Earth Star Voyager is the name of a science fiction television movie shown on The Disney Sunday Movie in 1988, on January 17 and January 24. The show aired as a two-part pilot, but was not picked up for a series.

Plot
In the year 2082, the Earth deep-space exploration vessel, Vanguard Explorer, has suffered heavy damage, due to the efforts of Captain Jacob "Jake" Brown trying to keep his ship out of the hands of mutineers led by his second-in-command, Vance Arthur. Feigning compliance, Jake attacks Vance and knocks him senseless long enough for him to get to an escape pod and launch into space. However, the cause of the damage on board the Vanguard Explorer is unknown.

It is now six years later, in the year 2088. Command cadet Jonathan Hays, twenty-one, and his best friend Jessie "Beanie" Bienstock, a 14-year-old computer specialist, are among the young military cadets chosen to serve as the crew of Earth*Star Voyager, the planet's newest interstellar vessel. Due to worsening ecological conditions on Earth, there is a plan in place to evacuate the planet and colonize another world. (This mission is noted on the cover of the German VHS: see image at right). Probes have been sent out six years ago via the Vanguard Explorer, and one has sent data back on Berenson's Star; she has a life-zone planet which has been named "Demeter". The mission of Earth*Star Voyager is to go to Demeter, perform a full planetary survey and return that information because if conditions on Demeter prove accurate (the probe's data indicates that human life could survive on Demeter), then the human race will colonize the world. The plan to colonize Demeter has already begun; ships are already being built to transport the population but will take forty years to complete construction of all the necessary vessels, and the trip to Demeter, with "plasma-thrust" engines and the Bauman Drive (named for Professor Bauman, the creator) will take 26 years. That was the rationale of choosing the crew from the Academy—for their youth and intelligence. Jonathan, as second-in-command, will assume command if Forbes is shown to be unable to continue his duties due to age. It is also mentioned that a modified form of cryogenic suspension will be used by the crew during the voyage in order to slow the ageing process. (Beanie mentions that he'll be forty years old upon their return to Earth, and Captain Forbes also mentions that, although the process will slow their ageing, they will still age.)

Among the crew members are Lani Miyori (a communications specialist) and Luz Sansone, a fellow communications tech who takes an immediate liking to Beanie. Also aboard are Dr. Sally Arthur, a 24-year-old M.D., Huxley Welles, an 18-year-old navigator, and Dr. Leland Eugene, the ship's psychiatrist.

The crew arrives aboard the Earth*Star Voyager, and are met by Captain Forbes (the commanding officer), Brody (the ship's resident physical fitness instructor - crew members are required to engage in a physical fitness program), and "Priscilla", the sentient supercomputer that is the primary logic circuit for the vessel - who has seemingly developed a crush on Huxley. It is mentioned that this was a concern by the programmers; Priscilla is designed from the brain engrams of Priscilla Bauman (the daughter of Professor Bauman), and as such, she has all of memories, thoughts, feelings and desires of the real Priscilla Bauman. This is slightly annoying to Huxley.

Adm. Beasley, a war hero who fought back a criminal organization called the Outlaw Technology Zone, gave them a final pep-talk and saw them off from his flagship, the Triton Corsair.

Not long after embarking on the mission, the ship has to pass through the junk belt. Immediately entering the belt, the auto-pilot is unable to travel the course plotted because the junk starts to move due to the ship's engines. After the shields and ship take some damage, Jonathan takes manual control and flies the ship through without taking further damage. While checking the repairs on an airlock, Captain Forbes finds himself trapped inside with the system set to open the airlock to space. Moments later, coming to check on the Captain, Jonathan finds him before the airlock opens. Before being blown into space, the Captain tells Jonathan to keep going and to "complete the mission". Jonathan orders the ship's psychiatrist to review the crew's profiles for any hint of psychopathology. Later, Lani mentions to Jonathan that she has suspicions of Dr. Leland Eugene, but Jonathan says he cannot go on a hunch alone. Following this, Lani is critically injured while in cryo-sleep by an apparent malfunction.

Along the way to Demeter, they pick up the long lost astronaut Capt. Jacob "Jake" Brown, while stopping at an abandoned station to make some repairs. Brown initially paralyzes Huxley with a weapon, but it is revealed that he did so to prevent Huxley from walking straight into an "anti-matter zone". Capt. Brown is accepted on board as an advisor to Jonathan and, finding out that the crew is only armed with hand weapons, volunteers to build a rail-gun with the help of Beinstock in an airlock. Jonathan then receives evidence of the death of Capt. Forbes and Lani's coma that points to Leland, the psychiatrist. When Jonathan confronts him, Priscilla calls Jonathan about suspicious activity in the rail-gun's airlock. Jonathan investigates and finds Brody, the fitness instructor, is sabotaging the rail-gun, a fight ensues and the fitness instructor is jettisoned out of the airlock. A transmitter is later discovered amongst his possessions, that he was apparently using to keep in contact with a blip that intermittently appeared on the Voyager's long range scans.

The crew also explores a distress signal from a massive space station known as "the 2020 World's Fair", which is inhabited by warriors and researchers of the Outlaw Technology Zone. The landing party is captured by the warriors after encountering one of Captain Brown's former crew members, Willy. They discover that the mutinous Vance has also landed here and became "Top Dog" of the warriors by employing a stunner much like the one Brown used on Huxley. A warrior, named Whistlestick, who was beaten and humiliated by Vance, explains that anyone may challenge the "Top Dog" at any time. Huxley demonstrates his skill at pickpocketing by getting the key for their cage. Brown offers to occupy their captors by challenging Vance while the rest escape. After a difficult fight, Brown (who taught Vance how to make such weapons long ago) is able to make Vance's weapon backfire and destroys it - but spares Vance's life (unaware that Sally was watching and afraid that he would be killed by Jake). In the ensuing ruckus, the crew and their two new allies escape.

The next discovery, explaining how Vance and Willie got to the World's Fair Station in the first place, was finding the wreckage of the Vanguard Explorer. Capt. Brown requests permission to board it and retrieve his logs to prove that the loss of his ship was due to mutiny, and to see if there was anything left salvageable. Beinstock, the Doctor, and he find the ship to still have some power and computer function, but also find an unwelcome guest known as a "Shell"—a cyborg. Brown is able to shock the Shell into unconsciousness, and Doctor Arthur insists they take him to the ship to help and examine him. In a cut-away scene, it is revealed that Adm. Beasley has become aware of the Shell's presence on Voyager, but is unable to do anything about it.

Willie explains that the Shell is a cyborg created by the O.T.Z. and, although it is only a drone, it is probably packed with explosives. The Doctor, with the help of Beinstock, is able to disarm the explosives and treat his injuries, and is able to bring the Shell back to consciousness while also keeping him immobilized. They interrogate the Shell, and he mentions that his function is to help facilitate "Assembly". Data from the Vanguard indicates that several odd-looking ships passed by the Vanguard from the World's Fair over the last few years. Later analysis indicates the ships are modular. Later on, Dr. Arthur speaks to the Shell and discovers that he was abducted and turned into a cyborg when he was young. After making some small adjustments to him to ease his discomfort, Doctor Arthur and he form a brief emotional connection before his programming returns him to his drone-state. Later, he regains his full movement and smashes his way through the ship, damaging Capt. Brown's jury-rigged railgun weapon and one of Priscilla's processors. The Shell warns them that they must stop "Assembly" then deactivates himself rather than let his programming make him kill Dr. Arthur.

In another cut-away scene, Vance finds himself in dire straits back on the World's Fair as the warriors now hunt him for his treatment of them. Admiral Beasley appears and demands an explanation from him. Their dialogue indicates that the mutiny on the Vanguard Explorer was part of some design of Beasley's and that Beasley is somehow connected, if not in control of, the O.T.Z. After Vance reveals he was defeated by the presumed-dead Capt. Brown, Beasley leaves Vance to his fate, and returns to the Corsair. This scene is left out of some versions of the show.

Back on board Voyager, the crew have made repairs and discover how their spacecraft fits into a conspiracy concocted by the Outlaw Technology Zone and Admiral Beasley, the mastermind behind the entire plot (including the construction of Earth*Star Voyager, the selection of the crew, and the creation of the "Shell"). The O.T.Z. ships, the Assembly, were stationed in a binary solar system to use the light from the stars upcoming alignment to give them sufficient power to join together and form an even more massive and heavily armed ship. A section of the completed Assembly was designed to allow Voyager to fit in near the bow.

Beasley's ship fires warning shots at Voyager to keep them on course to the Assembly, and then he reveals why he had chosen the best and the brightest the world had to offer to crew Voyager. He intended Voyager not to be an exploratory vessel but a colony ship. Joining the Voyager to the O.T.Z. Assembly would give Beasley the Bowman Drive and Priscilla. This would enable him to choose whom else would get to be part of his new Utopia, while leaving the rest of humanity to rot back on Earth.

However, the crew outwits Admiral Beasley and escapes (after a battle in which they use jury-rigged weapons, including a "solar laser" (which can gather and redirect solar energies in a beam-like fashion), and the railgun built by Jake and Beanie). During the battle, Jake nearly sacrifices himself to hold together part of the electrical circuit that allows the railgun to be fired; he is saved by Sally. Aboard the Admiral's damaged vessel, the Triton Corsair, Admiral Beasley acknowledges Jonathan's skill as a commander, and promises that he will meet up with the crew of the Earth*Star Voyager again someday. There is an alternate scene of this in the 120-minute VHS version where Beasley is revealed to be some sort of robot or cyborg (or perhaps himself a Shell), while leaving out the promise dialogue.

