over to the ATP Challenger Tour in Melbourne. At the 2014 Latrobe City Traralgon ATP Challenger 1, Jenkins was matched up against number 1 seed (114th ranked) Go Soeda in the first round, and 258th ranked Jenkins won in two sets. Jenkins advanced to the finals of the tournament against Bradley Klahn despite enduring a cut wrist at a key point in the semifinals before bowing out as runner-up. Jenkins' hot streak ended the following week when he was eliminated in the 2nd round by Luke Saville at the 2014 Latrobe City Traralgon ATP Challenger 2. In the Wollongong Centenary International #2 (Australia F10 Futures Tournament) on November 23, Jenkins faced Jose Rubin Statham in the finals. With Jenkins on the verge of cracking the top 200 for the first time, he won what would be his last match of 2014 by overcoming a 0–4 deficit in the second set. Having turned professional in 2013, he was ranked 193 in the 2014 yearend rankings after his first full season as a pro.

In the 2015 Australian Open – Men's singles qualifying, Jenkins defeated Rajeev Ram and Marco Cecchinato before losing to Tim Pütz. Jenkins missed 10 months of competition due to an achilles tendon injury, and did not reach the finals of any tournaments between January 9, 2015 and June 27, 2016.

In the summer of 2017 Jenkins decided to retire from competitive tennis because the cost of travel became prohibitive. By August 2017, Jenkins was working as an investment sales consultant in Philadelphia. In September 2017, his brother Jermaine (who was the hitting partner for Venus Williams during the 2017 ATP World Tour) recommended Jarmere to Serena who was looking for a hitting partner following her 2017 pregnancy. Jarmere began hitting with Serena when she returned to the court following the birth of Alexis Olympia Ohanian Jr, during the 2017 US Open.

Personal
The son of Jackie and Brenda Jenkins, Jarmere has eight siblings. Two of his brothers have played major college tennis (Jackie, Jr. at Northwestern, Jermaine at Clemson).

ATP Challenger & ITF Futures finals

Singles (8–7)

Doubles (10–6)

Notes

External links

 Jarmere Jenkins at University of Virginia

1990 births
Living people
African-American male tennis players
American male tennis players
Virginia Cavaliers men's tennis players
Sportspeople from College Park, Georgia
Tennis people from Georgia (U.S. state)
21st-century African-American sportspeople

Jarmere Jenkins


Tearrius George (born December 3, 1982) is a former gridiron football defensive end who played for the Calgary Stampeders and Saskatchewan Roughriders of the Canadian Football League. He was signed by the New York Jets as an undrafted free agent in 2006. He played college football at Kansas State.

George was also a member of the New Orleans Saints, Miami Dolphins and Dallas Cowboys.

Early years
George prepped at Pine Forest High School in North Carolina.

College career
George played at Kansas State University. In 2005 as a senior George played in 11 games and totaled 27 tackles (6 for losses) and 4 sacks, forced a fumble and recovered one. In 2004 as a junior he appeared in 10 games, with five starts and made 21 tackles, including 11 solo stops, six tackles for loss and three sacks,  Prior to Kansas State he was a two-year starter at Los Angeles Valley College where he was All-conference honors as a freshman.

Professional career

New York Jets
George signed as an undrafted free agent by the New York Jets in 2006.

Calgary Stampeders
After failing to make it in the NFL, George signed a contract with the Calgary Stampeders of the Canadian Football League. George played in 13 games for the Stamps during the 2007 CFL season. During which time he racked up 33 tackles, 8 quarterback sacks and 1 fumble recovery.

Return to the NFL (Cowboys, Saints, Dolphins, Cowboys II)
His impressive play in the CFL garnered interest from NFL clubs for the second time in his professional career. George signed with the Dallas Cowboys on August 28, 2009. After failing to make the final roster for the Cowboys, George was signed by the New Orleans Saints, with whom he would spend the 2008 NFL season deep on their linebacker depth chart. Following the 2008 season George was not resigned by the Saints. He spent time on two more NFL rosters in the lead up to the 2009 season, but was released prior to the start of the season by both the Dolphins and the Dallas Cowboys.

Calgary Stampeders II
After failing to play in any regular season games in his return to the NFL, George ultimately re-signed with the Calgary Stampeders on September 9, 2009; partway through the 2009 CFL season. George spent two seasons in Calgary.

Saskatchewan Roughriders
George signed with the Saskatchewan Roughriders as a free-agent on February 17, 2011. In his first four seasons with the Roughriders George flourished into a talented pass rushing force. In 2013 George finished tied for 1st on the Riders with 8 sacks, then finished second on the team in sacks the following year with 12. Following the 2014 season, at age 32, Tearrius George signed a contract extension with the Roughriders. He announced his retirement from football on May 2, 2016.

