Melchior Lengyel (born Menyhért Lebovics; ; 12 January 1880 – 23 October 1974) was a Hungarian writer, dramatist, and film screenwriter.

Biography
Lengyel was born Menyhért Lebovics in Balmazújváros, Hungary. He started his career as a journalist. He worked first in Kassa (Košice), then later in Budapest.

His first play, A nagy fejedelem (The Great Prince) was performed by the Thalia Company in 1907. The Hungarian National Theatre performed his next drama A hálás utókor (The Grateful Posterity) in 1908 for which he received the Vojnits Award from the Hungarian Academy of Sciences, given every year for the best play. Taifun (Typhoon), one of his plays, written in 1909, became a worldwide success and is still performed today. It was adapted to the screen in the United States in 1914.

His articles were often published in Nyugat (West), the most important Hungarian literary journal in the first half of the 20th century. During World War I, he was sent to Switzerland by the Hungarian daily newspaper Az Est (The Evening) as a reporter. His pacifist articles and other publications written in 1918 were also published in German and French papers and were collected in a book called Egyszerű gondolatok (Simple Thoughts).

His story The Miraculous Mandarin (A csodálatos mandarin), a "pantomime grotesque" came out in 1916. It is the story which inspired Béla Bartók, the famous Hungarian composer, to create in 1924 the ballet The Miraculous Mandarin.

After World War I, Lengyel went to the United States for a longer stay and published his experiences in 1922 in a book Amerikai napló (American Journal). In the 1920s, he was active in the film industry. For some time, he was story editor at May-Film in Berlin. In 1929/30, he was co-director of a Budapest theatre. In 1931, he was sent by the Hungarian newspaper Pesti Napló (Pest Journal) to London as its reporter. The story of his Utopian novel A boldog város (The Happy City) came out in 1931; it was set in an American city that lay in the depths of a chasm created by the great Californian earthquake.

He moved to Hollywood, California in 1937 and became a screenwriter. Several of his stories were the basis of screenplays for films by Ernst Lubitsch which became worldwide successes, such as  Ninotchka (1939), for which he was nominated for the Academy Award for Best Writing, Original Story; To Be or Not to Be (1942), and the 1937 film Angel, starring Marlene Dietrich.

Lengyel returned to Europe in 1960 and settled down in Italy. In 1963, he received the Great Award of Rome for his literary works.

After the Hungarian Revolution of 1956, Lengyel often visited his home country and returned to live in Budapest in 1974. He died there shortly afterwards at the age of 94.

The city library of Balmazújváros, his native town, was named after him in 2004. A complete list of Lengyel's works as well as the articles and references about him and his publications were compiled by one of the librarians on this occasion.

Selected filmography
 The Gypsy Baron (1927)
 The Famous Woman (1927)
 Ninotchka (1939)
 To Be or Not to Be (1942)

References

External links

 New York Times filmography
 Melchior Lengyel Filmography
 Nobel Prize Winners and Famous Hungarians – Menyhert Lengyel
 Melchior Lengyel
 To Be or Not To Be

1880 births
1974 deaths
People from Balmazújváros
Hungarian male screenwriters
Hungarian Jews
20th-century Hungarian dramatists and playwrights
Hungarian male dramatists and playwrights
20th-century Hungarian male writers
20th-century Hungarian screenwriters
Burials at Farkasréti Cemetery

Melchior Lengyel


Amb. Ismail Sheikh Hassan or Ismail Sheikh Hassan Nuriye  also referred to as His Excelleny H.E Mohamed Sheikh (,   ),was a  prominent ambassador for Ethiopia. Ismail Sheikh Hassan was 1 of the 3 ambassadorial brothers from Ethiopia, Djibouti and Somalia, all ethnic Somalis, the other 2 brothers were  Mohamed Sheikh Hassan and Aden Sheikh Hassan.  All from the same  prominent family who were one of the most interesting in the Horn of Africa.The first time in history 3 Somali brothers managed to become ambassadors in 3 neighboring countries.

History
Ismail hails from a prominent family who were one of the most interesting in the Horn of Africa. They are known as the Ambassadorial Brothers. His father Sheikh Hassan Nuriye was a prominent Sheikh in Ethiopia, Djibouti and Somalia. Sheikh Hassan had sired three sons who represented three African countries at ambassadorial level. Ismail brothers are Mohamed Sheikh Hassan who represented Somalia at ambassadorial level and was the ambassador to Canada, Nigeria and South Africa. His other brother Adan was the Djiboutian ambassador to Oman and the Kingdom of Saudi Arabia.

Ismail Sheikh Hassan belongs to the Rer Ughaz (Reer Ugaas), Makahiildheere (Makahildere), subsection of the Makahiil (Makahil) branch of the Gadabursi (Gadabuursi).  Ismail served his country Ethiopia as ambassador to Libya.

Career
 Ambassador for Ethiopia to Libya

Family tree
 Sheikh Hassan Nuriye, Father of all 3 Ambassadors and prominent Sheikh in all 3 countries
 Mohamed Sheikh Hassan - Ambassador for Somalia to United Arab Republic,  Canada and Nigeria
 Ismail Sheikh Hassan - Ambassador for Ethiopia to Libya
 Aden Sheikh Hassan - Ambassador for Djibouti to Oman and Saudi Arabia

References

Ambassadors of Ethiopia to Libya
Gadabuursi

Year of birth missing
Year of death missing

Ismail Sh. Hassan


The Medal "For the Capture of Berlin" () was a World War II campaign medal of the Soviet Union established on June 9, 1945 by decree of the Presidium of the Supreme Soviet of the USSR to satisfy the petition of the People's Commissariat for Defense of the Soviet Union.  The medal's statute was amended on July 18, 1980 by decree of the Presidium of the Supreme Soviet of the USSR № 2523-X.

Medal statute
The Medal "For the Capture of Berlin" was awarded to soldiers of the Red Army, Navy, and troops of the NKVD, direct participants of the assault and capture of Berlin as well as to the organizers and leaders of combat operations in the capture of this city.

Award of the medal was made on behalf of the Presidium of the Supreme Soviet of the USSR on the basis of documents attesting to actual participation in the capture of Berlin. Serving military personnel received the medal from their unit commander, retirees from military service received the medal from a regional, municipal or district military commissioner in the recipient's community.

The Medal "For the Capture of Berlin" was worn on the left side of the chest and in the presence of other awards of the USSR, was located immediately after the Medal "For the Capture of Vienna".  If worn in the presence of orders or medals of the Russian Federation, the latter have precedence.

Medal description
The Medal "For the Capture of Berlin" was a 32mm in diameter circular brass medal with a raised rim on the obverse.  On its pebbled obverse at the top, a plain five-pointed star, its top point touching the medal upper rim. Below the star, the relief inscription in bold letters on three rows "FOR THE CAPTURE OF BERLIN" () ending halfway down the medal. At the bottom, the relief image of a wreath of oak branches going up the left and right circumference of the medal up to the lower row of the inscription.  On the reverse near the top, the relief date on three rows over a relief plain five-pointed star "2 MAY 1945" ().

The Medal "For the Capture of Berlin" was secured by a ring through the medal suspension loop to a standard Soviet pentagonal mount covered by a 24mm wide red silk moiré ribbon with a 12mm wide Ribbon of St. George in the center.

Notable recipients

Soviet people
Marshal of the Soviet Union Georgy Konstantinovich Zhukov
Marshal of Armoured Troops Mikhail Efimovich Katukov
Reichstag attacker Lieutenant Alexei Berest
Reichstag flag raiser Sergeant Meliton Varlamovich Kantaria
Reichstag flag raiser Sergeant Mikhail Alekseevich Yegorov
Marshal of Aviation Alexander Ivanovich Pokryshkin
Marshal of the Soviet Union Vasily Ivanovich Chuikov
Marshal of the Soviet Union Ivan Ignatyevich Yakubovsky
Marshal of the Soviet Union Ivan Stepanovich Konev
Marshal of the Soviet Union Konstantin Rokossovskiy
Captain Iosif Zeusovich "Ios" Teper
Army General Ivan Yefimovich Petrov
Marshal of the Soviet Union Pavel Fyodorovich Batitsky
Lieutenant General Semyon Moiseevich Krivoshein
Colonel General Yakov Timofeyevich Cherevichenko
Army General Ivan Ivanovich Fedyuninsky
Sailor Lev Efimovich Kerbel
Fighter ace Lieutenant Colonel Vasily Maximovich Afonin
Marshal of Artillery Vasily Ivanovich Kazakov
Army General Mikhail Sergeevich Malinin
Marshal of Aviation Serhi Gnatovich Rudenko
Lieutenant General Nikolai Pavlovich Simoniak
Captain Gabriel Ilyich Urazovsky
Army General Sagadat Kozhahmetovich Nurmagambetov
Sergeant Shabsa Mashkautsan, Hero of the Soviet Union

Foreign nationals
General, later President Wojciech Witold Jaruzelski (Poland)
Marshal of Poland Marian "Marek" Spychalski (Poland)
Army General Stanislav Gilyarovich Poplavsky (Poland)
Brigadier General Mieczysław Cygan (Poland)

See also

Battle of Berlin
Ribbon of St. George
Medal for Participation in the Battle of Berlin
Orders, decorations, and medals of the Soviet Union

References

External links
 Legal Library of the USSR

1945 establishments in the Soviet Union
Awards established in 1945
Battle of Berlin
Germany–Soviet Union relations
Soviet campaign medals

Medal "For the Capture of Berlin"


Ned Leeds is a fictional character from Marvel Comics.