Aboard the Earth*Star Voyager, Lani is found to be recovering from her injuries; Beanie and Luz (prodded by Priscilla) become a couple; it is strongly insinuated that Jake and Sally will become a couple; and Huxley is stunned to see that Priscilla (in human form) is a very beautiful woman. Beanie also reveals to Jonathan that he has decrypted the probe data and the crew sees that Demeter is a planet with striking similarities to Earth. The last line of the miniseries goes to Jake, who says, "You know, Captain, I think we oughta go check that place out..."

Cast and crew
Directed by
 James Goldstone

Writing credits
 Ed Spielman

Cast (in credits order)
 Duncan Regehr as Jacob Dryden "Jake" Brown (Former CDR, Vanguard Explorer)
 Brian McNamara as Capt. Jonathan Hays (Commander, Earth*Star Voyager)
 Julia Montgomery as Dr. Sally Arthur, M.D. (Space Medicine)
 Jason Michas as Jessie "Beanie" Bienstock (Computer Sciences)
 Tom Bresnahan as Huxley Welles (Navigation)
 Margaret Langrick as Luz Sansone (Communications)
 Sean O'Byrne as Lt. Vance Arthur (First Officer, Vanguard Explorer)
 Peter Donat as Adm. Beasley
Rest of cast listed alphabetically:
 Dinah Gaston as Lani Miyori (Communications)
 Andrew Kavadas as Brody Arnold (Physical Fitness Technician)
 John "Bear" Curtis as Whistlestick
 Stephen Dimopoulos as The Crier
 Bruce Harwood as Dr. Leland Eugene, M.D. (Psychiatrist)
 Henry Kingi as Shell
 Nigel Harvey as Security Leader
 Barry Kennedy as Lt. Matthews
 Kevin McNulty as CDR. Gardner
 Lynette Mettey as Priscilla (Main Computer)
 Ric Reid as Capt. Forbes
 Frank C. Turner as Willy
 David Paul Hewitt White as Guard
 Jennifer Michas as Jeannie
 Stephen E. Miller as Lt. Krieger
 Enid Saunders as Elderly Woman
 Mike Stack as Crewman #1
 Sandy Tucker as Mrs. Bienstock
 Meredith Bain Woodward as Mrs. Hays

Additional information
Many of the lead actors (at least six) were born in Canada.

The production was shot entirely in Vancouver, Canada and partially filmed inside the Soviet Pavilion built for Expo '86.

The show (240 minutes in four series) was screened by the Ostankino 2 channel in Russia in Winter 1993 in their Disney Film Classics series on Fridays.

References

External links

1980s American science fiction television series
1988 television films
1988 films
1988 American television episodes
Television pilots not picked up as a series
Television films as pilots
Films set in 2082
Films set in 2088
Films set on spacecraft
Disney television films
Walt Disney anthology television series episodes
Films scored by Lalo Schifrin
World's fairs in fiction
1980s English-language films
Films directed by James Goldstone

Earth Star Voyager


Inhalant is the name for a number of chemicals that can cause hallucinations  when they are inhaled. For this reason, adolescents often use them instead of illegal drugs. Many solvents contain such substances. Usually, solvents that are used in the household are easy to get. In many cases, the effect will start very soon and last from minutes to hours.

Chemicals
Drugs

Inhalant


A skateboard is a board (called a "deck") with four wheels put on under it. It is used to go skateboarding. The first skateboards were a piece of wood with rollerskater attached to it. This became popular and by 1960, skateboards were made in production. As more skateboards were made, more people liked the new sport. However, it was dangerous and people started to fall off. As a result, skate parks started to close down. With less places to skate, skateboarders had no where to go. A small group of skateboarders carried on skateboarding in the street and around cities. After 20 years, the sport began to grow into what we know now. Skateboarding is a popular sport with many younger riders. Young people sometimes skateboard on the street. There are many different types of skateboards like stunt skateboards, penny skateboards, Longboards, short boards and more.

Parts
The normal parts that make a complete skateboard are the deck, trucks, wheels, bearings, hardware, and griptape.

Deck

Most decks are made of six to nine-plywood layers. Other materials used in making decks include fiberglass, bamboo, resin, Kevlar, carbon fiber, aluminum, and plastic. All these make the board more light. Some decks made from maple plywood are dyed to make many different colored plywood. Modern decks are made in different sizes. Most are 7 to 10.5 inches wide. Wider decks can be used for greater stability when skating on curving surfaces including ramps. Skateboard decks are normally between 28 and 33 inches long. The bottom of the deck can be printed with a design by the maker or it can be blank.

The longboard, a common different kind of skateboard, has a longer deck. This is mostly ridden down hills or by the beach. The longboard was made by two surfers; Ben Whatson and Jonny Drapper. One of the first deck companies was called "Drapped" taken from Jonny's second name. "Old school" boards (those made in the 1970s–80s) are mostly wider and often have only one kicktail. Different kinds of the 1970s often have little or no concavity, whereas 1980s models have deeper concavities and steeper kicktails.

The Skateboard deck concave is noted mainly in three types: low, medium, and high. While the low concave is having small curvature and makes the safe ride, but you can't put more stress on the edges deck. Medium concave will easily found in the present market due to the high demand for a beginner. High concave is raised more at the edge, making it perfect for performing Flip tricks and Ollie. Medium concave is readily available in the market because it suits beginners, which keeps it always in demand.

Grip tape, when put on to the top of a skateboard, gives a skater's feet grip on the deck. It is most often black. However, it can come in many different colors like clear. Clear allows the top of the deck to be decorated. It has an adhesive back and a sandpaper like top.

Skateboarding
Sports equipment

Skateboard


Blueskin Bay is an estuary in coastal Otago, about 25 km north of Dunedin, New Zealand.
The name also unofficially describes the rural district which includes the northern slopes of Mount Cargill, the southern slopes of the Kilmog, and the townships of Doctors Point, Waitati, Evansdale, Warrington, and Seacliff.

Place names

The tidal lagoon is known in Māori as Waiputai. "Blueskin Bay" historically referred to a wider stretch of coast from Heyward Point to Seacliff, including Pūrākaunui. The name Blueskin is after  Kahuti, a resident Maori personality of the area, whom Pakeha settlers nicknamed "Blueskin" for the large amount of Tā moko (traditional Maori tattooing) on his body. The name had been used as the nickname of a notorious 18th-century London criminal, Joseph "Blueskin" Blake.

The estuary

The Waitati River and Careys Creek enter Blueskin Bay at its southwest and northwest corners. A long sand spit from the northern headland closes the bay to a small channel to the Pacific Ocean at the southeast corner. Rabbit Island lies just inside this entrance.

Critically endangered, endemic Hector's dolphins live around the bay.

Shellfish

Blueskin Bay is a popular site for gathering clams, locally known as "cockles". Along with families collecting the shellfish for personal consumption, Southern Clams Ltd collects clams commercially for export.

References

External links

 Blueskin Bay community news website

Estuaries of New Zealand
Landforms of Otago
Bays of Otago
Wetlands of Otago

Blueskin Bay


Laurent-Benoît Dewez (14 April 1731 – 1 November 1812) was a Belgian architect of Walloon origin. He is considered the most influential architect in the Austrian Netherlands (present-day Belgium) from the second half of the 18th century. His architectural projects are of international stature and introduced a neoclassical style, with Italian and English influences, to the region.  He designed a large number of châteaux, abbeys and churches in Belgium, many of which were damaged after the French Revolution.

Early life
Dewez was born in Petit-Rechain near Verviers on 14 April 1731. The abbot of the Abbey of Saint Hubert sent him on a study trip to Italy. There he worked with Luigi Vanvitelli and came into contact with Robert Adam, Giovanni Battista Piranesi, Johann Joachim Winckelmann and Charles-Louis Clérisseau. After a subsequent study trip to Split in the company of Robert Adam he worked briefly as an associate of the Adam brothers in London in 1758. In 1759 he came back to the Austrian Netherlands to start the rebuilding of Abbaye Notre-Dame d'Orval, a work which was never completed.

Professional life
In 1760 he settled in Brussels. He mainly worked for abbeys and nobility in the Austrian Netherlands. In 1767 he was appointed court architect to the Governor of the Austrian Netherlands, Charles-Alexandre de Lorraine for whom he reconstructed the Château of Mariemont, which was demolished in the aftermath of the French Revolution. A masterpiece still preserved today is the Château de Seneffe built between 1763 and 1768. His last great project was the new State Prison in Vilvoorde. Dewez's adversaries, envious of his success as court architect, accused him of failures and fraud in the execution of this project. Due to these accusations, he fell into disfavour and was dismissed as court architect. On the invasion of the Austrian Netherlands by French revolutionary troops in 1793, Dewez fled to Prague. In the Czech capital, he designed and built some private mansions for the local bourgeoisie. In 1804 he returned to Belgium. He died relatively impoverished in Groot-Bijgaarden on 1 November 1812. His tombstone with a brief Latin description of his life and work, can still be seen in the exterior wall of the church of Groot-Bijgaarden.

