Bhoja Air Flight 213 was a domestic scheduled passenger flight operated by Pakistani airline Bhoja Air from Karachi to Islamabad. On 20 April 2012, the Boeing 737-236A aircraft serving the route crashed in bad weather during its final approach to land. All 121 passengers and 6 crew members aboard were killed. With 127 deaths, it remains as the second deadliest air disaster in Pakistan.

The crash was caused by the crew's inadequate flight management during adverse weather conditions. The flight crew were not trained adequately and properly on the automated system of the Boeing 737-236A, a more advanced version of the Boeing 737-200 series, and didn't retain sufficient knowledge on the correct procedures for handling an aircraft in bad weather conditions. Additionally, Bhoja Air's lack of oversight and multiple errors within Pakistan CAA's monitoring system of Pakistani airliners further contributed to the accident.

Accident

The aircraft was operating a domestic scheduled flight from Jinnah International Airport, Karachi, to Benazir Bhutto International Airport, Islamabad, which was the airline's first evening flight in almost 12 years. It was the inaugural flight of Bhoja Air's second daily service on this route (Bhoja Air was earlier closed down amidst financial difficulties in the year 2000, but restarted operations in March 2012). There were six crew and 121 passengers on board. The flight departed from Karachi at 17:05 PST (12:00 UTC) and was due to land at Islamabad at 18:50 (13:50 UTC). The flight was piloted by Captain Noorullah Khan Afridi (58) and First Officer Javaid Malik (53). The flight was uneventful until its approach to Islamabad.

Approach
While approaching Islamabad, Lahore automatic terminal information service (ATIS) broadcast the weather information in and around Lahore, including the Islamabad area. The broadcast stated that clouds and thunder were present in Islamabad and a dust storm warning was issued around Lahore area. First Officer Malik asked the Captain on whether they should divert to Peshawar, but Captain Afridi refused, stating that "God will help us". Approximately a minute later, he noticed that squall line had formed in the area. He started to become pre-occupied with the weather. First Officer Malik gave multiple information regarding the weather condition, however due to the pre-occupied state of Captain Afridi, the Captain ignored them all.

Controller in Lahore cleared Flight 213 to descent. The seatbelt sign was turned on due to a possible turbulence and the crew decided to discuss the weather again. Following the discussion, Captain Afridi finally concluded that the flight must land at Islamabad regardless of the weather condition. As Flight 213 became nearer to the squall line, Captain Afridi became increasingly worried. Subsequently, he increased the airspeed to . First Officer Malik then stated that the flight would enter the squall line. Meanwhile, the aircraft began to experience turbulence.

Captain Afridi contacted Islamabad and asked on whether there was a gap between the squall line as he intended to penetrate it from the west side. The controller in Islamabad initially answered that there was no gap between the line, but then a very small gap was observed in the south. Captain Afridi responded that they would try to penetrate through the line. The flight crew then asked the cabin crew to ask the passengers to occupy their seats as the turbulence began to intensify. First Officer Malik later suggested that they should go towards the right (east) to avoid the storm system, but Captain Afridi refused, insisting that they should land at Islamabad.

Flight 213 descended through  and levelled off at . Even though no formal approach briefing had taken place, First Officer Malik stated that the aircraft's approach preparation had been set. The autopilot and auto-throttle were engaged and the aircraft was cleared to descent further. Islamabad ATC then gave another weather update to the crew, stating that there was light drizzle in Islamabad with gusts of up to , which was acknowledged by the crew. Captain Afridi stated that the squall line had arrived in Islamabad and that they would be flying at a very close distance with it. A few minutes later, he noticed that the sky suddenly had become dark, meaning that Flight 213 was entering the squall line.

The aircraft continued its descent. After being cleared by the ATC for an ILS approach to runway 30, the crew configured the aircraft for landing. The flaps, slats and the landing gear were extended and the aircraft started to turn after its lateral navigation was engaged in the "selected mode", which was later deactivated by Captain Afridi during the middle of the turn. First Officer Malik then stated that the airspeed was at , which was met with surprise from the Captain. Few seconds later, raindrops began to pound the aircraft, further startling Captain Afridi.

Captain Afridi became extremely pre-occupied with the changing flight parameters and the effect of the adverse weather condition to the aircraft. Meanwhile, his co-pilot First Officer Malik seemed to be pretty ignorant about the matter. Instead of recommending a missed approach, the first officer continued to carry out cockpit checks. Flight 213 then levelled off at  and the autopilot captured the glideslope. With a bank angle of approximately 5 degree to 20 degree to the right, the aircraft entered its final approach phase and the crew put the aircraft into a descent.

First downdraft
The rain rapidly intensified, pounding the aircraft at an extreme rate. The aircraft was struck by a downdraft and because of it the pitch started to increase. As the autopilot tried to maintain the glideslope, the airspeed decayed. The thrust was increased albeit not sufficient enough. The GPWS alarm blared, alerting the crew about the presence of windshear. Captain Afridi yelled "no! no!" and his co-pilot First Officer Malik asked the captain to go-around.

The downdraft finally dissipated and the crew decided to manually control the aircraft. The autothrottle, however, remained in engaged position. By this time, the airspeed had decreased from  and the aircraft had deviated from the glideslope. Due to the incident, the crew became confused and pre-occupied with the weather condition. The TAWS "Whoop Whoop!" alarm sounded, but the crew didn't give any response to it. The flight continued its approach. First Officer Malik maintained his communication with the controller while Captain Afridi was at the controls. Both the pitch angle and the thrust were decreased.

Second downdraft
The aircraft encountered another downdraft. This time, it was more severe than the last, reaching as high as . The "Whoop whoop Pull Up!" alarm blared, causing Captain Afridi to pull the yoke. The altitude and the thrust, however, continued to decrease. Due to the landing configuration of the aircraft, the airspeed began to decay again.

The downdraft suddenly dissipated in just four seconds. Captain Afridi, who had been struggling to make the aircraft to pitch up, caused the aircraft's nose to rise rapidly. This, in turn, caused the activation of the stick shaker, warning the crew of an impending stall. Alarmed by the stick shaker, Captain Afridi immediately made a nose down input. The altitude rapidly decreased and the thrust remained at a low setting. Multiple warnings blared inside the cockpit, starting from the GPWS "Whoop whoop pull up!" to the windshear warning. Captain Afridi, now frantic, rapidly pulled up the nose again and causing another stick shaker activation. First Officer Malik shouted multiple times to the captain to get out of the stall condition.

Controller in Islamabad later cleared Flight 213 to land, however due to the chaotic situation inside the cockpit the crew never acknowledged the call. Captain Afridi maintained his nose-down input and First Officer Malik could be heard panicking. The GPWS "Whoop whoop pull up" continued to blare inside the cockpit and the aircraft kept descending towards the ground.

Crash
At 18:40 PKT, with an airspeed of  and a pitch angle of 0 degree, the aircraft slammed onto the ground with its main landing gears first. It crashed at a distance of  from the runway, in the small village of Hussainabad in Rawalpindi, in heavy rain condition. The aircraft exploded and struck a  terrace, causing further breakup. The wreckage was spread over  radius. All 127 people on board were killed.

A following Airblue flight landed safely five minutes after the accident occurred.

The airport was closed for three hours after the accident due to a lack of fire cover. The emergency crews based at the airport went to the crash site to assist in the firefighting operations there. A total of 100 army personnel were deployed to assist the other rescue personnel. The rescue operation was hampered due to the surge of onlookers at the site. Traffic jam reportedly blocked rescuers from reaching the site in a timely manner. Flights affected by the closure were diverted to Allama Iqbal International Airport, Lahore. At least four houses were badly damaged due to the crash. However, despite the fact that it occurred in a residential area, there were no casualties on the ground.

Aircraft

The aircraft was a Boeing 737-236, registered AP-BKC, Built as msn 23167, it first flew on 13 December 1984 and was delivered to British Airways on 7 January 1985 (registration G-BKYI), it was subsequently acquired by codeshare operation Comair (registered as ZS-OLB) in June 1999. The aircraft operated South African domestic routes until late 2010 when Comair retired its 737-200 fleet and it was sold to Bhoja Air in January 2012.

The last inspection was carried out on the same day of the accident, exactly prior to its departure.  No known defects were recorded.

Passengers and crew
Flight 213 was carrying 121 passengers and 6 crew members. The passengers were consisted of 110 adults, six children and five infants. The nationalities of the passengers were not disclosed. Most were thought to be citizens of Pakistan. According to the manifest, at least 2 military officials, a Station Commander Officer of Hyderabad and a squadron leader, were on board Flight 213. A Bhoja Air senior official was also reported to be on board.

The pilot in command of Flight 213 was identified as 58-year-old Noorullah Khan Afridi. According to fellow pilots, he had also worked as flying instructor for Pakistan Air Force Academy in Risalpur. Before joining Bhoja Air, he had served as a captain of a Boeing 737-400 in Shaheen Air International. He had been temporarily trained for the Boeing 737-400 but the training was eventually discontinued as his supervisors in Shaheen Air International thought that he couldn't operate the automated flight deck in an "effective, efficient and safely" manner. The crew logbook showed that he had accrued a total flying experience of more than 10,000 hours, with 2,027 hours on the Boeing 737-200. However, only 82 hours were on the Boeing 737-236A.

The second in command was identified as 53-year-old Javaid Malik. Before working as a commercial pilot, he had served in the Pakistan Air Force. According to the investigation, he had been paired with Captain Afridi since his employment with Shaheen Air International. He later joined Captain Afridi to leave Shaheen Air for Bhoja Air. He had accrued a total flying experience of 2,832 hours, of which 750 hours were on the Boeing 737-200. However, only 82 hours were on the Boeing 737-236A type.

Aftermath
A statement on Bhoja Air's website offered condolences to the affected families and said that it would fulfil its legal obligations under the Pakistani law applicable at the time of the accident. Pakistan Interior Minister Rehman Malik later told news media that the owner of Bhoja Air had been banned from leaving Pakistan in response to the crash. In the immediate aftermath, all hospitals in Islamabad and the neighboring city of Rawalpindi were put into high alert. Crisis centres were set up in Karachi and Islamabad to provide information to the relatives.