He was created by Stan Lee and Steve Ditko for a Spider-Man comic book in 1964. Ned Leeds worked for a newspaper called The Daily Bugle. He and Peter Parker both liked the same girl named Betty Brant with Ned eventually marrying her with Peter Parker as the best man. Then Spider-Man started having to fight a supervillain known as the Hobgoblin who turned out to have Ned Leeds as his secret identity but then it turned out that Ned Leeds was actually being brainwashed all along and he was eventually killed in a comic book from 1986.

Ned Leeds in movie
Ned Leeds was played by Jacob Batalon in the Marvel Cinematic Universe in which he's Peter Parker's best friend and sidekick.

Marvel Comics characters

Ned Leeds


John Baker Holroyd, 1st Earl of Sheffield (21 December 1735 – 30 May 1821) was an English politician who came from a Yorkshire family, a branch of which had settled in the Kingdom of Ireland.

Biography
His grandfather was Isaac Holroyd (1643–1706), a merchant who emigrated to Ireland after the Restoration. His father was Isaac Holroyd (1708–78), who lived at Dunamore in County Meath. John, the eldest son, first took the name of Baker on inheriting the estates of his uncle, Rev. James Baker, in 1768 and added Holroyd on the death of his own father in 1778.

Having served in the Army until 1763, he travelled for a while on the continent where he became close friends with the writer and historian Edward Gibbon, later the author of The History of the Decline and Fall of the Roman Empire. On his return he used his inherited wealth to buy in 1769 the country house of Sheffield Hall in Sussex for £31,000 from Lord De La Warr. In 1780 he was elected to represent Coventry in the House of Commons, where he was prominent against the anti-Catholic Lord George Gordon and the Gordon rioters.

In 1781 he was created a Peer of Ireland as Baron Sheffield, of Dunamore in the County of Meath, and in 1783 was further created Baron Sheffield, of Roscommon in the County of Roscommon, with a special remainder in favour of his daughters. As Irish peerages they did not interrupt his Parliamentary career and he was re-elected for Coventry in 1781 and for Bristol in 1790. His Parliamentary career did end however in 1802, when he was created a Peer of the United Kingdom as Baron Sheffield, of Sheffield in the County of York. In 1816, he was also created Viscount Pevensey and Earl of Sheffield in the Peerage of Ireland.

In 1783 he was elected a Fellow of the Royal Society.

He married Abigail Way, daughter of Lewis Way of Richmond, Surrey with whom he had a son and 2 daughters. Abigail died in 1793. In 1795 he married The Hon. Lucy Pelham (22 February 1763 – 18 January 1797), daughter of Sir Thomas Pelham, !st Earl of Chichester. His third marriage was to Lady Anne North (16 February 1760 – 18 January 1832), the daughter of the former Prime Minister Lord North on 20 January 1798.

The Earl died in 1821 and was buried in the Sheffield family mausoleum attached to the north transept of the Church of St Mary and St Andrew, Fletching, East Sussex. When Edward Gibbon died in 1794 whilst visiting the Earl, he too had been buried in the same mausoleum as a mark of respect. The Holroyd family are commemorated in the surrounding panels. The Earl's son and grandson succeeded in turn as second and third Earls of Sheffield, the latter being a well-known patron of cricket and on whose death the earldom became extinct.

The 1st Earl of Sheffield's daughter Maria Josepha married John Stanley, 1st Baron Stanley of Alderley on 11 October 1796, and therefore the Irish barony, under the special remainder, later passed to Edward Stanley, 4th Baron Stanley of Alderley, who thus became the fourth Baron Sheffield.

Army Service
In 1760, upon entering the army, he led a mounted light infantry regiment called the Royal Foresters under the command of John Manners, Marquess of Granby. After the war, he was promoted the rank of captain (The Annual Biography and Obituary, Volume 6, 1822).

It took almost 20 years before his service was called again, into war among several European powers. He started as a major and rose to the ranks of colonel when put up his own cavalry, the 22nd Regiment of Light Dragoons, during the Anglo-France War. (The Annual Biography and Obituary, Volume 6, 1822)

Works and publications
In 1783, he wrote his opinions on the state of trade and commerce between Great Britain and its former subject America. The pamphlet Observations on the Commerce of the American States (Dublin, 1783), which ran six editions, made a comparative analysis of export and import calendar between two countries. It chronicled the amount of traded staple commodities during the prosperous year of 1773 and its disastrous year a decade later, the fluctuations in exports and imports during peacetime and war, and all the imports and exports to West Indies among many others. The Observations was written in opposition to the bill introduced by William Pitt in 1783, proposing to relax the navigation laws in favour of the United States. Pitt abandoned the proposal after it received considerable opposition. Edward Gibbon later said that in the Observations, "[t]he Navigation act, the Palladium of Britain, was defended, and perhaps saved, by his pen; and he proves, by the weight of fact and argument, that the mother-country may survive and flourish after the loss of America".

In 1790, he published Observations on the Project for Abolishing the Slave Trade, in which he took a conservative position on the debate over abolitionism, condemning the "inconsiderate and impracticable manner in which a great proportion of the community profess a disposition to relieve Negroes from slavery." Fearful of interfering with the right of enslavers to their human "property", he claimed that "nothing is more vain and empty than the idea that the British Legislature could immediately abolish slavery", and commended what he perceived as the "disposition shewn by the West-Indian assemblies to do everything that might be suggested for the advantage of the Negroes."

In Observations on the Manufactures, Trade, and Present State of Ireland (London, 1785), he also talked about the free trade and why Ireland and Great Britain should not proceed with its tariff war on their respective products like wool, woolens, cattle produce, fisheries, and variety of manufactures.

But in terms of agriculture, he maintained a more protectionist stance. He supported discussions on the agriculture to be of paramount importance as it tends to the true greatness and stability of a nation.

He opposed the kingdom's reliance on importation of corn, wheat, and other grains. He then published a series of pamphlet that tackles how the parliament should take care of its food production. On Observations on the Corn Bill (London, 1791), he advocated in higher yet stable price of corn, cultivate inferior land instead of using it for pasture, and emphasized that higher corn price is beneficial for manufactures.

He continued with Remarks on the Deficiency of the Grain; on the means of Present Relief, and of Future Plenty (London, 1800) where he expressed his displease on attacks against farmers on the suspicions that they are keeping the finest flour for themselves. He also asserted in his pamphlet that having rich farmers is of an utmost benefit to the society because they improve agriculture and keep the stocks of grain without too much stress to the public.

At a speech delivered in the House of Commons on 30 July 1801 he criticised the large sum they paid for importation of grain from foreign countries that arose from scarcity of grain and might result to creating a "dangerous policy of feeding the people at the public expense" (The Annual Biography and Obituary, Volume 6, 1822)

In 1803 he served as the President of the Board of Agriculture and, as a farmer himself, was considered as an authority in matters of land cultivation.

He also showed interest in maintaining the wool export. He published a volume on the topic of wool and woolen trading. First, he opposed restraining the exportation of the raw material in his Observations on the Objections made to the Exportation of Wool from Great Britain to Ireland in 1800. And in the next decade, he released a series of pamphlet from 1809 to 1812 On the Trade in Wool and Woollens where he noticed the weakening export to the American states. He then advocated for the importation of sheep from Spain to be bred. The same sentiments re-appeared after a decade in his Report at the Meeting at Lewes Wool Fair between 1818 and 1820.

His passion for local economy is also present in maritime industry. In his Strictures on the necessity of inviolably maintaining the Navigation and Colonial System of Great Britain (London, 1804), he pointed out that the suspension of Navigation Laws that rendered England as a free port injures every branch of the British marine. Opening up the port is deemed disadvantageous and discouraging to the seamen, shipbuilders and shipbuilding trade, and in contrary to the interest of their naval force.

Despite his opinions being heralded as abreast with time, his views sometimes were considered as short-sighted and insular (Dictionary of Political Economy Volume 3, Palgrave, p. 390). An example is his conservative stance on the abolition of slavery, where he commented on slave trade reformers that "not one of them had the candour to come forward and say, that those whose property was to be sacrificed in this pursuit should have any compensation whatever for their losses."