Buildings designed

 Abbey of Affligem (demolished)
 Abbaye Notre-Dame d'Orval (demolished)
 Abbey of Dielegem in Jette near Brussels (partly demolished)
 Abbey of Forest
 Vlierbeek Abbey
 Abbey of Opheylissem today Hélécine
 Abbey of Gembloux
 Abbot's palace of the Abbey of Tournai, today Hôtel de Ville.
 Abbey church of Bonne-Espérance.
 Church of Harelbeke
 Church of Andenne
 Château de Wasseiges (demolished)
 Château de Seneffe
 Château Charles (demolished)
 Château of Mariemont (demolished)
 State Prison of Vilvoorde

Gallery

References
 Kevin Brown, Artist and Patrons: Court Art and Revolution in Brussels at the end of the Ancien Regime, Dutch Crossing, Taylor and Francis (2017).
Léon Dewez, 'Laurent-Benoit Dewez: premier architecte de la Cour de Bruxelles sous Charles de Lorraine', 1731–1812, in: Annales de la Société royale d'archéologie de Bruxelles. - 35(1930); pp. 65–94.
Cathérine de Braekeleer, Laurent-Benoît Dewez 1731–1812, Seneffe, 1992.
H. Gerson and E. H. ter Kuile, Art and Architecture in Belgium, 1600–1800, Harmondsworth, England, 1960.

1731 births
1812 deaths
Architects of the Austrian Netherlands
People from Verviers

Laurent-Benoît Dewez


Galidor: Defenders of the Outer Dimension (commonly shortened to Galidor) is a science fiction television series created by Thomas W. Lynch and The Lego Group, and co-produced by CinéGroupe and the Tom Lynch Company in association with YTV. Galidor premiered on February 9, 2002, and ran for twenty-six episodes across two seasons, airing its last episode on August 24, 2002. It had limited reruns on other international networks. The series follows teenager Nicholas "Nick" Bluetooth and his friend Allegra Zen after they are transported to the Outer Dimension, where Nick uses his newfound "glinch" shapeshifting ability to aid resistance efforts against the tyrant Gorm who has conquered the Outer Dimension in search of the hidden realm of Galidor.

The concept for Galidor as a toy line with an associated television series was created by the Lego Group, hoping to break into a new merchandise market during a period of financial trouble. The concept was brought to Lynch in 2000, who created the story and characters and initially planned out a five-season story arc. The series began filming in September 2001 at the Cine Cite studios in Montreal with a budget of US$16 million. The show combined practical effects and live actors with puppets and green-screen CGI. The series saw minimal attention, and mixed reviews both at the time and in retrospect due to its plot and focus on special effects. The franchise was a commercial failure, though the toys gained a cult following in later years.

Plot
On his fifteenth birthday, Nicholas "Nick" Bluetooth−who lives a quiet life with his grandfather−finds a floating device in his room. Accompanied by his friend Allegra Zen, Nick discovers a ship dubbed the Egg. Nick and Allegra are transported by the Egg to the Outer Dimension, a network of isolated realms currently controlled by the tyrant Gorm. In the Outer Dimension, Nick displays a shapeshifting ability called glinching, allowing him to transform his limbs into different mechanical or organic objects. Nick and Allegra are soon joined by companions who suffered due to Gorm's actions. They are Jen, a plant-like being preserved in a robotic form; Euripides, the last survivor of a genocide enacted by Gorm's forces; and Nepol, a warrior of the Siktari people. Nick also receives visions from Riana, queen of the hidden realm of Galidor and his biological mother.

It is revealed that the Egg was sent from the Outer Dimension by Nick's father Sam, who has been missing since his childhood. Known as the Stranger in the Outer Dimension and now presumed dead, Sam is blamed for a computer virus created by Gorm which destroyed navigation maps in the Outer Dimension; the device that led Nick to the Egg is the last map in existence. Gorm now wants to conquer the Outer Dimension including Galidor, seeking out Nick's glinch powers to ensure his victory. Nick was left on Earth to hide him from Gorm, who managed to steal a piece of his glinch abilities, before Galidor was sealed away by Riana.

The main storyline revolves around Nick and his allies finding pieces of the key to unlock the way to Galidor, racing against Gorm and his agents while helping the people of the Outer Dimension's realms. One of Gorm's agents, the Galidorian Lind, defects to join Nick's cause so she can reach home again. Gorm ends up recovering the Key and unlocking the doorway to Galidor, prompting a confrontation where Nick apparently destroys Gorm. The series ends with Nick reaching Galidor and reuniting with Riana, while Gorm is revealed to have survived and is holding Sam hostage.

Cast and characters
Matthew Ewald as Nicholas "Nick" Bluetooth. A fifteen year-old who grew up without his parents, living a quiet life with his grandfather and dreaming of there being something more to the world. After coming to the Outer Dimension using the Egg ship, he unlocks the ability to "glinch", temporarily shapeshifting his limbs into the limbs of aliens and specialised machines.
Marie-Marguerite Sabongui as Allegra Zane. Nick's best friend, a karate expert, and holding a more practical outlook than Nick. Initially frightened after she is dragged with Nick into the Outer Dimension, she ultimately sides with the resistance forces against Gorm.
Michael O'Reilly as the voice of Jens. A master mechanic who maintains the Egg ship. Originally a plant-like being, he was burned by Gorm and his brain was preserved in a robot body. Jens is performed by Sam Magdi.
Georges Morris as the voice of Euripides. Former Chief Philosopher to Galidor's court, and now Nick's adviser. Euripedes is the last Amphibib, a species native to the realm of Arbo wiped out by Gorm. Euripides's puppet form is performed by Jeffrey Hall.
Walter Massey as the voice of Nepol. A warrior of the Siktari and a general in Galidor's army. Originally eight feet tall, he was shrunk to a small stature. Nepal is performed by Claude Girous.
Ian Finlay as the voice of Gorm. The main antagonist of the series. Gorm is a master illusionist who uses glinch powers stolen from Nick to create his armies, intending to conquer all of the Outer Dimension. Gorm is performed by Steven P. Park.
Karen Cliche as Lind. A recurring character and native Galidorian, she is introduced as an agent of Gorm being trained as his successor. She eventually defects to Nick's side out of a wish to return home.

Production
During the late 1990s to early 2000s, Danish toy company The Lego Group were suffering from falling profits; while licenses for franchises such as Star Wars and the in-house Bionicle line proved profitable, at the time there was a market shift away from the style of brick building toys the Lego Group had designed up to that point. Intending to break into the action figure market, the Lego Group created a concept of figures with interchangeable limbs and an associated storyline. The intent was giving buyers both design freedom with the sets and an entertaining narrative. The Lego Group decided to create a television series to tell the toy line's story, and approached Thomas W. Lynch about the project in 2000; Lynch was well known in television for his work on multiple series aimed at the "tween" demographic. Lynch liked the concept, and worked together with the Lego Group designers to create what became Galidor: Defenders of the Outer Dimension, designing the story and characters based on the draft figure designs.

Galidor was co-produced by the Tom Lynch Company and Montreal-based CinéGroupe in association with Canadian channel YTV. CinéGroupe handled worldwide distribution in partnership with Columbia TriStar Intl. Television. The Lego Group held exclusive merchandise rights, collaboration on promotion and additional merchandise with United Media. Lynch and CinéGroupe president Jacques Pettigrew were executive producers, the production executive was Ken Katsumoto, Michel Lemire and Marie-Claude Beauchamp acted as series producers, and the  lead director was George Mihalka. Mihalka directed several individual episodes alongside others including Jim Donovan and Giles Walker. The series cinematographer was Daniel Villeneuve, and Alan Best was CGI supervising director. The music, which combined electronic and techno with choral elements, was created by British composer Andrew R. Powell. Powell had worked on some of Lynch's earlier series.

When creating Galidor, Lynch wanted to combine a coming-of-age story with the "fun" of The Mummy (1999) and its sequel. Drawing inspiration from the Hero's journey concept, Nicholas was created as a character dealing with feelings of both personal and social isolation. Tom Chehak acted as showrunner working from Lynch's draft, overseeing the scripts and music, alongside working with the various partners to keep the show in line with project goals. The episode scripts were written by a large team including Lynch, Chehak, Alex Epstein and Damian Kindler. Lynch had a rough story plan spanning five seasons totalling 100 episodes, with the intention being to film the first two seasons, break for a few months, then produce the third season. Ewald, who played Nicholas, had previously acted in supporting roles and Minnesota theatre with Galidor being his first lead part. In contrast, Allegra was Sabongui's debut as an actor, having only done work in school productions before. Ewald and Sabongui auditioned on the same day, which coincided with the September 11 attacks, and bonded both during the aftermath and while filming.

Active production on Galidor began on September 25, 2001. Filming took place at the Cine Cite studios in Montreal, both in practical sets and against green screens. The show's two seasons were given a combined budget of C$25 million (US$16 million). Each episode, allotted a budget of C$1 million (US$620,000), was filmed and completed over a few weeks. Lynch was eager to create a series that blended CGI with practical elements and live actors. The show also incorporated practical effects, full body costumes for characters like Gorm, and puppet characters with incorporated animatronics. Ewald and Sabongui performed many of their own stunts, while Gorm's stunts were performed by Derrick Damon Reeve. Roughly a third of the storyboards were dedicated to CGI, which involved extensive cross-checking between crews and the overlaying of up to four different graphical elements in some scenes. The amount of CGI was limited due to the budget, with Lynch and Best cooperating on finding camera angles that balanced CGI with sets and practical effects. Shooting was done using a single HD camera to minimize post-production work. During the last couple of months shooting, Lynch learned that Fox Family was being bought by The Walt Disney Company. This worried him, as he assumed the purchase was due to the commercially-successful Power Rangers franchise, and that Disney would not be interested in funding new series like Galidor. He also noted that Galidor shared copyright with the Lego Group rather than being an in-house property, further discouraging promotion from Disney.