President Asif Ali Zardari cut short his trip to cities in Punjab and returned to the capital, and he and Prime Minister Yousuf Raza Gillani sent condolences to the families of those who died in the accident. The Civil Aviation Authority issued an office order at 9 a.m. the next day, requiring all airlines to transport the bodies of the victims free of cost. Those families who had already paid for the transportation before the order was released were refunded the amount.

Bhoja Air announced that family of the victims will be flown to Islamabad. According to government officials, all of the victims will be transported to Pakistan Institute of Medical Sciences for the identification process and next-of-kin will be informed to refer to the institute for the identification and the retrieval of the body. Due to the large number of victims, an additional cold storage was provided to the institute.

Two days after the crash of Flight 213, a Shaheen Air International flight suffered a burst tyre during landing in Karachi. Following another aviation incident in Pakistan, authorities conducted a special inspection to every private airliners in the country. Pakistan International Airlines was not included in the inspection as it had undergone such inspection a few months ago.

On 30 April, Bhoja Air announced compensation of Rs. 500,000 to the legal heirs of the victims of the Flight 213. However, the compensation is long overdue. The families of the deceased protested outside the office of Bhoja Air in Karachi.

On 28 May 2012, Bhoja Air's license was revoked by the CAA, due to failing a requirement under the Pakistani Civil Aviation laws that a carrier must maintain a minimum fleet of three aircraft. Of Bhoja Air's original fleet of 3, one crashed, another was grounded after it developed a fault, leaving only one operational aircraft.

Investigation
Investigations into the crash were opened by the Civil Aviation Authority (CAA) and by the Safety Investigation Board of Pakistan. Boeing assisted the CAA with the investigation. The flight data recorder was recovered on the same day of the crash, while the aircraft's cockpit voice recorder was recovered from the wreckage on the next day. Both flight recorders were passed to the CAA and later were sent to the United States for analysis by Boeing.

Pakistani officials promised a full investigation and Farooq Bhoja, the owner of Bhoja Air, was put on the Exit Control List, meaning he could not leave the country while the criminal investigation was underway against him and the airline.

CAA, the regulatory authority for maintaining aviation safety standards in Pakistan, faced harsh criticism in Pakistani media for allegedly compromising on safety standards. The corruption within CAA, due to politically motivated appointments, was alleged to be the prime reason for the increase in frequency of technical faults, crash landings and catastrophic air accidents. The CAA, however, maintained that it did not issue any airline license or airworthiness certificate under political pressure. It did announce that the Bhoja Air engineers were not qualified to issue the air worthiness certificate.

Following the accident, the CAA announced it would re-certify the fleet of all private airlines in the country. The CAA suspended the airworthiness certificates of two Bhoja Air aircraft on 24 April 2012. The CAA announced that the suspension was lifted on 28 April 2012.

Weather
Multiple reports indicated that hail and stormy condition were prevailing near the crash site when the accident happened. Bhoja Air officials reported that the aircraft was brought down by heavy winds while local eyewitness claimed that the pilot had lost control of the aircraft. Pakistan's Civil Aviation Authority suggested that the flight might have been brought down by bad weather. There were also reports that the aircraft had been struck by lightning. Local media reported that there had been damaging rain in parts of the country. Intense convective systems were recorded in several regions, including the Islamabad-Rawalpindi metropolitan area.

Data from numerical weather prediction products on the day of the accident showed that a westerly wave was injecting cool air from the northwest, while winds from the Arabian Sea in the south of the country fed warm moisture into the upper part of Pakistan. Interaction between both air masses eventually produced severe thunderstorms in the area, which resulted in the creation of strong updrafts and downdrafts. Satellite data also supported these findings. Images taken at 14:00 local time depicted a development of a severe weather system over the central part of Khyber Pakhtunkhwa, which slowly migrated towards the east and then northeast. Approximately 4 hours later the system deteriorated, creating "severe high impact weather activity" in and around Islamabad. Radar echoes revealed a frontal weather activity which generated severe turbulence and wind shear, which were attributed to the development of microbursts.

Analysis of the obtained data concluded that a strong wind shear and a converging system approached Islamabad's Benazir Bhutto International Airport from the southwest, which intensified at around 18:00 to 19:00 local time. The system later deepened and produced strong wind shear, updrafts and downdrafts. At the time of the crash, the Islamabad area was being pounded with microbursts. Surface winds were reported to be at . The flight recorders did confirm that the flight had encountered severe weather condition, as multiple wind shear warnings could be heard from the recording.

Information regarding the weather condition in Islamabad was continuously updated by authorities from the airport's meteorological department, and was relayed to the controller so that it could be communicated to the crew of Flight 213. Meteorological office in Karachi had also provided weather information to the crew, including METAR and other weather charts and wind charts. This information had been acknowledged by the crew during the flight. The voice cockpit recording even captured Captain Afridi's response to the information, in which he stated ""it was very nice whatever you told me".

While weather information for the Islamabad area was available, personnel in the radar and control tower had no information on the presence of wind shear for Runway 30's final approach and thus they couldn't warn the crew on the weather phenomenon. However, the provided weather data was sufficient enough for the crew to abandon the approach. The approved manual from Bhoja Air clearly stated that an aircraft was not allowed to fly near a weather cell and should remain clear of it by at least . The flight plan had listed the nearby Allama Iqbal International Airport in Lahore as an alternate airport, meaning that the crew could have diverted to said airport had the weather condition been in unsuitable condition for an approach or landing. The crew of Flight 213, however, decided to continue their flight towards the active weather cell, thus threatening the safety of their flight.

Decision to fly
In accordance with Bhoja Air's written manual, the crew should have abandoned the approach to Islamabad due to the deteriorating weather conditions. The flight to Islamabad, however, was continued by the crew.

The flight crew was responsible for the decision on whether to continue, to divert, to deviate from track, or to cancel the flight altogether. As per the ICAO convention, the final responsibility of the safety of the flight lies with the captain of the flight. International regulations stated that controllers were not involved in the decision-making process on whether to continue or to divert a flight. Radar controller could only relay and advise the crew regarding the information that had been provided to them, including weather updates. From said information, the crew could then use the data for the final say. When they had decided, the controller would be informed so that they could assist the crew, particularly in times of need.

Flight 213 was the only aircraft in the area at the time and full attention had been given by the controller. During the approach phase, the crew requested clearance to deviate from their track in order to penetrate a group of cumulonimbus clouds through a small gap. As the controller's radar was less accurate than the one being used by the pilots in the aircraft, the controller wasn't able to detect any active weather cells on the radar and thus the crew was asked whether the area around them, including southeast of Islamabad within a distance of , was clear of severe weather activity. The crew later stated that the weather was clear to approximately  and the radar controller eventually provided radar vectoring for the airport's ILS Runway 30. From the available evidence, investigators concluded that the controllers had properly conducted their duties. The controller had advised the crew to take a new heading, but the suggestion was refused by the crew.

The decision to continue the flight to Islamabad therefore lies with the crew of Flight 213. According to the CVR, the sole reason for the flight to continue flying towards Islamabad, despite the deteriorating weather condition around the area, was due to the fact that this particular flight, an evening flight from Karachi to Islamabad, was Bhoja Air's first ever flight for this sector in 12 years. Bhoja Air had previously been suspended due to financial difficulties in the early 2000s and had been recently relaunched in March 2012, just a month earlier. As the flight was the inaugural flight for the Karachi-Islamabad sector, Captain Afridi concluded that the aircraft must land at Islamabad, regardless of the weather condition. First Officer Malik had advised Captain Afridi to divert the flight, however Captain Afridi insisted about continuing the flight. This was regarded as a critical moment as his sole reason to continue the flight would eventually lead to the accident.

Crew error
Multiple violations and crew error were captured on the recorders. There were multiple instances at which the crew had deliberately decided not to follow the approved procedures. The crew's decision to continue the flight to Islamabad was regarded as the first violation of such procedures. They later made further deviations and errors which ultimately caused the aircraft to crash. During the approach phase, investigators noted that the crew did not conduct a formal approach briefing. Despite the visible severe weather activity on their radar, they also didn't obtain the airport terminal information service (ATIS) for the Islamabad Airport. Subsequently, the aircraft was struck by strong updrafts and downdrafts, eventually causing various flight parameters to fluctuate.

When the aircraft was struck by the first downdraft, the crew didn't carry out the correct procedure. The autopilot and the autothrottle were not turned off and the wings were not leveled. The flight operation manual from Boeing stated that flight crew should have disengaged both the autopilot and autothrottle immediately. Then, the crew should have increased the thrust to the maximum, levelled both wings and put the aircraft's nose to an initial pitch of 20 degree. At the time of the incident, the aircraft was following the glideslope, which had been captured earlier by the autopilot. The force of the downdraft then caused the aircraft's nose to pitch up and pushed the aircraft down to a lower altitude. The computer, which had been fed with flight input from the pilots, then tried to compensate for this condition. The autopilot tried to hold the aircraft within the respective glideslope. The autothrottle did increase the thrust, but it stopped before maximum thrust as it tried to accelerate back to the selected speed that had been entered by the pilots. These errors ultimately caused the airspeed to decay.

During the commotion, Captain Afridi could be heard yelling in extreme anxiety, while First Officer Malik, instead of assisting the Captain, decided to shout to the captain for a go-around. He should have taken over the controls from the captain. According to the investigation, both pilots were probably unsure about the behaviour of the aircraft during automation mode. The downdraft later rapidly dissipated. The crew were quite shaken by the experience such that no control activities were recorded on the aircraft for 6 to 8 seconds. The aircraft eventually deviated below the glideslope and its altitude decreased. The crew decided to turn the autopilot off and to control the aircraft manually. However the autothrottle was still engaged.