Notes

References
 Kidd, Charles, Williamson, David (editors). Debrett's Peerage and Baronetage (1990 edition). New York: St Martin's Press, 1990,
 Jacques-Alphonse Mahul, Annuaire nécrologique, ou Supplément annuel et continuation de toutes les biographies ou dictionnaires historiques, 3e année, 1822, Paris : Ponthieu, 1823, p. 324–331
The Annual Biography and Obituary, Volume 6, London : A. & R. Spottiswoode, New-Street-Square,1822, page 308-330
Palgrave, Robert Harry Inglis, Sir, Dictionary of Political Economy Volume 3, London : Macmillan 1915–1917, page 390-392

Attribution

External links

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|-

Sheffield
Sheffield
Sheffield, John Baker-Holroyd, 1st Earl of
Sheffield
Sheffield
Members of the Parliament of Great Britain for English constituencies
British MPs 1780–1784
British MPs 1790–1796
British MPs 1796–1800
Members of the Parliament of the United Kingdom for English constituencies
UK MPs 1801–1802
Sheffield
Fellows of the Royal Society
Members of Parliament for Coventry
Barons Sheffield


Böse Mädchen (Bad Girls) is a German comedy show by Sony Pictures – and FernsehproduktionsGmbH in corporation with the Biller & Vass TV ProduktionGbR for RTL which was broadcast for the first time on 12 October 2007 on German television.

The context of the show is that unsuspecting and often male passers are put in comical situations by three female decoys: Annett Fleischer, Isabell Polak and Manuela Wisbeck. Female stereotypes and corresponding reactions by men are put in the foreground during the show.
For example, a woman fills up her boyfriend's Cabrio after she asked another driver what the right sort of fuel was and then fills up the interior of the car and not the gas tank.

The producer and  director is Tommy Wosch under his nickname Thomas Vass.

During the first broadcast the show reached a market share of 18,1% in the chosen target group, which refers to 2.36 million viewers into the total sum of public.

In 2008 "Böse Mädchen" was nominated for the "Rose d'Or". The second season, which contained nine episodes, was broadcast starting 28 February 2009.

The third season ran from 27 February until 17 April 2010 on RTL and it was composed of seven episodes.

Jana Kilka supported the bad girls in some scenes.

On 15 July three episodes from the fourth season were broadcast on RTL. As a supporting protagonist there was Alena Gerber. The season is continuing since 17 September 2011.

The first season will come out on DVD 30 September 2011 in distribution of the Film Universum GmbH with a 12 years rating.

See also
List of German television series

External links

2007 German television series debuts
2011 German television series endings
German comedy television series
German-language television shows
RTL (German TV channel) original programming

Böse Mädchen


Bomburu Ella, also known as Perawella Falls, is a waterfall at Uva-Paranagama Divisional Secretariat of Sri Lanka. It is located near the border of Nuwara Eliya and Badulla districts, approximately 15 km from Welimada town. Bomburu Ella is a waterfall in Sri Lanka and consists of several small waterfalls grouped together. The source of the falls is a lake located in the central highlands of Sri Lanka.

See also
 List of waterfalls in Sri Lanka

References

Waterfalls of Sri Lanka
Waterfalls in Uva Province

Bomburu Ella


The City Protocol is a new open, global, and progressive working framework for cities worldwide to assess and improve performance in environmental sustainability, economic competitiveness, quality of life, and city services, by innovating and demonstrating new leadership models, new ways of engaging society, and by leveraging new information and communication technologies (ICT).

Many initiatives exist today on various indicators (quality, performance and life) and on normalization of trade. The City Protocol addresses the city under a systemic approach. Cities can usefully be described as complex systems since their components interact and co-determine their future. Thus, urban planning is limited by the very nature of their complexity. The city has a metabolism and a rich ecosystem, it's very heterogeneous. Like any complex system, it changes over time, it evolves, it is fragile and must adapt to changes. Resilience is the key to also ensure continuity of services in the city at any time of crisis. Two major vectors through the development of the city, the need, its uses and functions, and chance, hazard and risk. The city should be adaptive, learning, evolving, robust, autonomous, self-repairing, and self-reproducing.

Goals
The City Protocol has five fundamental goals:

 To facilitate and foster a new science of cities.
 To establish a cooperation framework among the city council, academia, companies, organizations and people/society.
 To lead and pave cities' futures.
 To understand the common driving forces of urban evolution and find common game-changing solutions.
 To find innovative economical opportunities and synergies: and deliver value-adding products and services.
The City Protocol will move worldwide city thinking forward effectively and remain appealing and available to a wide range of cities and smart city communities. City Protocol will create a reflection community, a sharing space and opportunities to build complete or partly solutions to allow the emergent new generation solutions for a sustainable city.

Development Process of the City Protocol
The City Protocol will be created through a number of stages that will span some 18 months:

 Stage 1, to July 2012: will enroll a discrete group of core Cities, Institutions, Industry, and Academia to agree the need for, and shape the City protocol Society. Kick start of Working Groups (CPWG) and areas of work.
 Stage 2, to November 2012: will build agreements (CPA) on the principles, focus, commitment and manner by which the society will operate and the goals and outline content that it will address. The CPS will start operating under this stage.
 Stage 3, to November 2013: will establish from the core committed participants, visible initial products that the society can evidence as true and meaningful value. Once the CPS has been established, working groups (WG) will be set up. Said WG will work remotely under a periodical basis. Face to face meetings will take place to discuss and work around the CP.

References

External links
City Protocol Society site
City Protocol Launch in Barcelona, CISCO 11-14-2012
 City Protocol Society in Barcelona City Hall
 Primera notícia de l'estratègia de l'Ajuntament de Barcelona. (in Catalan) La Vanguardia, 11-29-2011
 Oficial launch of City Protocol Society_Smart City Expo 2012. Institute for Advanced Architecture in Catalonia.
 Barcelona hosts the first Workshop City Protocol. United Cities and Local Governments

Urban planning
Organizational theory
Sustainable urban planning
Urban studies and planning terminology
Public policy

City Protocol


Buena Vista Social Club was a musical ensemble primarily made up of Cuban musicians, formed in 1996. The project was organized by World Circuit executive Nick Gold, produced by American guitarist Ry Cooder and directed by Juan de Marcos González. They named the group after the homonymous members' club in the Buenavista quarter of Havana, a popular music venue in the 1940s. To showcase the popular styles of the time, such as son, bolero and danzón, they recruited a dozen veteran musicians, some of whom had been retired for many years.

The group's eponymous studio album was recorded in March 1996 and released in September 1997, quickly becoming an international success, which prompted the ensemble to perform with a full line-up in Amsterdam and New York in 1998. German director Wim Wenders captured the performance on film for a documentary—also called Buena Vista Social Club—that included interviews with the musicians conducted in Havana. Wenders' film was released in June 1999 to critical acclaim, receiving an Academy Award nomination for Best Documentary feature and winning numerous accolades including Best Documentary at the European Film Awards. This was followed up by a second documentary Buena Vista Social Club: Adios in 2017.

The success of both the album and film sparked a revival of interest in traditional Cuban music and Latin American music in general. Some of the Cuban performers later released well-received solo albums and recorded collaborations with stars from different musical genres. The "Buena Vista Social Club" name became an umbrella term to describe these performances and releases, and has been likened to a brand label that encapsulates Cuba's "musical golden age" between the 1930s and 1950s. The new success was fleeting for the most recognizable artists in the ensemble: Compay Segundo, Rubén González, and Ibrahim Ferrer, who died aged 95, 84, and 78 respectively; Compay Segundo and González in 2003, then Ferrer in 2005.

Several surviving members of the Buena Vista Social Club, such as tresero Eliades Ochoa, veteran singer Omara Portuondo, trumpeter Manuel "Guajiro" Mirabal, laúd player Barbarito Torres and trombonist and conductor Jesús "Aguaje" Ramos currently tour worldwide, with new members such as singer Carlos Calunga and pianist Rolando Luna, as part of a 13-member band called Orquesta Buena Vista Social Club.

The original Buenavista Social Club

The Buenavista Social Club was a members-only club originally located in Buenavista (literally good view), a quarter in the current neighbourhood of Playa (before 1976 part of Marianao), one of the 15 municipalities in Cuba's capital, Havana. The original club was founded in 1932 in a small wooden venue at calle Consulado y pasaje "A" (currently calle 29, n. 6007). In 1939, due to lack of space the club relocated to number 4610 on Avenue 31, between calles 46 and 48, in Almendares, Marianao. This location is recalled by Juan Cruz, former director of the Marianao Social Club and master of ceremonies at the Salón Rosado de la Tropical (other nightclubs in Havana). As seen in the Buena Vista Social Club documentary, when musicians Ry Cooder, Compay Segundo and a film crew attempted to identify the location of the club in the 1990s, local people could not agree on where it had stood.