Broadcast
Galidor began simultaneous broadcast on YTV in Canada and Fox Kids in the United States on February 9, 2002 in the morning time slot. After its debut, the show was moved around to different slots. The original broadcast ended on August 24, 2002. It was the last original show to debut on Fox Kids before it was rebranded as FoxBox under new owners 4Kids Entertainment in September 2002. Also beginning in September 2002, Galidor was repeated on ABC Family. It was broadcast on Saturdays and Sundays. Galidor was one of the debut titles of a tween-focused programming block on Australia's Foxtel in May 2002, broadcasting on Sundays and Mondays. Originally scheduled for UK broadcast on BBC1 in January 2003, it was broadcast from February 16 to July 23 of that year on BBC2's early morning CBBC programming slot. The series was brought over by Theresa Plummer-Andrews, then an executive producer for CBBC and keen to bring in new international shows. Two versions of the theme song were created for the show; a 30 second version for broadcast in the United States, and a minute-long international version.

Episodes

Season 1 (2002)

Season 2 (2002)

Reception and legacy
In April 2002, it was reported that the series had boosted FoxKids viewership within the show's target demographic. In their 2002 fiscal report, the Lego Group felt that the series had failed to attract the predicted popularity needed in the United States. Lynch noted that the show was not a ratings success overall, which he attributed to lack of marketing.

In a review for the Rome News-Tribune after its first few episodes aired, Evan Levine cited the special effects as Galidor main attraction, otherwise finding the premise and characters unoriginal. He did see potential and positively noted its theme of alienation. The show was a runner-up in the 2002 Kidscreen Awards in the "Teen/Tween" category. Lynch remembered being shocked by critical and audience reactions to Galidor, which were less enthusiastic than with his earlier series.

In a Bloomberg News article about the Lego Group in 2010, Jay Green referred to Galidor as "a Saturday morning cartoon cliché" which was dismissed as a long commercial for the toy line. In 2013 David Robertson, then a practice professor at the University of Pennsylvania and co-author of a non-fiction book on the Lego Group, called the television series bad and felt it had negatively impacted the careers of its actors. As part of a 2021 article on the Power Rangers franchise, Paste Magazine Dave Trumbor mentioned the show as one of a number of productions at the time that failed to gain an audience, stating they had "abysmally immature computer-generated graphics as stand-ins for suited monsters".

Different sources have blamed the failure of Galidor on issues caused by the purchase of Fox Family and consequent lack of publicity for the series, the television series being low quality, the Lego Group's lack of experience with television, and poor reactions to the toy line. Lynch described Galidor as a learning experience that informed his later focus on story over special effects.

In other media and merchandise

Video games
As part of Galidor promotion, a web browser game titled Galidor Quest was released through the project website. An adventure game played from a town-down perspective, the goal was for the player to create an Outer Dimension character and progress the story through combat and solving puzzles. Players could compete with each other in an online arena. The browser game was part of a mixed media promotional approach compared to later alternate reality games.

In December 2001, the Lego Group partnered with Electronic Arts to publish a video game tie-in based on the Galidor toys and series. The video game was split across two versions. The Game Boy Advance was developed by Tiertex Design Studios, while Asylum Entertainment was developing a version for Windows, PlayStation 2 and GameCube. In May 2002, publisher Electronic Arts first displayed the Game Boy Advance and PlayStation 2 versions at E3 2002. The Game Boy Advance version was released by Lego Interactive and Electronic Arts in North America on October 29, 2002. The game received a mixed reception, with reviews usually citing repetitive gameplay and unresponsive controls.

Asylum Entertainment's game, produced by Nick Ferguson, was developed under Lego Interactive's request for a "traditional" platform game themed around Nick's glinching abilities. It was initially scheduled for a release in early 2003, and in July 2003, Electronic Arts announced that would be released in September of that year. During this period, Asylum Entertainment staff saw the mixed reactions series and toy line, and were eager to get it finished and move onto a new contract. On September 3, 2003, Asylum Entertainment announced that, due to financial instability, they had cancelled their Galidor game for all platforms, and laid off the game's team. The unfinished Windows version ended up getting budget re-releases of individual Lego video games, or Lego video game bundles, released by Focus Multimedia (2004) and ValuSoft (2006) in Europe and North America, respectively.

Toys
Production of the toy line ran parallel with the series, led by senior Lego Group designer Niels Milan Pedersen. The design drew inspiration from a number of early concepts about evolving and merging creatures, with the specifics coming together following talks with Lynch. The Lego Group's marketing division at the time was pushing for the action figure approach, as it considered traditional Lego bricks to be no longer commercially viable. The Lego Group described Galidor as a new venture due to wanting to expand the merchandise and media beyond their traditional boundaries. Their plan was to launch the toys after the series had gained traction. One notable element of the crossover was the Kek Powerizer, a hybrid design combining the action figure elements with a rudimentary electronic device which would play sound clips based on both the parts attached to the Kek Powerizer body and the sound signals received from either the television series or video games. The Kek Powerizer's voice lines were recorded by Brian Hamilton.

Galidor and its associated theme was announced in early 2001. They also advertised the project through print adverts and a McDonald gift promotion. Bionicle comic writer Greg Farshtey created a tie-in comic for the theme, and a dedicated exhibition was created in Legoland theme parks showing off the toys and clips from the series. While those at the Lego Group's Denmark headquarters were having doubts about the line as the series and toy line neared release, the North American office remained enthusiastic and pushed for more figures to be produced. The designers only saw the series close to its broadcast, disliking it as a whole and being disappointed at the rubber suit style for many of the alien characters. The figures saw a limited preview release in March 2002, and a full retail release in July. They were at the time exclusive to the United States, with the plan being to launch them internationally to coincide with the show's overseas broadcast.

Sales of the toys were poor, and declined following the end of the series. The Galidor toy line was discontinued in 2002 leading to some sets being cancelled, with the Lego Group's stating they would abandon the action figure style going forward. The Lego Group later called Galidor the worst-selling toy line in their history, and it was blamed along with other factors for the company's near-bankruptcy in 2003. Pedersen later noted that the Lego Group were unwise to launch the Galidor line in direct competition with Bionicle. In the years since, the toys have gained a cult following among both fans and Lego Group designers. Pedersen recalled the line as "quite special" but let down by the marketing.

References

External links
 Official website (archived September 2002)

2002 American television series debuts
2002 American television series endings
2002 Canadian television series debuts
2002 Canadian television series endings
2000s American mystery television series
2000s American science fiction television series
2000s Canadian science fiction television series
American action television series
American adventure drama television series
American television shows featuring puppetry
Canadian action television series
Canadian adventure drama television series
Canadian mystery television series
Canadian television shows featuring puppetry
English-language television shows
Fox Broadcasting Company original programming
Fox Kids
YTV (Canadian TV channel) original programming
Television series about teenagers
Television series reboots
2002 video games
Action-adventure games
Game Boy Advance games
Tiertex Design Studios games
Lego video games
Video game reboots
Windows games
Cancelled PlayStation 2 games
Cancelled GameCube games
Video games developed in the United Kingdom


There have been two baronetcies created for persons with the surname Borthwick, both in the Baronetage of the United Kingdom.

The Borthwick Baronetcy, of Heath House in the County of Surrey, was created in the Baronetage of the United Kingdom on 12 July 1887. For more information on this creation, see the Baron Glenesk.

The Borthwick Baronetcy, of Whitburgh in Humbie in the County of Haddington, was created in the Baronetage of the United Kingdom on 21 July 1908 for Thomas Borthwick. He was Chairman of Thomas Borthwick & Sons, colonial merchants. In June 1912 he was nominated for a peerage, but died in July of the same year, before the patent had passed the Great Seal. However, on 10 December 1912 his eldest son Thomas Borthwick, the second Baronet, was created Baron Whitburgh, of Whitburgh in the County of Midlothian, in the Peerage of the United Kingdom. Furthermore, in February 1913 the first Baronet's widow Letitia Mary was given Royal licence to use the style of Baroness Whitburgh. The peerage became extinct on Lord Whitburgh's death in 1967, while he was succeeded in the baronetcy by his nephew, the third Baronet. He was the only son of the Hon. James Alexander Borthwick, second son of the first Baronet. The 4th Baronet Sir Antony Thomas Borthwick succeeded his father in 2002.

Borthwick baronets, of Heath House (1887)
see the Baron Glenesk

Borthwick baronets, of Whitburgh (1908)

Sir Thomas Borthwick, 1st Baronet (1835–1912)
Sir Thomas Banks Borthwick, 2nd Baronet (1874–1967) (created Baron Whitburgh in 1912)

Barons Whitburgh (1912)
Thomas Banks Borthwick, 1st Baron Whitburgh (1874–1967)

Borthwick baronets, of Whitburgh (1908; reverted)
Sir John Thomas Borthwick, 3rd Baronet (1917–2002)
Sir Antony Thomas Borthwick, 4th Baronet (born 1941)

The heir apparent is the present holder's son Matthew Thomas Thurston Borthwick (born 1968).

References

Kidd, Charles, Williamson, David (editors). Debrett's Peerage and Baronetage (1990 edition). New York: St Martin's Press, 1990.

External links

Baronetcies in the Baronetage of the United Kingdom
Extinct baronetcies in the Baronetage of the United Kingdom

Borthwick baronets


Alejo del Carmen Guzmán (1815 in Córdoba – 1884 in Córdoba), was a lawyer and politician from Argentina and governor of Córdoba Province.

He was a member of the Federal Party in his province during the administration of Manuel López. When news of the Battle of Caseros arrived, the governor named him General Minister.