In the following seconds, the confused flight crew inadvertently endangered the safety of the flight. Due to the decrease in altitude, the TAWS alarm warned the crew of the incoming terrain. The flight crew, who had been pre-occupied with the severe weather situation, ignored the alarm and did not execute recovery actions. First Officer Malik was noted as being "ignorant" of the alarms as he was busy with the communication between Flight 213 and the controller, instead of assisting the captain, who had been severely pre-occupied with the dangerous weather condition for quite some time.

As the flight crew managed to stabilize the aircraft, the autothrottle began to decrease thrust to maintain airspeed. The nose was pitched to 0 degree. However, a second, more powerful downdraft later hit the aircraft. The force of the downdraft caused the aircraft to descend rapidly. The crew still didn't carry out the correct recovery procedure. The autothrottle was still engaged and the aircraft was still in its landing configuration. The engaged autothrottle would have limited the thrust setting, while the landing configuration would have compromised the aerodynamics of the aircraft. The "Whoop whoop pull up" alarm then blared and the captain tried to pull the nose of the aircraft up. As the autothrottle had not been turned off, the thrust continued to decrease.

The downdraft suddenly dissipated in a rapid manner, causing the aircraft to violently pitch up. The limited thrust setting, landing configuration of the aircraft, and the rapid pitch up, subsequently caused the stall warning to activate. Alarmed by the warning, Captain Afridi immediately made a nose down input, reaching as high as 12 degree. The autothrottle was still not deactivated by the crew and hence the thrust remained at low setting, but the speed started to increase due to the steep dive. The aircraft was already at an unusually low altitude and the captain's decision to put the nose in a steep position caused the GPWS to sound.

Another alarm then sounded inside the cockpit. This time, the wind shear warning started to sound, simultaneously with the "Whoop whoop pull up" alarm. Overwhelmed, Captain Afridi then frantically tried to silence the warning by pressing the autopilot disconnect switch on his yoke. He then pulled the nose up again, but the stall warning began to sound once more as Captain Afridi's input caused the nose to exceed the critical angle of attack. The stick shaker warned the crew of the impending stall. First Officer Malik then could be heard yelling to the Captain to get out of the stall situation, but he did not take over the controls from the captain and did not make corrective actions.

During the entire chaotic situation, none of the crew made corrective inputs to recover the aircraft. A critical error from the crew was noted by investigators, as per the report:

The breakdown of the cockpit resource management and the crew who were unfamiliar with their aircraft eventually caused the aircraft to crash.

CRM breakdown
The cockpit situation was noted as being chaotic. Following the second downdraft, the cockpit resource management immediately collapsed. First Officer Malik was particularly noted for being "ignorant" and unhelpful to the unfolding situation. In several instances, he could be heard giving advice to his captain instead of taking over the control from him.

According to investigators, his actions were mainly caused by his relationship between him and Captain Afridi. Both pilots met for the first time in Pakistan Air Force Academy, with Captain Afridi as the flight instructor and First Officer Malik as a cadet. First Officer Malik had been paired with the captain since their employment with Shaheen Air International. During First Officer Malik's employment with the airline, Captain Afridi looked after him. When Captain Afridi decided to quit and join Bhoja Air, First Officer Malik followed him as well since he felt insecure and under confident with Captain Afridi's departure. The flight logbook revealed that, out of the 23 flights that had been carried out by him, a total of 16 were flown with the captain.

The investigation stated that Captain Afridi was seen as a fatherly figure to First Officer Malik. The two eventually became too comfortable with each other, preventing First Officer Malik to call out the captain's mistakes. Deviations from standard procedures were often not corrected and the first officer was also less likely to take over the control from the captain since he chose to rely on and to trust the captain's actions.

Oversight failure
The Boeing 737-200 and the Boeing 737-200 Advanced were completely different variants. The former was equipped with semi-automated flight deck, while the latter was fully automated. Civil Aviation Authority requested Bhoja Air to submit the ground schooling curriculum for cockpit crew of the Boeing 737-200 series. Bhoja Air Management claimed that all of their pilots had attended the required training.  Bhoja Air did not know about the difference between the variants until the crew were sent abroad for their recurrent training. The ground schooling curriculum did not cover the training for flight deck automation for the Boeing 737-236A.

Captain Afridi had undergone his recurrent simulator training in a British Airways Comair facility in South Africa in January 2012. The flight instructor noted that the captain should be further trained on the aircraft's automation system as the system was considered to be relatively new by the captain. Several aspects were rated as "poor performance" and further training was needed. The South African instructor also recommended that  Air include new Boeing recommended procedures for an automated aircraft. Prior to joining Bhoja Air, Captain Afridi had neither the experience nor exposure to an automated flight deck. During his training for the Boeing 737-200A aircraft, which was equipped with fully automated flight deck, wind shear and TAWS procedures were not included in the training by Bhoja Air and thus he was not trained for the correct recovery procedures in either wind shear condition or TAWS activation.

First Officer Malik did not undergo the six-monthly simulator training, which was planned to be carried out in February 2012 for an automated flight deck. The training program was eventually "extended" by Bhoja Air for another two months and their request was granted by CAA. As such, he also was not familiar with the correct recovery procedure for an automated flight deck.

As both the captain and the first officer were not trained on the automated flight deck of the Boeing 737-236A and the recovery procedures from wind shear condition and TAWS activation on said aircraft, the crew eventually made "fatal procedural mistakes". Due to the absence of such training, the captain sought refuge from the aircraft's automation to provide him a solution when he should have followed the recommended procedures from Boeing.

Multiple errors were discovered from Bhoja Air management and also from CAA officials. Several faults within the monitoring system and the training program of Bhoja Air potentially had enabled the crash. Bhoja Air had not provided the manual for the Boeing 737-200A, had not implemented any recommendations that had been given by the South African flight instructor, and had not established a monitoring system to track the cockpit crew's performance at organizational level.

The CAA inspector, who was responsible for Bhoja Air, was qualified but did not have any experience on the Boeing 737-200 and therefore they could not conduct an observation on the automated flight deck training. The simulator training in South Africa was not monitored by the CAA official. Further errors were discovered within the regulations. As per the licensing circular that had been issued by CAA in 2000, the CAA did not mandate training for the automated flight deck of the Boeing 737-236A.

Conclusion
Civil Aviation Authority released the final investigation report comprising 78 pages on 21 January 2015. The report found that the primary causes of the accident included the ineffective management by the cockpit crew of the basic flight parameters such as airspeed, altitude, descent rate, attitude, as well as thrust management. The report also found that the ineffective automated flight deck management in extreme adverse weather conditions by the cockpit crew caused the accident.

The pilots had inadequate flying experience, training and competence level in the aircraft. The inability of the CAA to ensure automated flight deck variance type training and monitoring requirements primarily due to incorrect information that had been provided by Bhoja Air was listed as one of the contributing factors to the crash.

See also
 Delta Air Lines Flight 191
 Martinair Flight 495
 Eastern Air Lines Flight 66

Notes
 The METAR in force at the time of the accident was "OPRN 201300Z 23020KT 4000 TS FEW025CB SCT030 BKN100 25/15 Q1009.3/29.80". This translates as "METAR for Benazir Bhutto International Airport, issued on the 20th of the month at 13:00 Zulu Time. Wind from 230° at . Visibility , thunderstorm occurring on station. Few clouds at , cumulonimbus clouds present. Scattered clouds at . Broken clouds at . Temperature , dewpoint . Altimeter setting 1009.3 hPa / 29.80 inHg".

References

External links

Bhoja Air (Archive)
Bhoja Air passenger list (Archive)
Bhoja Air UFO Crash (UFOs caused Bhoja Air plane crash in Pakistan?)
 Crash site of Flight 213 from Associated Press Archive

2012 in Pakistan
2012 meteorology
Airliner accidents and incidents caused by microbursts
Aviation accidents and incidents in 2012
Aviation accidents and incidents in Pakistan
Accidents and incidents involving the Boeing 737 Original
April 2012 events in Pakistan

Bhoja Air Flight 213


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The Portable Digital Media Interface (PDMI) is a 30-pin interconnection standard for portable media players. It was developed by the Consumer Electronics Association as ANSI/CEA-2017-A, Common Interconnection for Portable Media Players in February 2010. The standard was developed with the input or support of over fifty consumer electronics companies worldwide.

Sony WM-PORT

The WM-PORT is a 22-pin dock connector from Sony, used for the majority of Walkman digital media players since 2006. It provides a data and power connection including to peripherals.

Other dock connectors
 Cowon iAudio 22-pin dock connector
 Creative Zen 30-pin dock connector
 iRiver 18-pin dock connector
 Le Pan 30-pin dock connector
 Microsoft Zune 24-pin dock connector
 Olympus m:robe series 18-pin dock connector
 Panasonic D-snap port (24-pin)
 Philips GoGear 30-pin dock connector
 SanDisk Sansa 30-pin dock connector
 Sony NW-A1000/3000 Walkman 42-pin multi-connector
 Tatung Elio 26-pin dock connector
 Toshiba Gigabeat 40-pin dock connector

See also
 Docking station
 Common external power supply

References

External links
List of ThinkPad laptops docking ports on ThinkWiki

Docking stations
IPod
IPhone

Dock connector


Mount Bryan is a town in north-east South Australia. The town is situated on the Barrier Highway and former Peterborough railway line,  north of Burra, in the Regional Council of Goyder. At the 2016 census, Mount Bryan had a population of 110.

The town was named after a nearby peak, Mount Bryan, which was seen in December 1839 by Governor George Gawler and who named it in honour of Henry Bryan, a young man who became lost and perished of thirst during Gawler's expedition.  Among those accompanying Gawler were Charles Sturt and Henry Inman.

Once the heart of a thriving farming community, including some of Australia's best known Merino sheep studs, the town today is largely represented by the Mount Bryan Hotel—an old pub.

At the northern end of the Mount Lofty Ranges, the views of and from the surrounding hills are scenic. A popular route is north east to Sir Hubert Wilkins cottage, the restored home in which the polar explorer was born and grew up.

The addition of Hallett Wind Farm in the late 2000s and early 2010s has seen wind generating energy from some of the ridge-tops north of Mount Bryan.

The historic Mackerode Homestead is listed on the South Australian Heritage Register.