At the time, clubs in Cuba were segregated; there were sociedades de blancos (white societies), sociedades de negros (black societies), etc. The Buenavista Social Club operated as a black society, which was rooted in a cabildo. Cabildos were fraternities organized during the 19th century by African slaves. The existence of many other black societies such as Marianao Social Club, Unión Fraternal, Club Atenas (whose members included doctors and engineers), and Buenavista Social Club, exemplified the remnants of institutionalized racial discrimination against Afro-Cubans. These societies operated as recreational centers where workers went to drink, play games, dance and listen to music. In the words of Ry Cooder,

As a music venue, the Buenavista Social Club experienced the peak of Havana's nightclub life, when charangas and conjuntos played several sets every night, going from club to club over the course of a week. Often, bands would dedicate songs to the clubs where they played. In the case of the Buenavista Social Club, an eponymous danzón was composed by Israel López "Cachao" in 1938, and performed with Arcaño y sus Maravillas. In addition, Arsenio Rodríguez dedicated "Buenavista en guaguancó" to the same place. Together with Orquesta Melodías del 40, the Maravillas and Arsenio's conjunto were known as Los Tres Grandes (The Big Three), drawing the largest audiences wherever they played. These vibrant times in Havana were described by pianist Rubén González, who played in Arsenio's conjunto, as "an era of real musical life in Cuba, when there was very little money to earn, but everyone played because they really wanted to".

After the Revolution
Shortly after the Cuban Revolution of 1959, newly elected Cuban President Manuel Urrutia Lleó, a devout Christian, began a program of closing gambling outlets, nightclubs, and other establishments associated with Havana's hedonistic lifestyle. This had an immediate impact on the livelihoods of local entertainers. As the Cuban government rapidly shifted towards the left in an effort to build a "classless and colourblind society", it struggled to define policy toward forms of cultural expression in the black community; expressions which had implicitly emphasized cultural differences. Consequently, the cultural and social centers were abolished, including the Afro-Cuban mutual aid Sociedades de Color in 1962, to make way for racially integrated societies. Private festivities were limited to weekend parties and organizers' funds were confiscated. The measures meant the closure of the Buena Vista Social Club. Although the Cuban government continued to support traditional music after the revolution, certain favor was given to the politically charged nueva trova, and poetic singer-songwriters such as Silvio Rodríguez and Pablo Milanés. The emergence of pop music and salsa, a style derived from Cuban music but developed in the United States, meant that son music became even less common.

Cuban music experienced quite a radical change in the 1960s, as National Geographic notes:

Cuban dance music also witnessed dramatic change beginning in the late 1960s, as groups explored the fusion of Cuban son with American rock, jazz and funk styles. Groups such as Los Van Van and Irakere established modern forms of Cuban music, paving the way for new rhythms and dances to emerge as well as fresh concepts in instrumentation. ... Cuba's dance music had already inspired a change from the older son-style dances, as younger Cubans broke free of step-oriented dances...

The occurrence of these closures and the change in traditions is the simplest explanation of why many musicians were out of work, and why their style of music had declined before the Buena Vista Social Club made it popular again.

Album

{{Listen
|filename=Chan Chan.ogg
|title=Buena Vista Social Club "Chan Chan" (1997)
|description=30 second sample from Buena Vista Social Clubs "Chan Chan", which, according to Ry Cooder, became the group's "calling card".
|format=Ogg}}
In 1996, American guitarist Ry Cooder had been invited to Havana by British world music producer Nick Gold of World Circuit Records to record a session in which African musicians from Mali were to collaborate with Cuban musicians. On Cooder's arrival (via Mexico to avoid the ongoing U.S. trade and travel embargo against Cuba), it transpired that the musicians from Mali had not received their visas and were unable to travel to Havana. Cooder and Gold changed their plans and decided to record an album of Cuban son music with local musicians.

Already on board the African collaboration project were Cuban musicians including bassist Orlando "Cachaíto" López, guitarist Eliades Ochoa and musical director Juan de Marcos González, who had himself been organizing a similar project for the Afro-Cuban All Stars. A search for additional musicians led the team to singer Manuel "Puntillita" Licea, pianist Rubén González and octogenarian singer Compay Segundo, who all agreed to record for the project.

Within three days of the project's birth, Cooder, Gold and de Marcos had organized a large group of performers and arranged for recording sessions to commence at Havana's EGREM Studios, formerly owned by RCA records, where the equipment and atmosphere had remained unchanged since the 1950s. Communication between the Spanish and English speakers at the studio was conducted via an interpreter, although Cooder reflected that "musicians understand each other through means other than speaking".

The album was recorded in just six days and contained fourteen tracks; opening with "Chan Chan" written by Compay Segundo, a four chord son that was to become what Cooder described as "the Buena Vista's calling card"; and ending with a rendition of "La Bayamesa", a romantic criolla composed by Sindo Garay (not to be confused with the Cuban national anthem of the same name). The sessions also produced material for the subsequent release, Introducing...Rubén González, which showcased the work of the Cuban pianist.
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One of the songs that featured on the album was "Buena Vista Social Club", a danzón written by Orestes López, the father of bass player "Cachaíto". The song spotlighted the piano work of Rubén González and it was recorded after Cooder heard González improvising around the tune's musical theme before a day's recording session. After playing the piece, González explained to Cooder the history of the social club and that the song was the club's "mascot tune". When searching for a name for the overall project, manager Nick Gold chose the song's title. According to Cooder,

Upon release on 17 September 1997, the CD became a huge "word of mouth hit", far beyond that of most world music releases.Milward, John. "The Latin Invasion" . Salon.com: Entertainment (16 July 1998). Retrieved 18 March 2007. It sold more than one million copies and won a Grammy award in 1998. In 2003 it was listed by the New York-based Rolling Stone magazine as #260 in The 500 Greatest Albums of All Time.

 Musicians

A total of twenty musicians contributed to the recording including Ry Cooder's son Joachim Cooder, who at the time was a 19-year-old scholar of Latin percussion and provided drums for the band. Ry Cooder himself played slide guitar on several songs and helped produce and mix the album, afterwards describing the sessions as "the greatest musical experience of my life".Buena Vista Social Club  World Circuit Records site. Retrieved 18 March 2007. Ry Cooder had been a successful American guitarist since the 1960s, recording with Captain Beefheart and the Rolling Stones. Known for his slide guitar work, his interest in roots music led him to record music from diverse genres including Tex-Mex, Hawaiian and Tuvan throat singing. He was later prosecuted and fined $25,000 by U.S. authorities for his work on the Buena Vista Social Club, having broken the Trading with the Enemy Act, a clause that forms part of the ongoing United States embargo.

Many of the Cuban musicians who featured on the album were at their musical prime in the 1940s and 1950s. After the success of the 1997 record they became known in Cuba as "Los Superabuelos" (the Super-Grandfathers). Juan de Marcos González, a Cuban folk revivalist who was younger than the bulk of performers introduced Cooder to veteran singer Ibrahim Ferrer. Ferrer (1927–2005) had been lead vocalist for bandleader Pacho Alonso, and also sang for Beny Moré, Cuba's most prominent performer in the 1940s, before his soft singing style fell out of fashion. Having found the semi-retired seventy-year-old Ferrer taking his daily stroll on the streets of Havana and shining shoes for extra money, González signed him up for the project. Cooder later described the discovery as something that happens "perhaps once in your life", and Ferrer as "the Cuban Nat King Cole". Ferrer became a prominent member of the group, and the success of the record was attributed in part to the popularity of his vocal performances. The singer went on to record a number of successful solo albums and performed with contemporary acts such as the Gorillaz before his death in 2005 at the age of 78.

Virtuoso pianist Rubén González (1919–2003) also had further success releasing two solo albums after working on the initial project. González was a pianist for bandleader Arsenio Rodríguez in the 1940s, and is attributed with helping establish Cuban piano styles that were to dominate Latin music for the remainder of the century. Despite suffering from arthritis and not even owning a piano at the time of recording with Cooder, (due to an infestation of termites whilst living in South America) the American guitarist described him as "the greatest piano soloist I have ever heard". After the success of the 1997 record, González recorded and toured with bassist Orlando "Cachaíto" López, who was the only musician to play on all of the songs on the Buena Vista Social Club album. "Cachaito" (1933–2009) was the son of multi-instrumentalist Orestes López and the nephew of fellow bassist Israel "Cachao" López, the brothers often attributed with inventing the mambo. Named after his prestigious uncle, "Cachaito" (little Cachao) was a leading Descarga musician in the 1950s and 1960s, a musical form that takes its influence from modern jazz, and he became the ever-present bassist at Buena Vista Social Club performances and recordings.