When the revolution of April 1852 started, he was named governor by the leaders of the rebellion, but he did not rely on them as much as he relied on the more numerous Federals. When General José María Paz, at the end of that year marched to Córdoba to form a Unitarian Party in the interior of the country, he sent advance parties and announced he would arrest the previous governor (Lopez).

Guzman supported the policies of president Urquiza.

He left office in June 1855 to Roque Ferreyra, but continued being head of the Federal Party in the province. He was a Representative to Congress and later Senator. He became a Representative to Congress again after the Battle of Pavón, and lead the Federal Party. He was later Dean of the National University of Córdoba for several years and director of a Catholic group during the presidency of Julio Argentino Roca.

Bibliography

1815 births
1888 deaths
Governors of Córdoba Province, Argentina
Argentine people of Spanish descent
Federales (Argentina)

Alejo Carmen Guzmán


Eclectic paganism, also occasionally termed universalist or non-denominational paganism, is a form of modern paganism where practitioners blend paganism with aspects of other religions or philosophies, including the blending of separate pagan traditions. In the book Handbook of New Age, Melissa Harrington states that "Eclectic Pagans do not follow any particular Paganism, but follow a Pagan religious path, that includes the overall Pagan ethos of reverence for the ancient Gods, participation in a magical world view, stewardship and caring for the Earth, and 'nature religion. The practice of eclectic paganism is particularly popular with pagans in North America and the British Isles.

Eclectic paganism contrasts with reconstructionist paganism: whereas reconstructionists strive for authenticity to historical religious traditions of specific groups or time periods, the eclectic approach borrows from several different cultures, philosophies, and time periods.

Some see benefits and drawbacks to the eclectic pagan label. It is broad and allows for various practices and beliefs and without concrete rules, practitioners can explore various religions, philosophies, practices, and cultures while remaining within the bounds of the label. Some also create their own beliefs, philosophies, and rules.

Use of social media

The use of social media within eclectic paganism is very common. Within cultures where pagan or occult beliefs and practices are a minority, social media can provide a safe haven for learning and discussion; and social media allows for the creation of pagan communities. With the advent of social media, information can be reached by nearly anyone, rather than being passed down through oral traditions and within families or covens, as was traditionally common. These communities are vast and can incorporate multiple religions, traditions, and cultures.

The use of social media and the internet by eclectic pagans is not an isolated phenomena, and reflects wider trends of religious expression and communities online.

See also
 Neopaganism in the United Kingdom
 Neopaganism in the United States

References

External links
Eclectic Pagans
Eclectic Traditions

Modern pagan traditions

Eclectic paganism


Seven-digit dialing is a telephone dialing procedure customary in some territories of the North American Numbering Plan (NANP) for dialing telephone numbers in the same numbering plan area (NPA). NANP telephone numbers consist of ten digits, of which the leading three are the area code. In seven-digit dialing it is not necessary to dial the area code. The procedure is also sometimes known as local format or network format.

History
Originally, telephone exchanges consisted of manual switchboards operated by switchboard operators. Telephone numbers had typically two to four digits, depending on the size of the community. As the number of subscribers grew, multiple exchanges served individual neighborhoods of large cities. Multiple exchanges were identified by a central office name and typically four digits, such as "Pennsylvania 5000". A rural telephone number, often party line, had often up to four digits and a letter or letter and digits to indicate which of the multiple parties on the line was desired.

Various methods were used to convert these to dialable numbers as dial systems replaced manual switchboards; many moderately-large cities used a 2L-4N format where "ADelaide 1234" would be dialled as AD-1234 (23-1234, a six-digit local call). The four largest cities, New York, Chicago, Philadelphia, and Boston, used seven digits. In New York, for example, "PENnsylvania 5000" became PEN-5000 and later PEnnsylvania 6-5000, dialled PE6-5000 or 736-5000). New York used the 3L-4N format from 1920, when dial telephones were first introduced there, until 1930, when it switched to 2L-5N.

The original North American area codes were assigned in 1947 as routing codes for operator calls, but by 1951, the first cross-country Bell System direct distance dial was placed directly from a subscriber station. The system was based on fixed-length numbers; a direct-dial long-distance call consisted of a three-digit area code and a seven-digit local number. Numbers in 2L-4N cities (such as Montréal and Toronto) were systematically lengthened to seven digits in the 1950s, a few exchanges at a time, so that all local numbers were seven digits when direct distance dialling finally came to town.

Exchange prefixes were added to small-town numbers to extend four or five-digit local numbers to the standardised seven-digit length, matching in length the then-longest local numbers in the largest major US markets.

Structure
Within the multinational calling area administered by the North American Numbering Plan, telephone numbers are composed of three fixed-length fields: a three-digit numbering plan area (NPA) code (area code), a three-digit (NXX) central office code, and a four-digit (XXXX) station number.

In seven-digit dialing, only the central office code and the station number is dialed, indicating that the call destination is within the local area code. This was the standard in most of North America from the 1950s onward. In some small villages with only one local exchange, it may have been permissible to dial only the four-digit station number. Even after exchange names were introduced, it was possible in many small cities to call local numbers by dialing only the five digits which followed.

A long-distance call within the same area code could often be dialed as 1+7D, without using an area code. The scheme relied on the second digit of an area code being 0–1 and the second digit of a local exchange being 2–9. This dialing plan was incompatible with the introduction of area code 334 and area code 360, and was therefore eliminated by January 1, 1995 in the United States, and by September 1994 in Canada. It was also eliminated as early as 1981 in some numbering plan areas in the United States that had introduced interchangeable central office codes.

Interchangeable central office codes are central office codes (NXXs) which, with a zero or one as the middle digit, resemble and duplicate area codes in the pre-1995 format. They were introduced to postpone area code splits in major cities such as New York City and Los Angeles, but in 1988, AT&T/Bellcore made them mandatory for area codes nearing exhaust of non-interchangeable codes. The Massachusetts 617/508 split was the last one before the policy changed—617 did not yet have interchangeable NXXs at the time. Area codes with interchangeable NXXs had mandatory 10-digit long-distance dialing in order to allow exchanges to distinguish between intra- and inter-area code calls. From 1988 to 1994, few area codes splits were possible due to the dwindling supply of area codes, so conservation measures became necessary.

As of 1995, with the introduction of interchangeable NPA codes, nearly all code combinations are useful as NPAs or as NXXes.

Office code protection
Traditionally, identical central office codes in adjacent Numbering Plan Areas (NPAs) would be assigned as far apart from each other as possible, so that callers living near an NPA boundary would not confuse numbers in the adjacent NPAs. Central office code protection made it possible in some low density areas to use seven digits to reach areas in another area code.

Examples:
 Washington, D.C. (area code 202) to adjacent areas of Maryland (area code 301) and Virginia (area code 703), discontinued on October 1, 1990 to allow assignment of a code in all three area codes.
 Hull from Ottawa (before 2006, as every Ottawa-Hull local number originally was reserved in both area code 613 and 819). This was terminated on 21 October 2006 to allow assignment of a code in both 613 and 819, although five central office codes associated with the federal government were protected in 819 to allow dialing without potentially reaching non-government lines.

Limitations
Area code overlay complexes introduced the requirement that calls must include the area code, resulting in a ten-digit dialing. Seven-digit dialing remains possible in some areas of North America with a single area code.

Traditionally, calling from one area code to another, specifically for long-distance calls, requires the caller to dial the trunk digit "1" before the code and number. More recently, with the increasing number and decreasing geographic size of area codes, it is increasingly possible to dial a number in another area code that is not long-distance where such a call does require the area code, but not the trunk digit (initial "1").

Many modern cellular phones automatically prepend the telephone's own area code if the user enters only seven digits, sending a total of ten digits. This is the same case with many landline providers that allow this. And also with many voice-over-IP services, users can configure default handling of seven-digit dialing in a dial plan.

Timeline

Before 1947
Local telephone numbers were governed by varying local numbering plans based on historical growth of services. Places without dial service often used special party line syntax (e.g., 2-R-48). The largest cities already used seven-digit telephone numbers and had dial service.

1947 to 1951
The American Telephone and Telegraph Company (AT&T) announced a nationwide numbering plan in 1947, which divided the United States and Canada into 86 numbering plan areas and assigned a unique area code to each. All area codes had a zero or one as the middle digit. A zero indicated that the state or province was served by a single area code, and a one indicated multiple divisions of a state or province.

Area codes were used as a universal destination routing code to the numbering plan area, and replaced the trunk routing codes that operators previously had to look up at the toll switching centers under the General Toll Switching Plan that was in use since 1929. In Operator Toll Dialing, automated equipment translated area codes to routing information. Systematic conversion of city dial systems commenced to the seven-digit (two-letter-five-number) numbering plan. Central office codes were restricted to the digits 2 to 9 in the middle position, to facilitate machine recognition when an area code was dialed. The same rule already applied to the first digit for technical and historical reasons.

1951 to 1960
Direct Distance Dialing (DDD) trials were conducted by the end of 1951, in which subscribers in Englewood, New Jersey, could dial long-distance calls to a select group of remote destinations, as far away as San Francisco, by using an area code.

DDD technology expanded to other major cities, By 1960, it was available in a few places in Canada, as well as most large American cities. This decade is notable for implementation of some thirty more area codes, including in Alaska, Hawaii, and the Caribbean.

1960 to 1981
Major progress may be noted in provisioning DDD service. Long-distance billing was computerized in the 1960s to the early 1980s. Few area codes were introduced during this time. Toll-free 800-service was introduced. Service demands in the largest American cities of New York and greater Los Angeles area resulted in the first use of interchangeable central office codes (NXX). All-number calling was implemented, replacing 2L-5N telephone numbers. A very small number of places still did not use a seven-digit numbering plan by 1981.