External links
Dallas Cowboys bio
Saskatchewan Roughriders bio
Kansas State Wildcats bio
Announcement of retirement

1982 births
Living people
American football defensive ends
American football linebackers
American players of Canadian football
Calgary Stampeders players
Canadian football defensive linemen
Dallas Cowboys players
Kansas State Wildcats football players
Miami Dolphins players
New York Jets players
New Orleans Saints players
Saskatchewan Roughriders players
Players of American football from Fayetteville, North Carolina
Players of Canadian football from North Carolina

Tearrius George


In mathematics, Bochner spaces are a generalization of the concept of  spaces to functions whose values lie in a Banach space which is not necessarily the space  or  of real or complex numbers.

The space  consists of (equivalence classes of) all Bochner measurable functions  with values in the Banach space  whose norm  lies in the standard  space. Thus, if  is the set of complex numbers, it is the standard Lebesgue  space.

Almost all standard results on  spaces do hold on Bochner spaces too; in particular, the Bochner spaces  are Banach spaces for

Bochner spaces are named for the mathematician Salomon Bochner.

Definition

Given a measure space  a Banach space  and  the Bochner space  is defined to be the Kolmogorov quotient (by equality almost everywhere) of the space of all Bochner measurable functions  such that the corresponding norm is finite:

In other words, as is usual in the study of  spaces,  is a space of equivalence classes of functions, where two functions are defined to be equivalent if they are equal everywhere except upon a -measure zero subset of  As is also usual in the study of such spaces, it is usual to abuse notation and speak of a "function" in  rather than an equivalence class (which would be more technically correct).

Applications

Bochner spaces are often used in the functional analysis approach to the study of partial differential equations that depend on time, e.g. the heat equation: if the temperature  is a scalar function of time and space, one can write  to make  a family  (parametrized by time) of functions of space, possibly in some Bochner space.

Application to PDE theory

Very often, the space  is an interval of time over which we wish to solve some partial differential equation, and  will be one-dimensional Lebesgue measure. The idea is to regard a function of time and space as a collection of functions of space, this collection being parametrized by time. For example, in the solution of the heat equation on a region  in  and an interval of time  one seeks solutions

with time derivative

Here  denotes the Sobolev Hilbert space of once-weakly differentiable functions with first weak derivative in  that vanish at the boundary of Ω (in the sense of trace, or, equivalently, are limits of smooth functions with compact support in Ω);  denotes the dual space of

(The "partial derivative" with respect to time  above is actually a total derivative, since the use of Bochner spaces removes the space-dependence.)

See also

References

Functional analysis
Partial differential equations
Sobolev spaces
Lp spaces

Bochner space


The Raguba field is an oil field located in the central part of Libya's Sirte Basin in Concession 20. The Sirte Oil Company (SOC) operates the Raguba field. The field is connected by pipeline to the main line between the Nasser field, one of the largest in Libya, and Brega. Raguba field has 80 wells producing high gravity (43 °API) oil. The first exploration oil well in this field was drilled in January 1961 with production commencing in 1963. By the end of 2005, the field had produced 787 million standard barrels of oil and  of associated gas.

Sirte Basin
Libya's onshore oil has been discovered mainly in three geological trends of the Sirte Basin: 1) the western fairway, which includes several large oil fields (Samah, Beida, Raguba, Dahra-Hofra, and Bahi); 2) the north-center of the country, which contains the giant Defa-Waha field and Nasser fields, as well as the large Hateiba gas field; and 3) an easterly trend, which has large fields like Sarir, Messla, Gialo, Bu Attifel, Intisar, Nafoora-Augila, and Amal. Overall, the Sirte Basin contains approximately 80% of Libya's proven oil reserves and accounts for 90% of production.

Notes

See also

 List of oil fields

References
Baird, D.W., Geohistory and petroleum in the central Sirt Basin, in The geology of Sirt Basin: p. 3-56.

External links
Eni Website

Oil fields of Libya
Tripolitania

Raguba field


Image collection exploration is a mechanism to explore large digital image repositories. The huge amount of digital images produced every day through different devices such as mobile phones bring forth challenges for the storage, indexing and access to these repositories. Content-based image retrieval (CBIR) has been the traditional paradigm to index and retrieve images. However, this paradigm suffers of the well known semantic gap problem. Image collection exploration consists of a set of computational methods to represent, summarize, visualize and navigate image repositories in an efficient, effective and intuitive way.

Summarization
Automatic summarization consists in finding a set of images from a larger image collection that represents such collection. Different methods based on clustering have been proposed to select these image prototypes (summary). The summarization process addresses the problem of selecting a representative set of images of a search query or in some cases, the overview of an image collection.

Visualization
Image collection visualization is the process of visualize a set of images using a visualization metaphor, in which an image similarity function is used to represent image relations in a visualization layout. Information visualization is an active area that investigates new ways to visualize information by using visualization metaphors. Particularly, new ways of visualizing image collections are being investigated, which propose conventional  and unconventional  visualization metaphors. If the images are sorted according to their similarities, a hierarchic image browsing approach similar to cartographic services such as Google Maps can be used. picsbuffet is an online demo of such an approach.

Interaction
Image collection interaction consists in offering users mechanisms to feedback image search systems. In this interaction process, the system learns from user feedback to retrieve results more precise and relevant to the user.

References

Applications of computer vision
Image search

Image collection exploration