One of the first to come on board the project was Compay Segundo (born Máximo Francisco Repilado Muñoz) (1907–2003), who at 89 years old was the oldest of the performers. During a discussion about politics, the veteran Segundo said: "Politics? This new guy [Fidel Castro] is good. The 1930s were rough. That's when we had the really bad times." Segundo was an accomplished guitarist and tres player who started his career playing with established bands of the 1920s and 1930s. In the 1940s, he gained fame as one half of the Los Compadres duo, and then formed Los Muchachos, a band that he led until his death in 2003. For the Buena Vista Social Club recording and performances, Segundo played a unique seven-stringed instrument, a hybrid between a guitar and a tres, which he devised himself and called an armónico. He also sang, mostly doing background vocals, in a number of songs in his baritone voice, including the self-penned opening track, Chan Chan, with Eliades Ochoa as the leading voice. Cowboy hat wearing Eliades Ochoa (b. 1946), who had collaborated previously with Segundo and was a well established traditional Cuban folk performer, played guitar and sang for the group. Omara Portuondo (b. 1930), a bolero singer and the only female in the collective, sang "Veinte Años" on the record and duets with Segundo and Ibrahim Ferrer during live performances.

Other performers included singer Pío Leyva (1917–2006) who had been working with Segundo since the early 1950s, and fellow and singer Manuel "Puntillita" Licea (1927–2000), who had performed with Celia Cruz and Benny Moré. Additional improvised percussion was provided by Amadito Valdés and Carlos González. The youngest established member of the group was Barbarito Torres, (b. 1956) a virtuoso player of the laúd, a Cuban offshoot of the lute. Trumpet was provided by Manuel "Guajiro" Mirabal, (b. 1933) who went on to release solo records under the Buena Vista presents... title.

 Film

Shortly after returning from Havana to record the Buena Vista Social Club album, Ry Cooder began working with German film director Wim Wenders on the soundtrack to Wenders' film The End of Violence, the third such collaboration between the two artists. According to Wenders, it was an effort to force Cooder to focus on the project, "He always sort of looked in the distance and smiled, and I knew he was back in Havana." Although Wenders knew nothing about Cuban music at the time, he became enthused by tapes of the Havana sessions provided by Cooder, and agreed to travel to the island to film the recording of Buena Vista Social Club Presents: Ibrahim Ferrer, the singer's first solo album, in 1998.Buena Vista Social Club review  Variety (18 February 1999). Retrieved 18 March 2007.

Wenders filmed the recording sessions on the recently enhanced format Digital Video with the help of cinematographer Robert Müller, and then shot interviews with each "Buena Vista" ensemble member in different Havana locations. Wenders was also present to film the group's first performance with a full line-up in Amsterdam in April 1998 (two nights) and a second time in Carnegie Hall, New York City on 1 July 1998. The completed documentary was released on 17 September 1999, and included scenes in New York of the Cubans, some of whom had never left the island, window shopping and visiting tourist sites. According to Sight & Sound magazine, these scenes of "innocents abroad" were the film's most moving moments, as the contrasts between societies of Havana and New York become evident on the faces of the performers. Ferrer, from an impoverished background and staunchly anti consumerist, was shown describing the city as "beautiful" and finding the experience overwhelming. Upon completion of filming, Wenders felt that the film "didn't feel really like it was a documentary anymore. It felt like it was a true character piece".

The film became a box office success, grossing $23,002,182 worldwide. Critics were generally enthusiastic about the story and especially the music, although leading U.S. film critic Roger Ebert and the British Film Institute's Peter Curran felt that Wenders had lingered too long on Cooder during the performances; and the editing, which interspersed interviews with music, had disrupted the continuity of the songs.Ebert, Roger. The Buena Vista Social Club (film) review . Chicago Sun Times (25 June 1999). Retrieved 18 March 2007. The film was nominated for an Academy Award for best documentary feature in 1999. It won best documentary at the European Film Awards and received seventeen other major accolades internationally.

 Live performances

The first performances by the full line up of Buena Vista Social Club, including Cooder, were those filmed by Wenders in Amsterdam and New York. Other international shows and television appearances soon followed with varying line ups. Ibrahim Ferrer and Rubén González performed together in Los Angeles in 1998 to an audience that included Alanis Morissette, Sean Combs, and Jennifer Lopez, Ferrer dedicating the song Mami Me Gusto to the Hispanic Lopez.

Performances in Florida, which has a large Cuban exile and Cuban American community, were rare after the release of the film due to the political climate. In the late 1990s, a concert by Cuban jazz pianist Gonzalo Rubalcaba turned into a near riot when concert goers were attacked and spat at by protesters opposed to the Cuban government. When "Buena Vista" musicians played for a music industry conference at Miami Beach in 1998, hundreds of protesters chanted outside and the convention center hall was cleared briefly because of a bomb threat. In 1999, Ferrer and Ruben González were forced to cancel Miami shows citing fears for their safety after fellow-Cubans Los Van Van drew 4,000 protesters at a previous show, and Compay Segundo was forced to cut short a 1999 Miami performance due to another bomb threat. When touring the U.S., the Cubans are only entitled to their per diem (transportation and lodging) and are not permitted performance fees due to the U.S. embargo. In 2001 a Buena Vista Social Club (with Ibrahim Ferrer) performance was recorded in Austin for PBS and broadcast on Austin City Limits in 2002.

Buena Vista Social Club continue to tour throughout the world as Orquesta Buena Vista Social Club, and despite the deaths of six of the original members, the collective performs with many of the remaining ensemble members including Barbarito Torres and "Guajiro" Mirabal. Ry Cooder's guitar parts are handled by Manuel Galbán, a former member of Cuban vocal group Los Zafiros, who played on Ibrahim Ferrer's first solo record with Cooder and appeared in Wim Wenders' film. Following a 2007 performance in London, a reviewer at The Independent described the ensemble as "something of an anomaly in music business terms, due to their changing line-up and the fact that they've never really had one defining front person", adding, "It's hard to know what to expect from what is more of a brand than a band."

 Cultural impact

The international success of the Buena Vista Social Club generated a revival of interest in traditional Cuban music and Latin American music as a whole. Musical director Juan de Marcos felt that the recordings serve "as a symbol of the power of Cuban music, and which to a certain degree have contributed to Cuban music regaining the status it always had in Latin American and world music."

Cuba's burgeoning tourist industry of the late 1990s benefited from this rebirth of interest. According to The Economist, "In the tourist quarters of Old Havana it can seem at times as if every Cuban with a guitar has come out to sing the songs that Buena Vista made famous. It's as if you were to go to Liverpool and find bands singing Beatles songs on every street corner." The songs Buena Vista sings are often not their own compositions. Some songs they sing have long been popular in Cuba and people have always performed them in the street. Despite the appeal of the "Buena Vista" ambience to tourists, Cubans themselves were less aware of the "Buena Vista Social Club" than international music listeners. This was due to the foreign nature of the production, and the dominance of modern Timba, Songo and other musical forms on the island. Some explain that Buena Vista did not impact the Cuban audience, as they were not creating anything new; they were just playing the same songs that Cubans know and have been playing for many years.

Mari Marques, a Cuban American who leads cultural tours to Cuba, contests that the preponderance of traditional musicians was not solely a consequence of the "Buena Vista Social Club". Marques believes the notion that some music had been completely neglected in Cuba is "a romantic exaggeration that was propagated by U.S. media coverage", and the reality is that son trios have existed "everywhere in cities such as Santiago de Cuba in the east of the island." British world music record label Tumi Music, who had worked with de Marcos and many of the ensemble musicians prior to Cooder, asserted that Cuba has over 50,000 musicians, all as good as, and some as old as the "Buena Vista" participants, "but these people hardly ever have the opportunity to share their talents with the outside world." The label lamented that, "for the West to pay any real attention and consume the product, you needed someone like Ry Cooder to give it a stamp of approval first."

British Socialist Workers Party member and Marxist writer Mike Gonzalez believes the ensemble provoked a backward glance to "timeless, sensual places where dreams and desire merged in a comfortable, evocative music". Gonzalez asserts that the aura evoked did not represent "the real Cuba" before the revolution of 1959, nor Cuba in the modern era, but that the Cuban government were happy for the tourist industry to "enjoy the fruits of this confusion". The American Historical Review suggested that the Buena Vista Social Clubs mise en scène fueled nostalgic, idealistic feelings not only of many Americans and Cubans in the United States who remember the Havana of the 1950s, but also of Cubans in Cuba. The result was a reminiscence about the pre-revolutionary era—dominated by the politics of Gerardo Machado in the 1920s–30s and then General Fulgencio Batista until 1959—which "no longer seems so bad".

 Discography

Buena Vista Social Club albums
 Buena Vista Social Club (World Circuit/Nonesuch Records,16 September 1997)
 Buena Vista Social Club at Carnegie Hall (World Circuit/Nonesuch Records, 14 October 2008)  (live album)
 Lost and Found (World Circuit/Nonesuch Records, 23 March 2015) (collection of previously unreleased tracks)

 Other releases

 Solo albums
The below discography includes solo albums released since the first Buena Vista Social Club album that feature the musicians in the ensemble, and that are considered to be under the "Buena Vista Social Club" aegis.