1981 to 1994
New area code assignments were increasing in the 1980s. From 1990 to 1994, all remaining assignable codes entered service. The exhaustion of NXX codes necessitated interchangeable codes in several more area codes. Ten-digit dialing, or 1+10D, was implemented in area codes with interchangeable NXX codes. Protected dialing plans as in national capital areas were discontinued to help meet demand without area code relief. As 1994 neared its end, ten-digit dialing became required throughout the numbering plan in preparation for interchangeable NPA codes.

All local numbers now had seven-digit, as the last technological hold-outs had given way to modern switching technology. The concept of a ten-digit local number was conceived, as New York had an overlay code (917, implemented in 1992), but seven-digit dialing was still the norm.

1995 to 2019
Interchangeable NPA codes were introduced in Washington state and Alabama, and some forty new area codes were introduced in 1999 as relief was implemented for pent-up demand. This included two additional toll-free prefixes as the 888 code was quickly exhausted. Since 1999, a more steady rate of area code introductions has taken place, the rate being slower due to one or more factors:
economic recession
consumer resistance
conservation measures or regulatory measures
pent-up demand being satisfied
new market entrants leaving the business.

With overlays in several areas (the relief method of choice in Canada since 2000), ten-digit local numbers were supplanting seven-digit dialing; by 2019, only four Canadian area codes (506, 709, 807 and 867) were still single-code areas (no overlay) and allowed seven-digit local dialing. Although fewer American area codes were overlaid, seven-digit dialing was also disappearing in the United States.

2020 to present

On July 16, 2020, the FCC adopted rules to establish 988 as the three-digit phone number for the National Suicide Prevention Lifeline. This required 82 area codes to switch to mandatory ten-digit dialing by October 24, 2021, because they had already used 988 as a central office code.

Similar transitions are scheduled in most parts of the remaining single-code areas in Canada by May 31, 2023, due in part to the rollout of 9-8-8 service in that country.

See also
Linked numbering scheme
E.164

References

North American Numbering Plan

Seven-digit dialing


Roundnet (also known as spikeball/Pingball) is a ball game created in 1989 by Jeff Knurek, inspired primarily by concepts from volleyball. The game is played between two teams, usually with two players each. Players initially line up around a small trampoline-like net at the start of a point and starts with a serve from one team to another. Teams alternate hitting the ball back to the net.

The game experienced a revival in 2008 when Spikeball Inc. began promoting it. The company manufactures equipment for the game, and so "spikeball" became a common name for the game.

Basics
Roundnet features elements from sports such as volleyball and four square. The game is played between two teams of two (or sometimes 3) people. For 2v2 games, players are positioned at 4 points around the net, with partners located at neighboring positions. For 3v3 games, players are positioned at 6 points around the net, with members from each team alternating positions so that each team is in a triangle formation. One player serves the ball directly across the net to the opposing team member. The opposing team then has 3 (4 if it is a 3v3 game) hits to return the ball to the net. After the serve, there are no boundaries of play. Participants are free to run, set, and spike the ball from anywhere around the net. Play continues until a team fails to return the ball or the ball hits a rim piece, at which point the point ends, and the other team receives 1 point.

Rules

Source:

The bouncing ball has a 12-inch circumference (approximately 3.8-inch diameter).

Setup
Materials needed for roundnet include a trampoline-like net, and a small ball with a 12-inch circumference. For 2v2 games, players line up in a square around the net with their partner to one side, and a member of the opposing team on the other. Each partner is ninety degrees away from the next player. Before the point starts, players will always be across the net from an opponent and next to their teammate. For 3v3 games, players line up in a hexagon shape around the net with players from each team alternative positions, so that each team starts in a triangle formation and each player is directly across and flanked on either side from the opposing team. Thus, each player is 60 degrees away from the next player and 120 degrees away from their teammates. This triangle formation is held until the ball is served.

Each point begins with a serve, usually done by the team who won the previous point. To determine who serves first in the match, teams will play a game of rock paper scissors with the winner of the rock paper scissors game receiving the option to serve first or receive first. During the serve, all players who are not receiving the serve have to line up in their designated positions outside of 6 feet from their section of the rim. The returner can stand wherever they want prior to the serve.

Once the ball is served, all players on both teams can move wherever they may like. After the ball is served, the possession is assumed by the returning team. Once the ball is hit and returned by the non-serving team and hits the net, the possession is flipped. This continues throughout the point, as possession changes whenever the ball hits the net. During each possession, teams have three hits but do not have to use all of their hits.

To account for harsh sunlight, wind, or any other condition outside of the game; players will rotate serving positions ninety degrees every five points. Only a maximum of three touches are permitted.

Serving
The first serve starts the game, and the setup is dictated by the first receiver. The server then stands directly across from the receiver, and only the designated receiver may receive the serve. To serve, the server must throw the ball at least 4 inches away from the release point to begin the serve. The first hit from the server should always be a gentlemen's serve, meaning that the serve should not be used with excessive force but rather with a friendly start to get the game going smoothly. The ball is not allowed to be interfered with during the serve.

For each point, the server is allowed two serves to complete a legal serve. If they catch, swing at and miss, or drop the tossed ball, it results in a service fault. Servers must be behind the six-foot line away from the net to be eligible for the play. The server cannot lean over the line in order to get closer to the net, and their feet and entire body must be behind the line until the ball is contacted. The server is allowed to take a pivot step, but cannot move further than a pivot. The server can hit the ball at any speed and direction including drop shots. For the serve to be eligible, the ball must not go any higher than the receiver's raised hand. If the ball does this, the receivers must call fault before a second touch occurs or the ball hits the ground. The serving team will have one more try to serve it correctly, or they lose the point. When serving, if the ball hits what is known as a "pocket" (the area of the net that is right next to the rim) then the receiving team can call a fault and the server can attempt another serve. If the ball comes in contact with the rim at any point of the game while a player attempts to hit the net, that is a point for the opposing team. If a fault is not called, then the play continues. If two faults occur back to back, the receiving team is awarded the point and possession switches sides. If the serving team wins the point, the server must switch places with their teammate to serve to the other receiver. If the receiving team wins the point, they get to serve the next point.

Contacting the ball
Rules and regulations exist when the ball is in play. If a player contacts the ball on its trajectory upward, a soft touch can be made. A soft touch allows the same player to hit the ball a second time in a row, if the first touch is on an upward path. However, this second touch does indeed count for 2/3 of the max touches by a team, and the next hit must go on the net. When a player is hitting the ball, no more than a slight carry is allowed by SRA. Any catch of the ball results in a point for the opposing team. If the ball hits the ground or the rim at any point during the rally, the play ends and a point is given to the other team. If the teams could not determine whether the ball hit the rim or a pocket, the play is replayed. When the ball hits the net, it must clear the rim for the play to be continued. If the ball hits the net again, a double bounce is called, and a point is given to the assuming receiving team. If during a rally the ball hits the pocket, the rally continues. Pockets are only a fault during serves. If the ball makes contact with the net and then proceeds to roll up into the rim, this is known as a "roll-up". If this occurs during a service, the receiving team may call a fault and the service is tried again. If a roll-up occurs during a rally, it is treated as a pocket, and the rally continues.

Infractions exist even if a team does not have assumed possession, these are called hinders. These include if a defensive player gets in the way of the team going for the ball. It is required that defensive players make an effort to get out of the way to avoid interference. If a player gets in the way of the play, the opposing team must call it "hinder". They will then be able to replay the point. The offensive team must have a legitimate reason to call "hinder". If the defensive player makes an attempt to play at the ball if they do not have possession, they lose the point. If a player hits a shot that hits off the net and hits either themselves or their teammate, they lose the point. If a player makes contact with the set, it results in the loss of the point. Even if the player hit a "kill shot", they will lose the point if they touch the set before the ball makes contact with the ground.

Scoring

Scoring in roundnet is dictated by "rally scoring", meaning that a team may earn a point whether they are serving or not. Games are usually played from 11, 15 or 21 points, but the tournament organizer can change that at his/her discretion. As is common with similar games such as ping-pong, tennis, and volleyball, teams can only win by two points. This can lead to deuces and point-advantages until a team wins by 2 points. Points can be scored in these ways:

 When the ball does not hit the net within three hits during a possession
 The ball hits the ground
 The ball hits the rim. (This includes during serves)
 The ball does not bounce off the net on a single bounce, also known as a double hit. The ball must clear the rim of the net completely.
 There are two illegal serves in a row.
 The player hits themselves or their teammate with the ball after it makes contact with the net

Modified Rules

In addition to the original, classic way of playing roundnet, there are many variations that can be made to the rules of the game, some of which have become more and more popular. These modifications can add a complete different aspect to a simple game of roundnet, and in doing so transform the game as a whole. Adding extra aspects to the game allows for roundnet players to challenge themselves a little extra, and in doing so either increase or decrease the competitive aspect of such a versatile game like roundnet. Some potential modifications include splitting the play field in half (thus simplifying the game), only using one hand, or even forcing players to hold hands greatly increasing the difficulty of the game.

Skills
Many competitive teams and players master these four fundamental skills: serve, pass/dig/set, attack (spike), and the body block. These skills are standard practice for high-level advanced, premier, or pro division players.

Serve
The server stands behind the 7 foot serving line, in attempt to hit the ball onto the net. The servers main goal is to hit a clean serve that will result in a bad touch or a possible "ace". A serve is called an "ace" when the server hits the ball onto the net, bounces off clean, and the ball goes untouched by the receiver and hits the ground, or the ball hits the ground before the receiver can touch it, or the receiver has a bad touch and the ball goes off in a different direction, resulting in the ball hitting the ground.