References
Notes

Citations

Towns in South Australia

Mount Bryan, South Australia


Rabbi Yehuda Herzl Henkin (1945 – December 24, 2020) was an Israeli rabbi and modern orthodox posek. He was born in Jerusalem. Henkin was the founder and head of Nishmat, the Institute for Advanced Jewish Studies for Women.

Henkin died in Jerusalem on December 24, 2020 at the age of 75.

References

1945 births
2020 deaths
Rabbis from Jerusalem

Yehuda Henkin


Schizotypal personality disorder (also called Schizotypal disorder) is a personality disorder. People with this condition suffer from thought disorder, paranoia, and social anxiety: Very often, they have problems making and keeping social ties with other people. They may also feel uneasy in larger groups.  They look odd or peculiar to others and may show unusual thinking and behaviors.

Personality disorders

Schizotypal personality disorder


Verminous haemorrhagic dermatitis is a filariasis of cattle marked by a cutaneous haemorrhagic nodule. It is referred sometimes to as "summer wound" (German Sommerwunden).

It is caused by infestation with the nematode Parafilaria bovicola.  Transmission involves fly vectors of the genus Musca, which ingest microfilariae when feeding on the skin lesions.

The disease has been reported in Bulgaria, France, Germany, Morocco, Sweden, Tunisia, and especially South Africa.

In Germany, the nodules are known to develop on the upper side on the body. In Morocco, the haemorrhagic lesions are mainly seen on the belly, neck and forelimbs, where it can lead to a wide plages of subcutaneous necrosis, with swelling of the arm.

Ivermectin is efficient for individual treatments of the illness. But surgical excision, although very haemorrhagic, is far more efficient.

A similar disease, sometimes referred to as Cascado, occurs in Asia (Indonesia, Malaysia) and is caused by Stephanofilaria species.

Epidemiology
Epidemiology differs among the countries in which it has been reported, and is dependent upon temperature and rainfall patterns, and the subsequent multiplication of the fly vectors.

In Germany, the verminous nodules start in May and June, 2 to 4 weeks after the beginning of pasture feeding. They heal spontaneously in October and November.

In Morocco, the disease is observed in years when heavy rainfalls occur in March and April. Numerous cases are then observed in April and May, in the immediate surroundings of the ponds. Some cases will heal spontaneously, but some others lead to wide subcutaneous lesions which require a veterinary treatment. The repartition and gravity of the skin lesions suggests that the causative agent may be slightly different from the one observed in Western Europe.

External links
 Related page of the Merck Veterinary Manual

References

Bovine diseases
Veterinary helminthology

Verminous haemorrhagic dermatitis (cattle)


Maurice Ralph Hilleman (August 30, 1919 – April 11, 2005) was an American microbiologist. He specialized in vaccinology. He developed over 36 vaccines, more than any other scientist. Of the 14 vaccines currently recommended, he developed eight:  those for measles, mumps, hepatitis A, hepatitis B, chickenpox, meningitis, pneumonia and Haemophilus influenza bacteria. He also played a role in the discovery of the cold-producing adenoviruses, the hepatitis viruses, and the cancer-causing virus SV40.

He is credited with saving more lives than any other medical scientist of the 20th century. Robert Gallo described him as "the most successful vaccinologist in history".

At the time of his death on April 11, 2005, at the age of 85, Hilleman was Adjunct Professor of Pediatrics at the University of Pennsylvania in Philadelphia.

Method and personality
Hilleman was a forceful man who was at the same time modest in his claims.  None of his vaccines or discoveries are named after him. He ran his laboratory like a military unit, and he was the one in command  He terminated every subordinate who did not measure up to his standards. For a time, he kept a row of "shrunken heads" (actually fakes made by one of his children) in his office as trophies that represented each of his fired employees.  He used profanity and tirades freely to drive his arguments home, and once, famously, refused to attend a mandatory "charm school" course intended to make Merck middle managers more civil. His men were fiercely loyal to him.

Recognition
Hilleman was an elected member of the US National Academy of Science, the Institute of Medicine, the American Academy of Arts and Sciences, and the American Philosophical Society. In 1988 President Ronald Reagan presented him with the National Medal of Science, the nation's highest scientific honor. He received the Prince Mahidol Award from the King of Thailand for the advancement of public health, as well as a special lifetime achievement award from the World Health Organization, the Mary Woodard Lasker Award for Public Service and the Sabin Gold Medal and Lifetime Achievement Awards.

Robert Gallo, co-discoverer of the virus that causes AIDS, once said "If I had to name a person who has done more for the benefit of human health, with less recognition than anyone else, it would be Maurice Hilleman.  Maurice should be recognized as the most successful vaccinologist in history".

After Hilleman's death Ralph Nader wrote, "Yet almost no one knew about him, saw him on television, or read about him in newspapers or magazines. His anonymity, in comparison with Madonna, Michael Jackson, Jose Canseco, or an assortment of grade B actors, tells something about our society's and media's concepts of celebrity; much less of the heroic."

On October 15, 2008, Merck named its Durham, North Carolina vaccine manufacturing facility in memory of Hilleman.

References

American microbiologists
Scientists from Montana
Vaccinologists
1919 births
2005 deaths

Maurice Hilleman


A parterre is a part of a formal garden constructed on a level substrate, consisting of symmetrical patterns, made up by plant beds, plats, low hedges or coloured gravels, which are separated and connected by paths.  Typically it was the part of the garden nearest the house, perhaps after a terrace.  The view of a parterre from inside the house, especially from the upper floors, was a major consideration in its design.  The word "parterre" was and is used both for the whole part of the garden containing parterres and for each individual section between the "alleys".

The pattern or the borders of the beds may be marked by low, tightly pruned, evergreen hedging, and their interiors may be planted with flowers or other plants or filled with mulch or gravel. Parterres need not have any flowers at all, and the originals from the 17th and 18th centuries had far fewer than modern survivals or reconstructions.  Statues or small evergreen trees, clipped as pyramids or other shapes, often marked points in the pattern, and an allée of medium-sized trees often ran along the side.  Otherwise, the parterre was normally an area of openness, with the various elements very low, contrasting with the height of the house, and with the taller areas of the garden beyond.  This made the parterre both a place to be seen - typically everyone walking in the parterre, and observers from around it, could see everyone else - but also a place for the most private conversations, as no one else could approach without being seen.  The paths are constituted with gravel or (much less often in historical examples) with turf grass.

French parterres developed from the patterned compartments of French Renaissance gardens, what are called in England "knot gardens". Later, in the 17th century Baroque garden, they became more elaborate and stylised, on  the continent often using the parterre en broderie style of spreading and curving branches, derived from embroidery. The French formal garden parterre inspired many similar parterres throughout Europe, though the parterres in the gardens of Versailles are rather muted; those in palace gardens in the Holy Roman Empire and in eventually Russian-controlled eastern Europe, are often more extensive and extravagant.

Parterre-style areas reappeared in many large gardens from the mid-19th century, now much more lavishly planted with bedded-out flowers, and with less strictly geometrical designs. From around the mid-21st century, as interest in Baroque gardens revived, garden designers have made many attempts to recreate or to restore Baroque parterres, at least as regards the layout; planting often continues to be much thicker, and the height of hedges higher, than would have been the case in the originals.

History
Claude Mollet, from a dynasty of nurserymen-designers that lasted into the 18th century, developed the parterre in France. His inspiration in developing the 16th-century patterned compartimens (i.e., simple interlaces formed of herbs, either open and infilled with sand, or closed and filled with flowers) was the painter Etienne du Pérac, who returned from Italy to the Château d'Anet near Dreux, France, where he and Mollet were working. Around 1595, Mollet introduced compartment-patterned parterres to the royal gardens of Saint-Germain-en-Laye and Fontainebleau. The fully developed scrolling embroidery-like parterres en broderie first appear in Alexandre Francini's engraved views of the revised horticultural plans of Fontainebleau and Saint-Germain-en-Laye in 1614.

Clipped boxwood met with resistance from horticultural patrons for its "naughtie smell" as the herbalist Gervase Markham described it. By 1638, Jacques Boyceau described the range of designs in boxwood that a horticulturist should be able to cultivate:

Parterres are the low embellishments of gardens, which have great grace, especially when seen from an elevated position: they are made of borders of several shrubs and sub-shrubs of various colours, fashioned in different manners, as compartments, foliage, embroideries (passements), moresques, arabesques, grotesques, guilloches, rosettes, sunbursts (gloires), escutcheons, coats-of-arms, monograms and emblems (devises).

By the 1630s, elaborate parterres de broderie appeared at Wilton House in Wilton, England, that were so magnificent that they were engraved, which engraving is the only remaining trace of them. "Parterres de pelouse" or "parterres de gazon" denominate cutwork parterres of low growing herbs (e.g., camomile) as much as closely scythed turf grass. The separation of plant beds of a parterre is denominated an "alley of compartiment".

But these remained relatively rare in England, where many earlier knot gardens were replaced with simpler designs of "quincunxes, squares or rectangles of grass set in gravel with perhaps some topiary, statues or plants in pots at the corners".

Many parterre designs were only "cutwork" in grass and gravel, often of different colours. Reddish "brick dust", mostly brick waste crushed to gravel-sized pieces, was a popular addition to stone.  These required less maintenance, and looked good from the upper storeys of the house. In country houses the owner was often only in residence in the summer, when the relatively small range of flowers available at the time had mostly finished their display. Stephen Switzer, an English gardener of the early 18th century, advised against using flowers at all in country house gardens for this reason, an extreme position, not often followed:the nobler Diversions of the Country take place ... [after the end of May]... when the Beauty of Flowers is gone, and Borders are like Graves, and rather a Blemish than Beauty to our finest gardens.

In top gardens flowers in parterres were typically grown in pots in the greenhouse, and placed into the parterre only for as long as their blooms lasted.  This was the system at the Grand Trianon sub-palace at Versailles, where the king is said to have arrived for dinner with the garden in one colour of flowers, which had all been changed to another colour by the time he left. The relatively small and enclosed garden of the Trianon, originally called the "Palace of Flora", was in effect the flower garden of Versailles, and Le Notre said in 1694 that 2,000,000 flower pots were used there over a year.