 Rubén González
 Introducing... Rubén González (World Circuit/Nonesuch Records, 17 September 1997) – with Orlando "Cachaito" Lopez, Manuel "El Guajiro" Mirabal, Ry Cooder and Manuel Galbán
 Chanchullo (World Circuit/Nonesuch Records, 17 September 2000) – with Ibrahim Ferrer, Eliades Ochoa, Cheikh Lô, Amadito Valdés and Joachim Cooder
 Barbarito Torres
 Havana Cafe (Atlantic Records, 6 April 1999) – with Manuel "El Guajiro" Mirabal, Ibrahim Ferrer, Pío Leyva and Omara Portuondo
 Ibrahim Ferrer
 Buena Vista Social Club Presents Ibrahim Ferrer (World Circuit/Nonesuch Records, 8 June 1999) – with Rubén González, Orlando "Cachaito" Lopez, Ry Cooder, Manuel Galbán
 Buenos Hermanos (World Circuit/Nonesuch Records, 18 March 2003) – with Orlando "Cachaito" Lopez, Ry Cooder and Manuel Galbán
 Mi Sueño (World Circuit/Nonesuch Records, 26 March 2007) – with Orlando "Cachaíto" López, Manuel Galbán, Rubén González, Manuel "Guajiro" Mirabal, Omara Portuondo, Amadito Valdés
 Eliades Ochoa
 Sublime Illusion (Higher Octave, 29 June 1999) – with Ry Cooder
 Omara Portuondo
 Buena Vista Social Club Presents: Omara Portuondo (World Circuit/Nonesuch Records, 25 April 2000) – with Pío Leyva, Rubén González, Orlando "Cachaito" Lopez, Eliades Ochoa, Compay Segundo and Amadito Valdés
 Flor de Amor (World Circuit/Nonesuch Records, 25 May 2004) – with Barbarito Torres, Orlando "Cachaito" Lopez and Manuel Galbán
 Orlando "Cachaíto" López
 Cachaito (World Circuit/Nonesuch Records, 22 May 2001) – with Juan de Marcos González, Amadito Valdés and Ibrahim Ferrer
 Amadito Valdés
 Bajando Gervasio (Primienta Records, 10 December 2002) – with Barbarito Torres
 Manuel "Guajiro" Mirabal
 Buena Vista Social Club Presents: Manuel "Guajiro" Mirabal (World Circuit/Nonesuch Records, 4 January 2005) – with Ibrahim Ferrer, Pío Leyva, Orlando "Cachaito" Lopez, Omara Portuondo, Juan de Marcos González and Manuel Galbán

 Various artists
 Rhythms del Mundo: Cuba (Universal Music, 14 November 2006) – with Ibrahim Ferrer, Orlando "Cachaito" Lopez, Barbarito Torres, Amadito Valdés, Omara  performing alongside Coldplay, Arctic Monkeys, Dido, Quincy Jones, Kaiser Chiefs, Radiohead, U2 and Jack Johnson

 See also

 Afro-Cuban All Stars, parallel project
 AfroCubism, successful collaboration with African musicians

 Notes

 Further reading

 Wenders, Wim and Wenders, Donata: Buena Vista Social Club: The Book of the Film. Wim Wenders, Donata Wenders. Thames & Hudson Ltd. (Mar 2000).
 Roy, Maya: Cuban Music: From Son and Rumba to the Buena Vista Social Club and Timba Cubana''. Wiener (Markus) Publishing Inc. (May 2002).

External links
 Buena Vista Social Club website.
 Buena Vista Social Club on World Circuit Records.
 Buena Vista Social Club biography at Nonesuch Records.
 Buena Vista Social Club site on PBS
 Buena Vista Social Night - Show evening with the music of the BVSC in Havana.
 Billboard review of Buena Vista Social Club at Carnegie Hall
 "Ten Years After...Looking Back at the Buena Vista Social Club" by Ted Gioia (Jazz.com)

Nonesuch Records artists
World Circuit (record label) artists
1996 establishments in Cuba

Buena Vista Social Club


Joseph Guerin Fucilla (14 December 1897 - 22 March 1981) born in Chicago, December 14, 1897, deceased in Evanston, Illinois, March 22, 1981, was a Hispanist and an American lexicographer.

Biography
In 1880, his family left Cosenza in Southern Italy and immigrated to New York City. Fucilla was born in Chicago on 14 December 1897. He was the oldest of seven children of Giovanni Fucilla and Maria Carmela De Marco. He studied at the University of Wisconsin and taught at the Iowa State University (1921–23), and at the Butler University (1923–1928). He received a doctoral degree from the University of Chicago in 1928 and worked as a professor of the Department of Romanic Languages of Northwestern University in which he became a full professor in 1936, (emeritus professor from 1948) until his retirement in 1966. He was a visiting professor at the University of Wisconsin in Madison, the University of California, Santa Barbara and the University of Colorado. Fucilla died on 22 March 1981 in Evanston, Illinois.

Works
One of his first works was ¨Our Italian surnames¨, published in Evanston in 1949, in which his knowledge of onomastics and genealogy are evidenced. He elaborated a much celebrated Fucilla's Spanish Dictionary (New York City, 1961) which was reprinted several times and prepared and corrected several anthologies for students of several main literary works of Spanish writers. As a translator of Italian to English he showed a particular interest in the 18th century dramaturgist Pietro Metastasio. He mainly studied the Italian imprint in  Hispanic and Portuguese literatures. In 1953 he published a series of studies in Madrid, entitled ¨Hispano-Italian Relations¨ and in the same year a more comprehensive work, ¨Studies and Notes (Literary and Historical) published in Rome and Naples. In 1960, he achieved his works on the scholar works on the petrarchists with his famous ¨Studies on petrarchism in Spain (Madrid; C.S.I.C., 1960). He still published ¨Superbi colli e altri saggi (Rome, Carucci, 1963). He was the editor of Vicente García de la Huerta's novel ¨The Rachel¨, (Madrid, Anaya, 1965, republished by Catedra, 1981). He is among the most credited scholar on history of Romanic literatures.

References

Romance philologists
American lexicographers
American Hispanists
1897 births
1981 deaths
University of Wisconsin–Madison alumni
Iowa State University faculty
Butler University faculty
University of Chicago alumni
Northwestern University faculty
University of California, Santa Barbara faculty
University of Colorado faculty
American people of Italian descent
20th-century lexicographers

Joseph G. Fucilla


Oral administration is a route of administration whereby a substance is taken through the mouth, swallowed, and then processed via the digestive system. This is a common route of administration for many medications.

Oral administration can be easier and less painful than other routes of administration, such as injection. However, the onset of action is relatively low, and the effectiveness is reduced if it is not absorbed properly in the digestive system, or if it is broken down by digestive enzymes before it can reach the bloodstream. Some medications may cause gastrointestinal side effects, such as nausea or vomiting, when taken orally. Oral administration can also only be applied to conscious patients, and patients able to swallow.

Terminology
Per os (; P.O.) is an adverbial phrase meaning literally from Latin "through the mouth" or "by mouth". The expression is used in medicine to describe a treatment that is taken orally (but not used in the mouth such as, for example, caries prophylaxis). The abbreviation P.O. is often used on medical prescriptions.

Scope
Oral administration includes:
 Buccal, dissolved inside the cheek
 Sublabial, dissolved under the lip
 Sublingual administration (SL), dissolved under the tongue, but due to rapid absorption many consider SL a parenteral route

Enteral medications come in various forms, including oral solid dosage (OSD) forms:

 Tablets to swallow, chew or dissolve in water or under the tongue
 Capsules and chewable capsules (with a coating that dissolves in the stomach or bowel to release the medication there)
 Time-release or sustained-release tablets and capsules (which release the medication gradually)
 Powders or granules

and oral liquid dosage forms:

 Teas
 Drops
 Liquid medications or syrups

Facilitating methods
Concomitant ingestion of water facilitates in swallowing tablets and capsules. If the substance has disagreeable taste, addition of a flavor may facilitate ingestion. Substances that are harmful to the teeth are preferably given through a straw.

See also
Nothing by mouth
List of abbreviations used in medical prescriptions
List of Latin phrases
Medical prescription
Thin-film drug delivery

References

Medical terminology
Routes of administration

Oral administration


Lihiwai was the residence of Territorial Governor George R. Carter in Honolulu, Hawaii. It was designed by the architects Bertram Grosvenor Goodhue and Hardie Phillip, built in 1927–29, listed on the National Register of Historic Places in 1982, and its boundaries increased in 1987. Goodhue came to Honolulu from New York City to design not just this home, but also the Honolulu Museum of Art on the site of the former home of Anna Rice Cooke. The buildings are in the Mission Revival and Mediterranean Revival styles so popular in the Western states during the 1920s.

Governor Carter's wife, Eastman Kodak heiress Helen Strong Carter, appears to have had some influence on the design, because the ladies' powder room is much larger than the men's smoking room. The house's 40 rooms include servants' quarters, which can be distinguished by their lower,  ceilings, compared with  ceilings elsewhere, as well as small rooms for arranging flowers and storing luggage. The basement and upper floors are connected by elevator, grand staircase, and servants' staircase. The 45 servants included 10 who worked inside the house and 35 who tended the  grounds.