In present-day roundnet, several types of serves are implemented:

 Basic serve: Used by most beginners. When a player hits the ball with a flat hand giving the ball little to no spin. The basic serve is rarely used in high-level games and tournaments, because of how easy the serve is to receive. Can be performed in any serving stance
 Topspin/Jam/Backdoor serve: The most commonly used serve in the game of roundnet. It is when the player tosses the ball and hits the ball with top spin, which makes the ball go shooting forward at the receiver. When hit hard this serve can be extremely difficult to receive. This serve can be performed in multiple serving stances.
 Drop serve: Another very commonly used serve in the game of roundnet. When the player tosses the ball and hits the ball with a bit of back spin, which results in the ball dropping in-front of the receiver. When the serve is placed properly it can be extremely difficult to defend if the opposing player is further back while receiving the hard driven serves. This serve can be performed in multiple serving stances.
 Cut serve: Used by advanced-level players, the server tosses the ball and hits the ball with side spin and top spin, making the ball bounce off the net wider than expected by the receiver. When this serve is placed on the net with tons of power and spin it can be extremely hard for the receiver to get a touch. This serve can be used in most stances, may be more difficult for certain stances.
 Reverse-cut serve: Perhaps the most difficult serve to master. The server hits the ball with reverse spin going clockwise(assuming right-handedness) as opposed to a typical cut serve, which spins counterclockwise.

Pass/dig/set
A pass or a dig is used to properly receive the opponents serve or any type of hit. To properly handle the serve or hit, the player not only has to prevent it from hitting the ground, but also wants to give their partner a good pass to allow them to create a good set.

There are two different techniques used to pass the ball, they can be used in different circumstances:

 Under hand pass: When the player makes a platform with their hand for the ball to bounce off the palm of their hand. Most commonly used for setting for a partner.
 Over head pass: Essentially the same contact with the under hand pass, but pushing the ball over head. Most commonly used when receiving the serve and hard driven hits, long distance setting, or when the ball is traveling over head.

Attack (spiking)
A hit/flick/chip/drop is used when a player is attacking the ball; it is an attempt to give their opponent a hard hit to defend so they are unable to get the ball back onto the net. Players usually use a combination of wrist snap, arm swing and rotation to deliver certain types of attacks. The main goal of the hitter is to get a "kill". A "kill" is a term used when ball is hit and bounces off the net, and the opposing team could not dig the ball, resulting in a point.

In present-day roundnet there are many different ways to attack the ball:

 Hit(spike): A hard driven hit usually performed with topspin.
 Flick: A very low trajectory shot to place the ball where the defender is not. This is a placement shot. Typically done with a backhand motion.
 Chorn: A high and far trajectory shot to place the ball overhead of the defender, being unreachable then landing very far away from the net. Sometimes referred to as a chip or skyball.
 Drop: A low trajectory shot placed in front of the defender. This attack is used with minimal amounts of force.
 Pull: A shot that's trajectory is toward the direction of the hitter
 Push: A shot that's trajectory is directly in front of the hitter.
 Tweener: A shot delivered from between the hitters legs.

Body block
A body block is a common tactic for defence. Where the player defending a hard driven shot, gets hit with ball, passing the ball up to his partner for a set. Body blocks can also be used to block the ball back onto the net, this is referred to a "God-(hand, body, knee, or block etc)". A "God-block" is when a player uses any part of their body, for example their hand, to deflect the ball back onto the net in one touch usually resulting in a "kill", in this case it would be called a "God-hand".

See also
 Crossnet

References

Volleyball variations
Games and sports introduced in 1989

Roundnet


Kazuma Pan National Park is situated in Zimbabwe's extreme north-western corner, lying on the Botswana border a short distance north-west of Hwange National Park. Some 77,345 acres (313 km²) in area, it provides one of Zimbabwe's few areas of plains scenery, with good visibility and sparse but important mammal populations.

Flora and fauna

Kazuma Pan is virtually unspoilt wilderness with an open landscape of grassy plains which is reminiscent of the great East African plains and is thus dissimilar to the usual Zimbabwean bush or woodland landscapes. Within the Park there are a series of pans, some of which are kept continuously filled by water pumped from boreholes during the dry season. This permanent water source causes large concentrations of wildlife to seasonally migrate between Botswana and Zimbabwe, especially towards the end of the dry season from September through to the first rains of November or December.

Wildlife to be seen in Kazuma Pan National Park include lion, leopard, Southern giraffe, common zebra, gemsbok, roan antelope, sable antelope, tsessebe, common eland and Southern reedbuck. African elephant and Cape buffalo are present in large numbers towards the end of the dry season when water is scarce elsewhere. White rhinoceros can  also be frequently seen. A special species to the Kazuma Pan National Park is the oribi, a small antelope, which is rather rare in Zimbabwe. Cheetah or African wild dog are still present though rare but lions are fairly common.

Much of the park consists of grassland, fringed by mopane and Kalahari sand woodlands. There are a series of seasonally flooded pans in the south-west of the park attracts a wide variety of waterfowl. The pan systems are also ideal habitat to a large variety of water birds, with a number of species including storks, crowned cranes, stilts, cormorants, ducks and kingfishers occurring throughout the area.

Kazuma Pan was proclaimed a National Park in 1949, but was deproclaimed in 1964 as no development had taken place. It regained its National Park status under the Parks and Wild Life Act (1975). There is no accommodation within the park but camping is allowed at two undeveloped camp sites, with permission from the Department of National Parks and Wild Life Management.

Notes
This park is considered for inclusion in the 5 Nation Kavango - Zambezi Transfrontier Conservation Area.

References

National parks of Zimbabwe
Geography of Matabeleland North Province
Tourist attractions in Matabeleland North Province
1949 establishments in Southern Rhodesia
1964 disestablishments in Southern Rhodesia
1975 establishments in Rhodesia
Protected areas established in 1949
Protected areas disestablished in 1964
Protected areas established in 1975

Kazuma Pan National Park


Electronic waste or e-waste is electronics that have been discarded.  This includes any electronics e.g. computers, power tools and etc.

E-waste is a concern for every country in the 21st century. Because of Moore's law, the rule that states transistor numbers double every two years, people upgrade computers every 3 years on average. People usually throw away their old laptops, cameras, computers, cell phones and televisions. This creates a large amount of practically useless waste. Most countries have methods to combat e waste and find a use for obsolete technology. Some items are refurbished for use.

Adding up the billions of computer users in the world, over 30 million tons of e-waste is created nearly every year, along with a few billions of tons of other waste.
Electronics
Recycling

Electronic waste


James Lowe is an orchestra conductor and current Music Director of the Spokane Symphony in Spokane, WA beginning in the 2019-2020 season.  He assumed his role of Chief Conductor of the Prussian Chamber Orchestra for the 2015/16 season. His work as Artistic Director of the Hallé Harmony Youth Orchestra was featured in a four-part documentary shown in the UK on Channel 4 in 2010. A recipient of the Bernard Haitink Fund for Young Talent, Lowe is Principal Conductor of the Edinburgh Contemporary Music Ensemble, Principal Guest Conductor of Music for Everyone, Orchestras Advisor and conductor of the Senior Orchestra of the National Youth Orchestra of Scotland and held the position of Associate Conductor of the Royal Scottish National Orchestra. Lowe is also Artistic Advisor of the Nottingham Youth Orchestra, with whom he began his orchestral career.

Early life
Lowe was born in Nottingham. His first venture into the world of music was the study of the viola. He began viola lessons aged 13 and later went on to study the instrument privately with John White. He then studied music at the University of Edinburgh gaining a First Class Honours degree in music.

Lowe's first conducting experience was with the Nottingham Youth Orchestra, with whom he conducted Shostakovich's Symphony No 5 in D minor.  Having conducted most of the main ensembles at the University of Edinburgh during his time as a student there Lowe continued his study of conducting in a series of master classes with legendary Finnish conducting teacher Jorma Panula and continued studies with Bernard Haitink, Neeme Järvi and Valery Gergiev.

Career

Educated at the University of Edinburgh, Lowe continued his development as Benjamin Zander Conducting Fellow with the Boston Philharmonic, and has studied with leading conductors in master classes, including Jorma Panula, Neeme Järvi, Bernard Haitink and with Valery Gergiev and the London Symphony Orchestra. He has worked as Assistant Conductor to Haitink in performances with the Concertgebouw Orchestra in Amsterdam.

One of two prizewinners in the Tokyo International Music Competition for Conducting and special prize winner in the Jorma Panula International Competition, he has appeared in performance with the Osaka and Tokyo Philharmonic Orchestras, the Trondheim Symphony Orchestra, the Moscow Chamber Orchestra, the St. Petersburg Academic Symphony Orchestra, the New Japan Philharmonic, the Indianapolis Symphony Orchestra, the Hallé Orchestra, the BBC Philharmonic, Scottish Ballet, the orchestra of Welsh National Opera, the Royal Liverpool Philharmonic and the Scottish Chamber Orchestra, and the Edinburgh Contemporary Music Ensemble as well as working with numerous other ensembles in many European countries, South Africa and the USA.

In June 2019, Lowe was announced as Music Director for the Spokane Symphony from a pool of five candidates who conducted the orchestra for a "Classics" concert during the 2018-2019 season. He began full-time direction for the orchestra's 2019-2020 season.

Lowe is also active as a teacher of conducting and is undertaking research exploring ways in which orchestras can meaningfully engage with a greater public.