Parterre gardens lost favour in the 18th century and were superseded, within the naturalistic English landscape garden style, which emerged in England from the 1720s by flower gardens, or shrubberies from the mid-century, both very often planned round a snake-like serpentine path.  In particular, Capability Brown, the most prolific garden designer of the mid-century, often brought a wide lawn right up to the terrace of the main garden front, to give Neoclassical houses the appearance of classical buildings in paintings by artists such as Claude Lorrain. Many English parterres were dug up as a result.  The flowering plants were often moved to the side of the house.

Parterres en broderie

The parterre en broderie took its name from contemporary styles of metalwork embroidery (broderie in French), then used in the most formal clothes of both men and women at court. Similar styles live on in the goldwork embroidery on diplomatic uniforms which some, mostly European, countries continue to use to the present day.  At the time this style of ornament was used in many media in the decorative arts.  The main motifs are usually wreaths and strapwork, more rarely they are in the shape of monograms and figures.

Generally any hedging was very low, to enable the patterns to be readable from the main rooms facing the garden of the bel étage of the house.  New houses were often given wide high terraces, from which the parterre could be admired; these were filled in summer with greenhouse plants in pots.  No Baroque broderie parterres have been preserved in their entirety in the original, but in the late 20th century there have been increasing attempts to reconstruct them. In Germany, for example, those of Schloss Augustusburg in Brühl (around 1730) or Schwetzingen (1753–1758) have been reconstructed.

In England parterres en broderie were always rare, "probably there were never more than twenty examples of it in the whole of England".  However, Hampton Court was one prominent example.

Plats

A plat (in America entangled with the same word as used for a plot of building land) was a parterre section of plain grass lawn, perhaps with a central feature such as a fountain or statue, and small clipped trees at the corners.  A stretch of good lawn was much admired, and these were rather surprisingly popular, especially in England, where year-round rainfall usually meant summer watering was unnecessary to keep a green surface. Other terms included tapis vert ("green carpet"), the name given to the huge one in the Gardens of Versailles. In French plat means "flat".

The placing of plats in the most prominent positions of the "best garden" seems to have begun in England in the 1630s, and over the rest of the century a parterre section entirely consisting of plats became a distinct English style, probably used in most gardens, especially those of the gentry rather than noble magnates. Among the royal palaces, Somerset House was converted by Inigo Jones in the 1630s, and the Privy Gardens at Hampton Court Palace and Whitehall Palace by 1640.  Whitehall had 16 relatively small plats with statues in the middle, and in 1662 a much larger bowling-green was added alongside.

A plat could double as a bowling-green for early versions of lawn bowls, a highly popular, mostly male, sport in England.  There were other forms of ground billiards and lawn games, that evolved in the 19th century into sports such as croquet and lawn tennis.  Before 1600 plats had already become usual for forecourts, which were left plain so as not to distract from the entrance front of the house.

The English gardener Stephen Switzer wrote in 1718:Bowling-green or plain Parterres, the Method of which they [the French] own to have receiv'd from England, .... [are] of the most Use, and is, above all, the beautifullest with us in England, on Account of the Goodness of our Turf, and that Decency and unaffected Simplicity which it affords to the Eye of the Beholder.

On the continent a boulingrin (a mangled French version of "bowling-green") was a sunken compartment of fine lawn, typically found in the bosquet part of the garden rather than among the parterres.  In French the name is also used for the game of bowls, and the greens it is played on.  Several French writers were ready to concede the superiority of English grass, including Andre Mollet and Dezallier d'Argenville; apart from the climate some attributed it to the selection of the turf and the frequency and quality of the cutting.

Plats typically came in pairs, one on each side of an allée down the central axis.  The garden at Ham House near London has been restored, following extensive research, to have a parterre of eight plats, four wide and two deep, facing the main garden front, with a replanted wilderness beyond.  At the side of the house is a smaller and more complicated parterre in compartments, with flowers, now called the "Cherry Garden".  Perhaps as a concession to modern taste, the plats are now planted with 500,000 spring bulbs and wild flowers, which are unlikely to have been an original feature.

To the French a parterre anglais (or a la anglais or a la angloise) meant in the Baroque period a plat edged with a thin border (plate-bande) of low flowers. Antoine Dezallier d'Argenville's English translation, The Theory and Practice of Gardening (1712) described these:PARTERRES after the English Manner are the plainest and meanest of all. They should consist only of large Grass-plots all of a Piece, or cut but little, and be encompassed with a Border of Flowers, separated from the Grass-work by a Path of Two or Three Foot wide, laid smooth and sanded over, to make the greater Distinction

As well as grass, English writers including Samuel Pepys and Sir William Temple also congratulated themselves on the superiority of the native gravels.  From about 1670, perhaps under the influence of Versailles, those English owners who could afford them began to install fountains, generally where alleys between plats met up.  Statues in or around 17th-century English parterres tended to be castings in lead from the Low Countries, painted to resemble marble or bronze.

Compartmented parterres
The third main type of parterre covered a wide range of often rather complicated designs, many harking back to the knot garden. "Open knots" were complicated designs without interlacing; many gentry owners designed these themselves. These were often more heavily planted with flowering plants, and this style was often used for flower gardens at the side of the house. At its simplest it might just be a group of rectangular flower beds, with alleys around them, or designs in "cutwork".

Revival

In the 19th century parterres were revived in a somewhat different form, coinciding with the availability of carpet bedding, the annual mass planting of non-hardy flowers as segments of colour which constituted a design. Level substrates and a raised vantage point from which to view the design were required, and so the parterre was revived in a modified style.  By now a parterre often meant a collection of flower beds in fairly formal shapes, but often avoiding straight lines, arranged on a lawn, perhaps with some gravel paths, as at Waddesdon Manor, a new-build of the late 1870s.

Jane Loudon's Gardening for Ladies (1845) says: Parterres of embroidery are now rarely to be met with either in France or England... Parterres of compartments... are at present common both in France and England...In a word, parterres are now assemblages of flowers in beds or groups, either on a ground of lawn or gravel... The shape of the beds in either case depends on the style of architecture of the house to which the parterre belongs, or to the taste and fancy of the owner. Whatever shapes are adopted, they are generally combined into a symmetrical figure; for when this is not the case the collection of beds ceases to be a parterre, or a flower-garden...In planting parterres there are two different systems; one is to plant only one kind of flower in a bed so as that each bed shall be a mass of one colour, and the other is to plant flowers of different colours in the same bed.

From the 20th century, apart from a few projects aimed at an authentic restoration, where enough information on the old designs exists, newly planted parterres tend to be small but with complex knot-type designs, much more thickly planted and often with higher box edges than would have been the case in the originals. A much larger number of Victorian parterres have survived in something like their original state, both in houses and public parks and other gardens, and these remain attractive to modern visitors.

Many restored parterres are increasingly threatened by fungi and insects, especially the box tree moth, and alternative species are being explored, for example at RHS Wisley.

Examples

Parterres tended to survive better the further east one went in Europe, and the imperial Russian palaces have many of the best remaining examples.

At Kensington Palace, the planting of the parterres was by Henry Wise, whose nursery was nearby at Brompton. In an engraving from 1707 to 1708, the up-to-date Baroque designs of each section are clipped scrolling designs, symmetrical around a centre, in low hedging punctuated by trees formally clipped into cones; however, their traditional 17th century layout, a broad central gravel walk dividing paired plats, each subdivided in four, appears to have survived from the Palace's former (pre-1689) existence as Nottingham House. Subsidiary wings have subsidiary parterres, with no attempt at overall integration.

At Prince Eugene's Belvedere Palace, Vienna, a sunken parterre before the façade that faced the city was flanked in a traditional fashion with raised walks from which the pattern could best be appreciated. To either side, walls with busts on herm pedestals backed by young trees screen the parterre from the flanking garden spaces. Formal baroque patterns have given way to symmetrical paired free scrolling rococo arabesques, against the gravel ground. Little attempt seems to have been made to fit the framework to the shape of the parterre. Beyond (in the shadowed near foreground) paired basins have central jets of water.

In the UK, modern parterres exist at Trereife House in Penzance (Cornwall), at Drumlanrig Castle in Dumfriesshire and at Bodysgallen Hall near Llandudno. Examples can also be found in Ireland, such as at Birr Castle. One of the largest in Britain is at Cliveden in Buckinghamshire, which covers an area of ; it consists of symmetrical wedge-shaped beds filled with Nepeta ("catmint"), Santolina and Senecio, edged with box hedges. Sentinel pyramids of yew stand at the corners. Some early knot gardens have been covered over by lawn or other landscaping but the traces are visible as undulations in the present day landscape.  An example of this phenomenon is the early 17th-century garden of Muchalls Castle in Scotland. At Charlecote Park in Warwickshire the original parterre from the 1800s has been recreated on the terrace overlooking the river.

Gallery

Notes

References
"HEALD", History of Early American Landscape Design, Center for Advanced Study in the Visual Arts, National Gallery of Art (Washington DC). "Parterre" by Anne L. Helmreich
Jacques, David, Gardens of Court and Country: English Design 1630-1730, 2017, Yale University Press,
Quest-Ritson, Charles, The English Garden: A Social History, 2003, Penguin,
Thacker, Christopher, The History of Gardens, 1979,

External links
A History of Garden Art
Illustrated History of Landscape Design
The Parterre at Waddesdon Manor on Youtube

Types of garden
Garden features

Parterre


Henrik "Henkka" Klingenberg (born 21 October 1978) is a Finnish keyboardist, keytarist and singer. He joined the Finnish power metal band Sonata Arctica in late 2002 and currently resides in Kemi, Finland, when not on tour.

Keyboardists he has listed as his favourites include Kevin Moore, Jon Lord, Jens Johansson and Matt Guillory. He claims that his musical inspiration is taken from life itself.