The Carters occupied the house in 1930, but the governor died in 1933, and Mrs. Carter died in 1946. During World War II, she left the house in the care of relatives who opened it to military personnel for R&R. The house was sold after she died, and most of the lower grounds were subdivided into house lots.

Gallery

References

Houses in Honolulu County, Hawaii
Houses on the National Register of Historic Places in Hawaii
Houses completed in 1929
Bertram Goodhue buildings
Mission Revival architecture in Hawaii
Mediterranean Revival architecture in Hawaii
National Register of Historic Places in Honolulu County, Hawaii
1929 establishments in Hawaii
Governor of Hawaii

Lihiwai


Ludwig Forrer (9 February 1845 – 28 September 1921) was a Swiss politician and member of the Swiss Federal Council (1902–1917).

Forrer was born in Islikon. He was elected to the Swiss Federal Council on 11 December 1902 and handed over office on 31 December 1917. He was affiliated to the Free Democratic Party.

During his office time he held the following departments:
 Department of Trade, Industry and Agriculture (1903)
 Department of Home Affairs (1904–1905)
 Political Department (1906) as President of the Confederation
 Military Department (1907)
 Department of Justice and Police (1908)
 Department of Posts and Railways (1908–1911)
 Political Department (1912) as President of the Confederation
 Department of Posts and Railways (1913–1917)
He was President of the Confederation twice in 1906 and 1912.

External links

Ludwig Forrer in History of Social Security in Switzerland

1845 births
1921 deaths
People from Frauenfeld District
Swiss Calvinist and Reformed Christians
Free Democratic Party of Switzerland politicians
Members of the Federal Council (Switzerland)
Members of the National Council (Switzerland)
Presidents of the National Council (Switzerland)
University of Zurich alumni
Foreign ministers of Switzerland

Ludwig Forrer


Dann Florek (born May 1, 1950) is an American actor. He is best known for portraying Police Captain Donald Cragen in both the Law & Order and Law & Order: Special Victims Unit television series. He was on Law & Order for the first three years of the show, and has been on Special Victims Unit since it began.

1950 births
American television actors
Living people

Dann Florek


Thomas Wescott Secules (born November 8, 1964) is a former professional American football quarterback who played in the National Football League (NFL) for the Dallas Cowboys, Miami Dolphins and New England Patriots. He played college football at the University of Virginia.

Early years
Secules attended Chantilly High School, where he played football, basketball and baseball. He was a member of the National Honor Society. He accepted a football scholarship from the University of Virginia.

After breaking his foot in a high school All-Star game before entering college, he was forced to redshirt his first season. He would spend the next three years as the backup quarterback behind Don Majkowski.

As a freshman, he started one game against the University of North Carolina Tarheels, in place of a suspended Majkowski (for breaking team rules).

As a junior in 1986, Secules started three games with Majkowski out with an injured shoulder, he won the three contests and received ACC offensive player of the week honors for his play against Wake Forest University. Against Clemson University in the second of those starts, he completed 30 of 49 attempts for 298 yards and 2 touchdowns to set school records for completions and attempts.

Secules was named the starter in his final year and although the team began the season 3–4, it won 5 straight games to finish with an 8–4 record. He also led one of the greatest comebacks in school history, with a 17-7 deficit against  UNC in the final 4:44 minutes of the game, Secules passed for 2 touchdowns, en route to a 20-17 win. He received All-ACC honors (first Virginia quarterback since Bob Davis), while helping the school achieve its first home undefeated season since 1951 and reach its second bowl game in history, where they defeated Brigham Young University 22-16 in the All-American Bowl, with Secules being named the game's Most Valuable Player.

He finished his college career with 14 school records, including single-season passing yards (2,311), single-game passing yards (328), completions in a season (174), completion percentage in a career (56, 260 of 464), completion percentage in a season (58.8, 174 of 296), completion percentage in a game (80), 200-yard games (10) and most wins by a first-time starting quarterback (8). He suffered a serious right eye injury during a fight, that happened in the spring prior to the NFL draft, forcing him to have immediate surgery to repair the tear duct.

Professional career

Dallas Cowboys
Secules was selected by the Dallas Cowboys in the sixth round (151st overall) of the 1988 NFL Draft. Head coach Tom Landry saw potential in his training camp performances and made the uncommon moves of not having him take snaps in preseason games and keeping 4 quarterbacks at the start of the regular season. After Danny White was lost for the year in the third game, Secules became the third-string quarterback but was declared inactive in all 16 games. At the end of the season, the team also protected him in Plan B free agency.

In 1989, new head coach Jimmy Johnson brought in a new coaching staff and drafted two rookie quarterbacks (Troy Aikman and Steve Walsh), so he was traded to the Miami Dolphins in exchange for a fifth round draft choice (#120-James Gray) on August 6.

Miami Dolphins
In 1989, the Miami Dolphins acquired Secules because they wanted to develop a young quarterback behind Dan Marino. In 1992, he was passed on the depth chart by Scott Mitchell and was eventually placed on the injured reserve list with a shoulder injury. He only threw 70 passes in three regular seasons and saw action mostly as a holder, having only one meaningful appearance during his time in Miami, where he threw 2 interceptions when Marino got hurt in a 1989 loss against the Pittsburgh Steelers.

New England Patriots
On March 22, 1993, he was signed as a free agent by the New England Patriots. He was the backup to rookie Drew Bledsoe and became the starter in the fifth game of the season against the Phoenix Cardinals, helping the team to its first win. He would lose his next 3 starts and in the ninth game while playing against the Buffalo Bills, he suffered a separated left shoulder and was replaced by a healthy Bledsoe. He was released on April 21, 1994.

He finished his career with 108 completions in 204 attempts, 1,311 passing yards, 4 touchdowns and 14 interceptions in 57 games.

Personal life
ESPN broadcaster Chris Berman once nicknamed him Scott "Won't You Let Me Take You on a" Secules; the nickname was a play on the lyrics of the song "Sea Cruise" by Frankie Ford.

Secules worked as the Senior Associate Athletic Director for External Affairs at Virginia Commonwealth University from November 2006 until October 2009. He currently serves as the Senior Regional Manager for Partner Development for Positive Coaching Alliance - a national non-profit that focuses on developing kids through sports done right.

References

1964 births
Living people
Players of American football from Newport News, Virginia
Virginia Cavaliers football players
American football quarterbacks
Dallas Cowboys players
Miami Dolphins players
New England Patriots players
Chantilly High School alumni

Scott Secules


Kelly Jayne Smith  (born 29 October 1978) is an English former football forward who spent three spells with FA WSL club Arsenal Ladies. After moving to the United States, Smith broke records with Seton Hall University then played professionally with Women's United Soccer Association (WUSA) franchise Philadelphia Charge. After returning to Arsenal for a period which included a 2007 UEFA Women's Cup win, Smith was tempted back to America with another professional contract, this time with Boston Breakers in Women's Professional Soccer (WPS). She accumulated 117 caps for the England national team after making her debut in 1995. Despite being hit by serious injury during her career, Smith is England's second-highest goalscorer with 46 goals. She played for Great Britain at the 2012 London Olympics.

Club career

Youth and university
While growing up in the Garston area of Watford, Smith regularly played football on boys' teams until, at the age of seven, she was kicked out of Garston Boys Club – despite being the top goalscorer – when the parents of her male opponents complained. After continuing at Pinner Girls, a team formed by Smith's father, she developed her skills at Wembley Ladies and made her senior debut in the 1994–95 season. In August 1995, Pete Davies wrote in The Independent that the "lethally quick, bountifully gifted" Smith was: "the outstanding prospect in the women's game today." After moving to Arsenal Ladies during 1996–97, she scored two goals and assisted on the third in a 3–0 win over Liverpool which secured the Premier League title that season. She spent that year at West Herts College, but transferred to Seton Hall University in the United States in 1997.

Smith enrolled at Seton Hall as a student-athlete. She played for the Seton Hall Pirates from 1997 through 1999. In her first year at Seton Hall in 1997, Smith set scoring records for the Big East Conference and became the first athlete in any sport to be the conference's (Offensive) Player of the Year and Newcomer of the Year in the same season. In the following two seasons, she was the leading scorer not only in the Big East, but in the whole of NCAA Division I, and was named Big East Offensive Player of the Year in both years. At the end of her university career, the school retired her number 6 shirt, she became the first Seton Hall athlete in any sport other than basketball to have a number retired. In her three years at Seton Hall, she set school records with 76 goals and 174 points while playing in just 51 matches.

United States
At the culmination of her studies, Smith remained in the United States, remarking: "women's football in England is a joke." Smith's first professional club was New Jersey Lady Stallions of W-League, for which she played on from 1999 to 2000. However, a new top-flight women's league was about to start in the United States and Smith stayed in the country to participate in the project.