References

1976 births
British male conductors (music)
British classical violists
Living people
Musicians from Nottingham
Alumni of the University of Edinburgh
21st-century British conductors (music)
21st-century British male musicians
21st-century violists

James Lowe (conductor)


Giza Plateau is an ancient plateau in Giza. It has many ancient mysteries about it, and archeologists are still trying find its mystery. The plateau is the site of one of the most impressive ancient monuments around the world, the Pyramids of Giza. It also holds some of the most astonishing monuments in Egyptian history.The Giza Plateau is also home to many other ancient Egyptian monuments,including the tomb of Pharaoh Djet of the First Dynasty as well as that of Pharaoh Nynetjer of the Second Dynasty.The Giza Plateau has astonished tourists and travellers over the years.

References

Plateaus

Giza Plateau


Jason Conlan (born 1971) is a New Zealand cartoonist, best known under the pseudonym Mister J, who is the creator of Pro Wrestling Illustrated's monthly cartoon strip "On the Mat". He has also contributed to the similar Australian wrestling publication Piledriver and long-running newsletter Wrestling Then and Now as well as professional wrestling websites ProWrestlingDaily.com and Bill Apter's 1wrestling.com. Conlan has also done work for the online version of The Sun, the most-read daily newspaper in the United Kingdom.

Biography

Early life and influences
Jason Conlan developed an interest in drawing and professional wrestling as a child. As early as the age of six, he began watching Steve Rickard's NWA-affiliated promotion All Star Pro-Wrestling and its wrestling programme On the Mat. He became an avid fan of the show and was encouraged to begin drawing some of the wrestlers he saw such as Baron Von Krupp. After On the Mat was cancelled in 1984, Conlan started reading Pro Wrestling Illustrated and began following professional wrestling in the United States. Though he enjoyed WWF Superstars of Wrestling when it debuted in New Zealand in 1987, the country's first regular American wrestling show, Conlan favoured the National Wrestling Alliance, specifically Jim Crockett Promotions, partly due to being a fan of the NWA-friendly "Apter mags" and found its wrestlers more interesting to draw.

Conlan continued developing his artistic talent, carefully studying comic book art, newspaper comic strips, and political cartoons, and started selling his own drawings while a high school student. Conlan also had a regular spot in his local newspaper. He considered attending art school but found it "to be boring and expensive".

Pro Wrestling Illustrated
Conlan was working part-time in a comic book store when he first contacted the offices of Pro Wrestling Illustrated via cold calling in 1995. His first call was "politely declined" but had better luck two weeks later and was put through to then editor Bill Apter. He had previously worked on the Australian wrestling magazine Piledriver and the Wrestling Then and Now newsletter, however, it was his work for PWI which would give him his first big break. After two months of negotiations, he accepted an offer from publisher Stu Saks to draw a monthly cartoon in addition to 30 full-page cartoons for their wrestling annual. He would eventually go on to illustrate all of Saks' wrestling magazines.

His comic strip On the Mat, named in honour of the wrestling programme Conlan watched as a child, debuted later that year and continues to appear in PWI as of 2010. Conlan, also employed at a bookstore, is also a contributing artist for professional wrestling websites ProWrestlingDaily.com and 1wrestling.com, the latter owned by Bill Apter. He has also contributed to the online version of The Sun, the most widely read daily newspaper in the United Kingdom, which also carries artwork from On the Mat for its sports columns.

Recent years
A member of the Australian Webcomics Collective, Conlan has also drawn art for the long-running Australian comic anthology series DeeVee. In July 2007, his comic strip "Mister J and the Pirates" appeared in DeeVee 2007 alongside work from Eddie Campbell, Jeffrey Brown, Mandy Ord, Jason Paulos, Daren White, David Tang, Matt "Stikman" Huynh, Daniel Best, Andy Finlayson, Daniel Gibbs and Lee Slattery.

Reception
Conlan's work has garnered some interest from within the wrestling industry. When World Championship Wrestling was touring New Zealand during its final years, he sent some of his artwork to their office and was invited to meet some of the wrestlers during the tour. Scott Steiner, he was told, had expressed some negative comments towards a caricature he had done of Steiner and was warned to stay away from him during the tour. The popular Mexican luchadore Puma had the opposite reaction praising Conlan and commenting "When I saw myself [in the PWI comic strip] I thought I might as well just retire right there. It just doesn't get any better than that." In recent years, Conlan has expressed an interest in having his artwork commissioned by World Wrestling Entertainment, as many of his favourite caricatures are of WWE superstars, such as illustrating a daily cartoon for WWE.com.

References

External links
On The Mat, official website
Jason Conlan at Comics.org.nz

1971 births
Living people
New Zealand editorial cartoonists
New Zealand comics artists
New Zealand comic strip cartoonists
New Zealand caricaturists

Jason Conlan


The Athletiksport Club Viktoria Wien was an Austrian athletics and football club from the capital Vienna. The Viktoria football section was one of the founding members of the first official Austrian championship in 1911.

History
Viktoria Vienna was founded in 1898. A few years after its founding, the club changed the Latin/English form of the name Victoria with a "c" for the German form with a "k" in its name.

The club's greatest success was reaching the final of the Challenge Cup in the 1898/99 season. The final game against First Vienna FC on March 5, 1899 was clearly lost 4-1. In the 1901/02 season, the club played in the second class of the championship announced by the Austrian Football Union, but only finished fourth and last.

In the years that followed, a good team grew up in the club and Viktoria was accepted into the first class by the ÖFV for the first compulsory championship in 1906/07, which was later canceled and declared unofficial. Due to its playing strength, Viktoria was able to stay in this class until the official championship was introduced in 1911/12.

In the first season of the Austrian championship, the club ran into financial difficulties. After four rounds of the championship had been completed, Viktoria was no longer able to play. On 24 November 1911, it joined the traditional Vienna Cricket and Football Club. Despite the merger of the two clubs, the Cricketers achieved no wins and only two draws and finished eleventh and last in the table at the end of the season.

References

Austrian football clubs
Football clubs of Vienna
Defunct football clubs
1898 establishments

AC Viktoria Wien


William Griffith (4 March 1810 – 9 February 1845) was a British doctor, naturalist, and botanist.
Griffith's botanical publications are from India and Burma.  After a brief stay in Madras, he was assigned as a Civil Surgeon to Tenasserim, Burma, where he studied local plants and made collecting trips to the Barak River valley in Assam. He explored various parts of Burma, traveling the rivers, including the Irrawadi as far as Rangoon. He visited the highlands of Sikkim, and the region of the Himalayas around Shimla. Subsequently, Griffith was appointed as Civil Surgeon in Malacca, where he died of a parasitic liver disease.

Biography

William was born at Ham on 4 March 1810, the son of Thomas Griffith. He studied under a private tutor along with brothers and even in his early days, took an interest in botany. He later went to London University where he studied under Robert Brown and John Lindley. He was also influenced by his friend R.H. Solly. He studied briefly at Paris under Charles Mirbel and at the Chelsea Physic Garden.  He received the Linnaean Gold Medal of the Society of Apothecaries in 1830 (botanical class) and joined the East India Company as an assistant surgeon at Madras on 24 September 1832. In 1835 he was deputed to join Nathaniel Wallich and John McClelland on a mission to examine tea cultivation in northeastern India. The Commissioner in Assam, Jenkins, later deputed him to visit the Mishmi Hills and the Lohit valley. He served with Major Robert Boileau Pemberton's mission to Bhutan in 1837. In 1839 he visited the Indus region and studied the botany of Afghanistan, returning to 1841 and recuperating in Shimla before visiting his brother at Jabalpur. When Nathaniel Wallich visited South Africa, he was made in-charge of the Calcutta Botanical Garden and also acted as Professor of Botany at the Medical College from 1842 to 1844. On being relieved, he moved back to the Straits of Malacca, falling ill and dying of a liver disorder on 10 February 1845. The Calcutta Journal of Natural History, produced with assistance from him ceased and the subscriptions were used by John McClelland to publish Griffith's unpublished manuscripts.

He married Emily Henderson (sister of his brother's wife) in September 1844 and in December of the same year he sailed from Calcutta to Malacca but on arrival in January 1845 he suffered from hepatitis and died on 9 February. He was buried in Malacca. A memorial tablet was placed at the St. George's Cathedral in Madras.

Taxa named in honour
There are number of plants with specific names griffithianus, griffithia  and griffithii named in honour of William Griffith. Including: Bulbophyllum griffithii, Euphorbia griffithii, Hopea griffithii, Iris griffithii, Larix griffithii and Magnolia griffithii.

Selected publications
 Griffith, William (1847) Journals of Travels in Assam Burma Bootan Affghanistan and the Neighbouring Countries Bishop's College Press, Calcutta; reprinted 2001 Munshiram Manoharlal Publishers, New Delhi.

Notes

References
Lang, W. H. (1913) "William Griffith, 1810-1845" in Oliver, Francis W. (ed.) (1913) Makers of British Botany: A Collection of Biographies by Living Botanists Cambridge University Press, Cambridge, UK, pp. 178-191,
Arnold, David (2006) The Tropics and the Traveling Gaze: India, Landscape, and Science, 1800-1856 University of Washington Press, Seattle, pp. 16–17, 63, 65, 67, 144, 157, 159, 167, and 171–176,

External links

 Works by William Griffith (1810-1845) at Biodiversity Heritage Library
 "William Griffith British Botanist" The Beauty of Orchids and Flowers website

1810 births
1845 deaths
British botanists
Botanists with author abbreviations

William Griffith (botanist)