Career
Although his main involvement is with Sonata Arctica, he is also a member of the band Silent Voices and a thrash/groove metal band called Mental Care Foundation (in which he is the vocalist rather than the keyboardist). He has also recently started a melodic death metal side project called Graveyard Shift as vocalist with his former Sonata Arctica bandmate Jani Liimatainen.

Before joining Sonata Arctica, he had participated in a large enough number of bands that he does not list on his bio page on the official Sonata Arctica website. His most well-known previous band was a progressive power metal band called Requiem, with whom he recorded two albums and contributed keyboards.

Henrik plays a shoulder-mounted controller keyboard (formerly the Roland AX-1, then the Roland AX-7, then AX-1 again and now the Roland AX-Synth) and a Kurzweil, Korg KARMA or Korg Triton synthesizer. Recently he started to use Korg M3 instead of the Korg Karma. August 2009 in Lowlands his gear was just painted Roland AX-1 and Korg M3 and no racks. This seems to be his live gear from now on. He is endorsed by Korg and Roland (updated 16 September 2009) On a European leg of 2009 Henkka started using new Roland AX-Synth (painted violet) instead of his old AX-1 (updated 24 December 2009).

In February 2012 he released his first solo album, ...And the Weird Turned Pro, in which fellow Sonata Arctica bandmates Elias Viljanen and Pasi Kauppinen play the guitar and the bass, respectively (though Kauppinen was still not a member of the band). They are also joined by Finnish drummer Jari Huttunen.

Personality
Sonata Arctica chose Klingenberg to join after spending time drinking with him and another candidate, since they wanted the newcomer to fit in with the other band members' socially as well as musically.

During live shows, Klingenberg's keytar allows him to add more energy and movement to the band's performances and he often wanders the stage whilst playing, in the same way that guitarists often do. On the Sonata Arctica live DVD For the Sake of Revenge, Klingenberg smashed his hand painted Roland AX-7 several times into the floor of the stage in an event that was referred to as 'The End of this Keyboard' (a reference to the band's song 'The End of this Chapter'). This act mirrored the instrument-destroying antics of The Who as well as being a cliché of rock and metal music and it showed Klingenberg to be a more traditional rock or metal performer.

In the documentary Men of the North in the Land of the Rising Sun, Klingenberg is shown wearing a traffic cone on his head, which has become a trademark of sorts for fans.

References

External links
Official Sonata Arctica website
Henrik's profile

1978 births
Living people
People from Mariehamn
People from Kemi
Finnish heavy metal keyboardists
Finnish keyboardists
Swedish-speaking Finns
Finnish heavy metal singers
Sonata Arctica members

Henrik Klingenberg


Darnhill (or Darn Hill as recorded by the Ordnance Survey) is an area of Heywood, a town within the Metropolitan Borough of Rochdale, in Greater Manchester, England. In the 20th century, Darnhill was chosen as the location for a planned overspill housing estate for Manchester, to allievate quality housing shortages in that city. The Darnhill council estate is no longer overseen by Manchester City Council, but by the Guinness Trust Housing Association.

History
During World War II, Manchester was heavily bombed. Lacking space the Council bought land from neighbouring boroughs to build municipal housing for its bombed out residents. Although these estates were in boroughs outside of Manchester, residents still paid rent and rates to Manchester City Council. The Darnhill Estate began construction in the early 1960s with the first family moving in in 1962. Eventually 5000 people moved to the estate, mainly from the Collyhurst and Miles Platting area of the city

In 1998, after consultation with residents, Manchester City Council, transferred its interests in the Darnhill Estate to the Guinness Trust.

Geography
Darn Hill is located in the southwestern part of Heywood, between the River Roch (to the north) and East Lancs Railway (to the south). It is close to the Metropolitan Borough of Rochdale's boundary with the Metropolitan Borough of Bury.

Education
Our Ladys and St. Pauls RC is the only school on the estate at the present time. Darnhill Primary School was closed in 2007. Heywood Community High School closed on 31 June 2010.

References

Areas of the Metropolitan Borough of Rochdale
Housing estates in Greater Manchester
Heywood, Greater Manchester

Darnhill


The Israel Benevolent Society Cemetery also known as the Old Jewish Cemetery of Chambersburg, Pennsylvania is believed to be the earliest Jewish American burial ground west of the Susquehanna River. The oldest headstone refers to a burial in July 1840. At that time only a handful of Jewish families, mostly recent immigrants from Germany, lived in the small towns and villages of south-central Pennsylvania and adjoining counties of Maryland.

As there was no organized Jewish community life anywhere in the area until late in the 19th century, the Jewish burial society (Chevra kadisha), which administered the Chambersburg cemetery, was the main organizational structure of the Jewish minority in south-central Pennsylvania and northern Maryland. Among those who buried their dead in the Jewish cemetery in Chambersburg were the Jewish inhabitants of Hagerstown, Carlisle, and Mechanicsburg.

Isaac Burgauer, a Confederate soldier from Arkansas, who was wounded at the Battle of Gettysburg and died soon after in Hagerstown, is buried here.

Around 1900 the burial society dissolved, and the cemetery fell into disrepair and dilapidation. It was restored in 1988, and again in 2000.

In 2002, the Pennsylvania Historical & Museum Commission erected a historical marker there, noting its historic importance.

External links
 The Old Jewish Cemetery of Chambersburg, PA

Chambersburg, Pennsylvania
German-Jewish culture in Pennsylvania
Jewish cemeteries in Pennsylvania
Buildings and structures in Franklin County, Pennsylvania

Israel Benevolent Society Cemetery


Sinful Davey is a 1969 picaresque adventure/crime/comedy film directed by John Huston and starring John Hurt, Pamela Franklin, and in early appearances Fionnula Flanagan and Anjelica Huston.

John Huston later said the film was "very good" but "spoiled beyond recognition" by the producers.

Plot
In a British prison in the early 1800s, Scottish rogue Davey Haggart (John Hurt) is seen writing his memoirs while waiting to be hanged.  Most of his story is told in flashback with voice-over narration by Davey.  His story begins as he is seen marching and beating a drum for the British Army, but he quickly deserts by jumping off a bridge with his drum and floating away.  We learn that his father had been a highwayman who was hanged at the age of 21 for attempting to rob the Duke of Argyll (Robert Morley) and that Davey is determined to exceed the number of his father's crimes.  Annie (Pamela Franklin), a childhood friend who is in love with him, follows him at different times, sometimes getting him out of trouble but hoping that he will reform.

Davey winds up becoming a partner with McNab (Ronald Fraser), a pickpocket and thief, sometimes teaming up with other criminals.  Eventually, the two land in prison, where Davey is able to break into the women's quarters and start a raucous party with the female prisoners, led by Jean Carlisle (Fidelma Murphy).  Davey is bailed out by Annie, but he then enables McNab's escape and turns to highway robbery, following in his father's footsteps.  Constable Richardson (Nigel Davenport), the local officer, tries to recruit Annie to help capture Davey, but she refuses.

Davey goes into hiding in the Scottish highlands, but still gets into trouble.  Almost by accident, Davey foils an attempted assault and robbery of Sir James Graham (Donal McCann), a nephew of the Duke of Argyll, who invites Davey to his uncle's manor.  While Davey wins the favor of the Duke and his family, McNab, Jean Carlisle, Annie, and Constable Richardson also converge on the estate at different times.  Davey sets up an elaborate robbery of guests at a grand ball hosted by the Duchess (Maxine Audley), but Annie then returns the stolen jewels.  When Richardson recognizes Davey as the thief he has been seeking, a lengthy chase ensues, with Davey stealing a horse and riding away until he is knocked off by a low-hanging tree branch.

The story returns to Davey's prison cell, as he finishes writing his memoirs, expecting his execution to take place soon.  Annie and McNab, however, are able to sabotage the gallows so that Davey escapes once again, riding away with Annie.

Production

Director John Huston and producer Walter Mirisch clashed several times during and after the film's production, especially in regard to a musical score originally composed by John Barry, the casting of Huston's daughter Anjelica, and the final editing of the film. Critic David Sterrit describes the final product as "a box-office fiasco that nobody has particularly wanted to own. But it's also an interesting document from Huston's tired period, showing what can happen when a great director and a major studio clash over a project that was probably fated from the beginning not to click."

The film is based on the autobiography of David Haggart titled The Life of David Haggart. The film, about a Scottish rogue, was filmed in Ireland, and much of the cast have Irish accents instead of the more accurate Scottish accent.

Four members of the film unit making the picture in Co. Wicklow crashed in their Cessna plane at Glenmalure in 1967. All the occupants of the plane were injured to some extent, but John O'Connor, the location manager, was the most seriously injured. Huston left the film location to visit the hospital and stopped the filming.

Cast
 John Hurt as Davey Haggart
 Pamela Franklin as Annie
 Nigel Davenport as Richardson
 Ronald Fraser as MacNab
 Robert Morley as Duke of Argyll
 Fidelma Murphy as Jean Carlisle
 Maxine Audley as Duchess of Argyll
 Fionnula Flanagan as Penelope
 Donal McCann as Sir James Campbell
 Allan Cuthbertson as Captain Douglas
 Eddie Byrne as Yorkshire Bill
 Niall MacGinnis as Boots Simpson
 Noel Purcell as Jock
 Judith Furse as Mary
 Francis de Wolff as Andrew
 Paul Farrell as Bailiff

Critical reception
TV Guide says- "A good cast overcomes the somewhat heavy-handed direction of Huston in this Tom Jones-inspired comedy".

References

External links
Sinful Davey at Rotten Tomatoes
 sung by Esther Ofarim

1969 films
1960s English-language films
1960s crime comedy films
1960s adventure comedy films
American adventure comedy films
American crime comedy films
British adventure comedy films
Films directed by John Huston
Films set in Scotland
Films shot in Ireland
United Artists films
British crime comedy films
1969 comedy films
Films scored by Ken Thorne
1960s American films
1960s British films

Sinful Davey


Winchester (archaically kent as Winton an Wintonceastre) is a historic cathedral ceety an the auncient caipital o Wessex an the Kinrick o Ingland. It is the coonty toun o Hampshire, in Sooth East Ingland. It lies at the hert o the wider Ceety o Winchester, a local govrenment destrict, an is locatit at the wastren end o the Sooth Douns, alang the course o the River Itchen. At the time o the 2001 Census, Winchester haed a population o 41,420.

Winchester developed frae the Roman toun o Venta Belgarum.  Winchester's major landmark is Winchester Cathedral, ane o the lairgest cathedrals in Ingland, wi the distinction o haein the langest nave an owera length o aw Gothic cathedrals in Europe.  The toun is an aa hame tae Winchester University an Winchester College - famous Public School. Winchester railway station is served bi trains runnin frae Lunnon Waterloo, Weymouth, Portsmouth, Soothampton an the North. The ceety's architectural an historic interest, an its fast links tae ither touns an ceeties hae led Winchester tae become ane o the maist expensive an desirable auries o the kintra. A body who is frae or resides in Winchester is locally kent as a Wintonian.

References

Freemit airtins

 Winchester City Council
 www.geograph.co.uk : photos o Winchester an surroondin aurie

Coonty touns in Ingland
Umwhile naitional caipitals
Caipitals o umwhile naitions
Ceeties in Sooth East Ingland

Winchester


The Boroano, Boroga, or Borogano (also spelled with v) were a group of Mapuche native to the aillarehue of Boroa in Araucanía. They were involved in several conflicts in the northern Patagonian pampas, and supported figures such as José Miguel Carrera, the Pincheira brothers, and Juan Manuel Rosas. The military power and influence of the Boroano ended with the massacre carried out by the lonco Calfucurá in 1834 during a trade meeting.

Mapuche groups

Boroano people


Living water ( ; , ) is a biblical term which appears in both the Old and New Testaments. In  and , the prophet describes God as "the spring of living water", who has been forsaken by his chosen people Israel. Later, the prophet Zechariah described Jerusalem as a source of "living water", "half [flowing] east to the Dead Sea and half of it west to the Mediterranean Sea, in summer and in winter" ().  The Pulpit Commentary notes that the city of Jerusalem "was, as we know, abundantly supplied with water by many conduits and subterranean channels; but standing, as it does, surrounded by hills higher than itself, it is physically impossible that the waters could literally flow as stated. The description is symbolical …" However, this does not take into the account the various topological changes prophesied in the previous verses, such as : "On that day His feet shall stand on the Mount of Olives that lies before Jerusalem on the east, and the Mount of Olives shall be split in two from east to west by a very wide valley, so that one half of the Mount shall move northward, and the other half southward."

In John's Gospel, the phrase is attributed to Jesus speaking with the Samaritan woman whom he meets at Jacob's Well in Sychar:
"If you knew the gift of God and who it is that asks you for a drink, you would have asked him and he would have given you living water" ().

In Gnosticism
In the Sethian Gnostic text Zostrianos, the Living Water is personified with the name Yesseus Mazareus Yessedekeus.

In Mandaeism, living water (fresh, natural, flowing water, called mia hayyi) is a requirement for baptism (masbuta), therefore can only take place in rivers called yardna.

See also
Water of Life (Christianity)
Living Waters (disambiguation)
Yardna in Mandaeism
Masbuta in Mandaeism
Five Seals in Sethianism, in which five baptisms are performed in living water

References

Biblical phrases
Water and religion

Living Water


Zurich University of the Arts (ZHdK, ) has approximately 2,500 students, which makes it the largest arts university in Switzerland. The university was established in 2007, following the merger between Zurich's School of Art and Design (HGKZ) and the School of Music, Drama, and Dance (HMT). ZHdK is one of four universities affiliated to Zürcher Fachhochschule.

ZHdK offers Bachelor's and master's degree courses and further education programmes in art, design, music, art education, theatre, film, dance, transdisciplinary studies as well as PhD programmes in collaboration with different international Art Universities and with ETH Zurich. ZHdK holds an active role in research, especially in artistic research and design research.

Affiliated to ZHdK are the Museum of Design, Zurich, the Theater der Künste (Theatre of the Arts), the Mehrspur Music Club, and the Media and Information Centre (MIZ).

History
Established on 1 August 2007, Zurich University of the Arts (ZHdK) resulted from the merger between the Hochschule für Gestaltung und Kunst Zürich (HGKZ), which had arisen from the Kunstgewerbeschule Zürich (founded in 1878), and the School of Drama, music, and Dance (HMT). The founding president of the new arts university was professor Hans-Peter Schwarz. Since November 2009, professor Thomas D. Meier has been president of ZHdK.

The Hochschule für Gestaltung und Kunst Zürich (HGKZ) arose from the Kunstgewerbeschule Zürich (founded in 1878). It was located in a building constructed by architects Adolf Steger and Karl Egender, which today also houses the Museum of Design, Zurich.

The School of Music, Drama, and Dance (HMT) was the result of a merger in 1999 between Winterthur and Zurich conservatories of music, Zurich's Jazz School, Zurich's Theatre and Acting Academy, and the Swiss Professional Ballet School. ZHdK's programme in Theatre Studies (affiliated to the Department of Performing Arts and Film) was originally established in 1937, in the context of the Schauspielhaus Zürich (the city's principal theatre), and known as the  Bühnenstudio Zürich. It was renamed Schauspiel-Akademie Zürich in the early 1970s.

Following the 2007 school merger, ZHdK occupied 35 sites, spread across the cities of Zurich (Ausstellungsstrasse, Florhof, Mediacampus, Gessnerallee) and Winterthur. In the autumn of 2014, ZHdK relocated to its new campus: the Toni Areal, in the city's thriving western district (Zurich West). With the exception of its Gessnerallee annex, ZHdK has left all other sites to unite the arts under one roof. The Museum of Design, Zurich and the Bellerive Museum will remain at their current locations.

Departments
ZHdK has five departments:

The Department of Performing Arts and Film offers professional training in dance, theatre and film. Theatre training includes BA and MA courses in acting, directing, theatre education, dramaturgy, and stage design. The department also offers BA and MA courses in film. The BA Film provides general training or specialised training in production design. MA students can specialise in directing, documentary filmmaking, screenwriting, cinematography, film editing or creative producing. The dance programmes include professional training in classical dance at Zurich Dance Academy as well as a BA Contemporary
Dance and an MA Dance. The latter enables students to specialise in choreography or in teaching and coaching dance professionals.

Design students specialise in one of seven professional fields: Cast/Audiovisual Media, Game
Design, Industrial Design, Interaction Design, Knowledge Visualization, Trends & Identity, Visual Communication.

The Department of Fine Arts offers degree courses in digitality, photography, installation/sculpture, painting, performance, sound, language, and video/movement.

The Department of Cultural Analysis provides teaching and research in cultural theory, cultural analysis, and art education. Its BA and MA courses are aimed at future teachers, cultural journalists, and exhibition makers.

The Department of Music offers programmes in the creation, teaching, and interpretation of classical music, jazz, pop, and church music. Two BA and four MA degree courses provide professional training for future orchestra and school musicians, orchestra and choir conductors, soloists and chamber musicians, composers and sound engineers, instrumental and voice teachers, jazz and pop musicians. Students take
part in performances at the university's own concert halls and on a regular basis also at Zurich's Tonhalle and other public venues.

Notable alumni

ZHdK and its various precursor institutions (School of Applied Art/HGKZ; Music Conservatory; Theatre Academy) have brought forth a considerable number of acclaimed artists, designers, musicians, and actors:

Theatre and film
Aya Domenig
Bruno Ganz
Mathias Gnädinger
Talkhon Hamzavi
Gardi Hutter
Xavier Koller
Mathis Künzler
Sandra Moser
Markus Imhoof
Marco Arturo Marelli
Andrea Staka
Peter Brogle

Photography
Oliviero Toscani
Werner Bischof
René Burri

Fine arts
Augusto Giacometti
Thomas Hirschhorn
Yves Netzhammer
David Weiss
HR Giger
Matthias A. K. Zimmermann

Design and typography
Max Bill
Adrian Frutiger
Richard Paul Lohse
Hans Falk
Max Miedinger
Emil Ruder

Music
Yulianna Avdeeva
Nik Bärtsch
Hermann Haller
Peter Lagger
Anne-Sophie Mutter
Andreas Reize
Othmar Schoeck
Luzia von Wyl
Soyoung Yoon

Notable faculty
Many former graduates have returned to teach at ZHdK. Teaching faculty has included and includes a number of well-known people:

Sophie Taeuber-Arp, head of the textile class, 1916–1929
Johannes Itten, director, 1938–1943
Volkmar Andreae, head of the Tonhalle Orchestra (1906–1949) and the Conservatory of Music (1914–1939)
Karl Schmid, professor of scientific drawing (1944–71)
Serge Stauffer co-directed the F+F class for experimental art from 1965 to 1970
Florian Dombois has been head of the research focus in transdisciplinary studies since autumn 2011
Irwin Gage ran a class for Lied interpretation
Ria Ginster, soprano, from 1938 until she had to emigrate
Isabel Mundry, professor of composition
Zakhar Bron has been teaching violin and chamber music
Rudolf Koelman, violin and chamber music professor since 1987(HMT-ZHdK) former concertmaster of the Royal Concertgebouw Orchestra (1996-1999)
Raphael Wallfisch has been teaching cello and chamber music
Konstantin Scherbakov is professor of piano
Giaco Schiesser, professor for media and culture theories, founded the New Media / Media Arts programme (1997) and was Head of the Departement of Art & Media (2002-2017)
:de:Gerhard M. Buurman, professor for interaction design (2000-2016), founded the interaction design programme (2001), the game design programme (2004) and was Head of design research of the Departement of Design.
Antoine Chessex is a lecturer and researcher in transdisciplinarity and sound studies at the department DKV ("Kulturanalyse und Vermittlung").

Related facilities
The Swiss Design Institute for Finance and Banking {SDFB) was an independent, nonprofit research institute located in Zurich (Kanton Zurich, Switzerland) and dedicated to the study of financial-service to client interaction and the fundamental esthetical principles of security and trust. The institute was affiliated to the Zurich University of the Arts. The SDFB  was founded in 2008 by Gerhard M. Buurman, Hans Geiger, Christian Kruse and Lukas Schwitter.

Further reading

References

1878 establishments in Switzerland
Universities of Applied Sciences in Switzerland
Education in Zürich
Educational institutions established in 1878
Art schools in Switzerland
Film schools in Switzerland
Swiss design
Design schools
Design schools in Switzerland
Graphic design schools
Design schools in Germany
Communication design

Zurich University of the Arts


Marcus "Chunky" Adams (born July 20, 1979) is a Canadian football defensive tackle who played for the Saskatchewan Roughriders of the Canadian Football League (CFL) for eight seasons. He also was on the rosters of the Edmonton Eskimos of the CFL, the Colorado Crush and Spokane Shock of the Arena Football League, and the Peoria Rough Riders of af2 throughout his professional career. He played college football at Eastern Kentucky.

Adams was a backup at various defensive line positions for four seasons before he was given the opportunity to consistently start for the Roughriders. He had a breakout season in 2007, when he made a career-high 35 tackles and six sacks on his way to winning his first and only Grey Cup championship. After eight seasons with the Roughriders, Adams was released and spent brief periods of time with the Edmonton Eskimos and Spokane Shock before retiring. He finished his career with 130 tackles and 12 sacks, appearing in eight playoff games and three Grey Cups.

Early career

Adams played high school football for the Giants at Ben Davis High School, where he was an all-state defensive tackle and was named a top player by USA Today. The Evansville Courier & Press reported that Adams was both fast and strong for a high school tackle, with a 40-yard dash time of 4.9 seconds and the strength to bench press .

Adams went on to play four seasons of college football with the Eastern Kentucky Colonels, a member of the Division I Football Championship Subdivision (then known as Division I-AA). Starting in 33 games, Adams received several accolades while playing for the Colonels, including being named a Division I-AA third team All-American, a two-time first team All-Conference player, and a second team All-Conference player. In September 2002, he was selected as the Ohio Valley Conference Defensive Player of the Week for his effort in a game against the Florida Atlantic Owls, where he made 5 total tackles and repeatedly pressured the quarterback (including for one sack). Adams continued his successful senior year by recording 81 defensive tackles and five sacks.

Professional career

Saskatchewan Roughriders

On March 21, 2003, the Saskatchewan Roughriders announced that they signed Adams as a free agent. Adams went on to play eight seasons with the Roughriders.

2003 season

Adams received an early opportunity to start for the Roughriders after Ray Jacobs was suspended for missing practice in the preseason. Adams made his CFL debut as a defensive end on June 19, 2003 against the Toronto Argonauts. He went on to play in nine regular season games and record 13 tackles in his rookie season, both due to Jacobs' continued suspension and injuries to other defensive linemen later in the season.

2004 season

Adams remained with the Roughriders for the 2004 season, but he did not play in any regular season games.

2005 season

Between the 2004 and 2005 seasons, Adams played indoor football with the Colorado Crush of the Arena Football League and the Peoria Rough Riders of af2. On May 9, 2005, Adams left the Peoria Rough Riders to attend training camp with the Saskatchewan Roughriders. He acted as a backup for the Roughriders throughout the 2005 season. In July, he started in place of Nate Davis, who was unable to play due to back spasms. Adams went on to play in only five regular season games, where he made two sacks and four tackles.

2006 season

Adams was again used primarily as a backup in the 2006 season, playing in only five games. He played in place of Nate Davis and T. J. Stancil when both players dealt with injuries. In September, Adams was placed on the injured list. He finished the season with seven tackles and a sack.

2007 season

After Nate Davis was released from the Roughriders in the offseason, Adams took over as a starting defensive tackle. By mid-July, Adams was leading the CFL with four sacks. While Adams was injured in November, he did not miss serious time, and he played a major role in the Roughriders' playoff run. In the Western final, Adams effectively ended a BC Lions drive late in the fourth quarter by sacking opposing quarterback Dave Dickenson for a 14-yard loss. The drive ended in a punt, and the Roughriders went on to win 26–17 to move on to the Grey Cup. The Saskatchewan Roughriders won the 95th Grey Cup, defeating the Winnipeg Blue Bombers 23–19. In the championship game, Adams was part of a defense that was described as "domineering" by The Gazette. He finished the season with 35 tackles, six sacks, and one pass deflection in 16 regular season games, all of which were career highs.

2008 season

Adams faced the possibility of becoming a free agent after the 2007 season, but he re-signed with the Roughriders by February 2008. Adams was challenged by Brent Curvey and Ronald Flemons in training camp, but he won the starting role for the 2008 season. Playing in 14 games, he made 11 tackles and two fumble recoveries. Adams missed a regular season game in July to visit his mother, who was undergoing cancer surgery, and he also spent time on the injured list due to a finger injury and sprained ankle. The Roughriders made the playoffs, but lost to the BC Lions 33–12 in the West Semi-Final.

2009 season

Adams continued to start in the 2009 season, and he recorded 33 tackles, a sack, and a pass deflection while playing in all 18 regular season games. The Roughriders made it to the 97th Grey Cup, where Adams forced a fumble that was recovered by teammate Keith Shologan. Facing the Montreal Alouettes, the Roughriders lost 28–27, preventing Adams from winning his second championship.

2010 season

Adams again became a free agent before the 2010 season, but he re-signed with the Roughriders. He continued to regularly start and be featured in the rotation at the defensive lineman position. Adams missed Week 13 due to an injury. He finished the season with 27 tackles, two sacks, and a fumble recovery across 16 regular season games. The Roughriders again made it to the Grey Cup, but they lost to the Alouettes 21–18.

Retirement

Following the 2010 season, the Roughriders chose not to re-sign Adams. The Edmonton Eskimos expressed interest, and Adams signed a contract with them for the 2011 season. He never played a regular season game for the Eskimos, and was eventually released. Adams later returned to the Arena Football League and signed with the Spokane Shock in 2012 before retiring from professional football.

Season statistics

Personal life

Marcus was born to a family of athletes, with his father and uncles boxing professionally.

Adams was active in the Saskatchewan community throughout his time with the Roughriders. In March 2008, he helped coach a pee wee hockey team during a charity benefit for Dustin Lemire, a child diagnosed with leukemia. Adams also coached that year in a high school training camp hosted by Matt Dominguez, a fellow Roughrider, and in a skills camp for the Ehrlo Monday Night Football League.

References

External links

1979 births
Living people
African-American players of American football
African-American players of Canadian football
American football defensive tackles
Canadian football defensive linemen
Colorado Crush players
Eastern Kentucky Colonels football players
Edmonton Elks players
Peoria Pirates players
Players of American football from Indianapolis
Saskatchewan Roughriders players
Spokane Shock players
Players of Canadian football from Indianapolis

Marcus Adams (Canadian football)


Jimmy and Judy is a 2006 independent film starring Rachael Bella as Judy and Edward Furlong as Jimmy. It is written and directed by Randall K. Rubin and Jon Schroder. The film was shot on hand-held video in the Cinéma vérité style.

Plot
A teenage outcast road movie, Jimmy and Judy follows a pair of outsiders who fall in love and out of control as they travel across an American landscape dotted with hypocrisy, materialism, drugs and violence.

The film focuses on classic themes such as adolescent rebellion, love, and anger. Jimmy and Judy are modern-day Bonnie and Clyde: destructive young lovers who leave the comfort of their suburban community in rural Kentucky in search of a better life.

The film is presented in the form of a video diary from the point of view of the main characters.

Cast

Release and awards
Won Best Feature at the 2006 San Francisco Independent Film Festival.

Won the MySpace.com award for Best Feature at the 2006 Newport Beach Film Festival.

Was released theatrically September 15, 2006 by Outsider Pictures.

External links

2000s American films
2000s English-language films
2006 films
American independent films
Teensploitation

Jimmy and Judy


"J. Smith" is the first single from Indie band Travis' sixth studio album Ode to J. Smith, released as a limited-edition E.P. on both 10" vinyl and as a download, with only 1,000 copies made of the 10-inch. The song reached #1 on the UK Indie Chart on 6 July 2008, mainly due to strong downloads.

Background
Although the songs from Ode to J. Smith were previewed in a series of live shows in February 2008, the studio recordings were not intended to be heard until the official release. However, KCRW, an American radio station, got hold of an illegal copy of "J. Smith", and played it on air several times, and subsequently, mp3 files of the song were made and distributed, which Fran Healy contested to on the official forum. The physical single release was not intended for announcement until late June, however, online retailer Recordstore announced the item for sale on 5 June, meaning that despite an official announcement being made, fans would now know what the first single was going to be. The information was discussed on the band's official forum within hours. Healy posted on the forum that evening, claiming that the band had not intended Recordstore to announce the information, and that the original plan was to gradually release the information to increase excitement.

Lyrics
Fran Healy explained on Travis' official website about the writing of "J. Smith".  He said, "The riff came from nowhere. The strange thing was, I knew immediately these chords were important in some way... When Neilly  arrived I played the chords, he played along and we instantly found the pattern. It is the best drum line Neilly has ever done... Dougie then picked up the bass line like he'd been practising it all week... There isn't a bit of fat on the song. Every note, every beat, is perfect."  He also adds that Paul McCartney and Luke Pritchard both complimented the song when they first heard it.

Comparisons
Many fans regarded "J. Smith" as a return to some of the rawness and rockiness of their debut album Good Feeling, and the band have revealed that they lyrically connected the two releases in certain ways. The cover art of "J. Smith" was designed by Healy to resemble the original artwork of "All I Want to Do Is Rock", the group's first ever single. The band also resurrected the Red Telephone Box record label, which they created to release "All I Want to Do Is Rock".

Track listing

 10" Vinyl
 "J. Smith" - 3:10
 "Get Up" - 3:12
 "Sarah" - 4:25

Charts

References

2008 singles
Travis (band) songs
Songs written by Fran Healy (musician)
2008 songs

J. Smith (song)