The Women's United Soccer Association was formed in early 2000. Smith was drafted second overall in the 2001 WUSA Foreign Allocation Draft by Philadelphia Charge. Smith played all three seasons with Philadelphia and was named to the 2001 WUSA Global 11 All-Star Team. 2001 was her only full season in the league; in 2002, Smith missed most of the season after tearing her ACL in her right knee, and missed much of 2003 after re-injuring the same knee. Following the 2003 season, the WUSA ceased operations.

Smith decided to keep playing in the United States following the collapse of the WUSA. In 2004, she played for the New Jersey Wildcats in the W-League, but she was injured yet again, breaking her leg. She ended up appearing in eight games for the club (563 minutes) and tallied eight goals and six assists.

England

Smith returned to England and Arsenal in the autumn of 2004. She officially rejoined in 2005 after being treated at the Sporting Chance clinic. However, she was yet again hampered by injury, this time by a stress fracture in her foot. She returned to action at the end of the 2004–05 season, scoring a goal from 30 metres out against Charlton Athletic L.F.C. which clinched the league title for Arsenal.

In Arsenal's "Quadruple" winning season of 2006–07, Smith scored 30 goals in 34 games across the four competitions. However, she missed both legs of the 2006–07 UEFA Women's Cup final through suspension, after being sent off for giving the finger to opposition fans in the semi-final.

During Smith's Arsenal career since rejoining in 2005, she appeared in 66 League games scoring 73 goals, 16 FA Cup games scoring 13 goals, 10 League Cup games scoring four goals, 18 UEFA Women's Cup games scoring nine goals, and two Community Shield games scoring one goal for a total of 112 appearances and 100 goals. In her last competitive game for Arsenal, Smith scored a hat-trick to help Arsenal to a 5–0 win over Doncaster Belles in the FA Women's Premier League Cup final. She won the FA Women's Players' Player of the year in 2006 and 2007.

Return to the United States
Upon the creation of a new women's league in the United States, Women's Professional Soccer, many teams were interested in Smith's services. She was chosen by the Boston Breakers second overall in the 2008 WPS International Draft, above Marta and under only Formiga.

Despite being drafted by Boston, she was still under contract with Arsenal. However, Smith decided to leave Arsenal to join Boston Breakers on 18 February 2009, one of a number of English players to join the new Women's Professional Soccer League.

In the inaugural 2009 Women's Professional Soccer season, Smith appeared in 15 games (13 starts, 1170 total minutes) and scored six goals with two assists. She was named to the WPS All-Star ballot, but was unavailable for the match due to England's participation at the European Championships. In 2010 Smith started all her 21 appearances, leading the team with 11 goals and five assists. She played in that season's All-Star game. 2011 saw Smith again afflicted by injury; she posted one goal and four assists in 10 appearances (nine starts, 850 minutes). When the WPS went on hiatus ahead of the 2012 season, Smith was left "devastated" and without a club.

Arsenal again
On leaving Boston Breakers, Smith resisted offers from clubs in Sweden and Germany to join Arsenal for a third time. However, she arrived with a stress fracture acquired at the 2012 Cyprus Cup and then aggravated the injury when kicking a ball during a promotional video shoot, without the protective footwear she had been instructed to wear.

International career

England
Smith debuted for the England national team on 1 November 1995, three days after turning 17. The 1–1 draw against Italy was played at Roker Park and Smith won Player of the Match from her position on the left wing. She had been unable to accept a call-up to England's 1995 FIFA Women's World Cup squad that summer due to sitting her GCSE exams. Her first international goal came on the occasion of her second cap, against Croatia on 19 November 1995. Smith scored a stoppage-time penalty in England's 5–0 win at the Valley. During the following years, the English Football Association (FA) complained to FIFA when Smith's American college team refused to release her for national team duty.

When healthy, Smith has generally been considered one of the world's top female players; former United States head coach April Heinrichs asserted that Smith would be an automatic choice for the United States Women's National Team if she had been eligible, and Vera Pauw, the Dutch coach, called Kelly "the best player in the World" after she scored a hat-trick against the Netherlands in a 2007 FIFA Women's World Cup qualifier. During the 2011 World Cup, Mia Hamm said of Smith: "I remember the first time I saw Kelly play. She'd just graduated from Seton Hall. She's incredibly technical, with great speed of thought and play. Her touch is different class – everything's clean, everything's with a purpose. The pace of her passes is always perfect and she can score at will too." Smith's former England teammate and later coach, Hope Powell, went further than Hamm: "Kelly is one of those players who come along only once or twice in a lifetime. In the men's game you'd think of Diego Maradona or Messi, players with a unique talent, and that's what Kelly has."

Smith has competed in the 2001, 2005, and 2009 editions of the UEFA Women's Championship, as well as the 2007 and 2011 FIFA Women's World Cup with England. She also played in the 2007 China Cup against the United States, Germany and China where she was named the player of the tournament. Smith was voted third in the 2009 FIFA Women's World Player of the Year, fourth in 2007 and fifth in 2006 and 2008.

Smith reportedly became England's all-time record goalscorer in September 2010, when she scored her 41st international goal against Switzerland.

In 2011, Smith competed in the FIFA World Cup, where she scored from the spot in England's quarterfinal match with France, to give England a 1–0 lead in the penalty shootout (England would go on to lose the shootout 4–3). Smith, hindered by an achilles injury, was dissatisfied with her own performances at the tournament: "I have to acknowledge that I didn't play well and I have to live with that." She returned to the England squad for a UEFA Women's Euro 2013 qualifying tie with Serbia after missing the first three matches of the campaign.

On 3 February 2015, Smith announced her retirement from international duty.

She was allotted 108 when the FA announced their legacy numbers scheme to honour the 50th anniversary of England's inaugural international.

Great Britain Olympic
In June 2012 Smith was named in the 18–player Great Britain squad for the 2012 London Olympics. Smith incurred a minor injury in the 1–0 group stage win over Brazil at Wembley Stadium, and was unable to join Team GB in their quarter final defeat by Canada.

Television broadcast
Smith made her television debut on FOX Sports in December 2014, and provided commentary for 2018 FIFA World Cup.

In April 2021, Smith joined fellow British Olympians Nicola Adams and Greg Rutherford, and fitness instructor Mr Motivator in launching the 'Energy Fit for the Future' campaign by Smart Energy GB, which aimed at encouraging people to install smart meters in their homes.

Coaching career
In March 2023, it was announced that Kelly would return to Arsenal to coach at the Women's academy whilst earning her UEFA A Licence coaching badge. In April 2023, it was announced that Kelly had joined the Arsenal Women's first-team coaching setup until the end of the 2022/23 season.

Personal life
Smith studied at Francis Combe School and Community College in Watford.

She has spoken about her previous alcohol addiction which included treatment at The Priory and Sporting Chance Clinic.

Smith used to share a house with England, Arsenal and Boston Breakers teammate Alex Scott. In Scott's 2022 autobiography, she revealed that she and Smith had previously been in a romantic relationship.

In June 2016 she married management consultant DeAnna Dobosz. She gave birth to their son in May 2017. On 1 August 2019, Smith gave birth to their second child, a daughter, via c-section.

Career statistics

Honours
Smith was appointed Member of the Order of the British Empire (MBE) in the 2008 Birthday Honours.

Arsenal
Premier League: 1996–97, 2003–04, 2005–06, 2006–07, 2007–08
FA Cup: 2005–06, 2006–07, 2007–08, 2013–14, 2015–16
Premier League Cup: 2006–07
FA Community Shield: 2005, 2006, 2008
 UEFA Women's Cup: 2006–07

England
Cyprus Cup: 2009
UEFA Women's Championship runner-up: 2009
Individual

 Women's Super League Hall of Fame: 2021

References

External links

 Football Association player profile
 Boston Breakers player profile
 New Jersey Wildcats player profile
 WUSA player profile

1978 births
Living people
Footballers from Watford
English women's footballers
England women's international footballers
FA Women's National League players
Arsenal W.F.C. players
Women's United Soccer Association players
Philadelphia Charge players
Seton Hall Pirates women's soccer players
Members of the Order of the British Empire
English Football Hall of Fame inductees
Boston Breakers players
Expatriate women's soccer players in the United States
FIFA Women's Century Club
2007 FIFA Women's World Cup players
2011 FIFA Women's World Cup players
USL W-League (1995–2015) players
Footballers at the 2012 Summer Olympics
Olympic footballers for Great Britain
Barnet F.C. Ladies players
Women's Super League players
Women's association football forwards
New Jersey Wildcats players
English expatriate sportspeople in the United States
English expatriate women's footballers
Lesbian sportswomen
British LGBT footballers
English LGBT sportspeople
Women association football commentators
Association football commentators
English association football commentators
Women's Professional Soccer players
WSL Hall of Fame inductees

Kelly Smith


Zero gravity refers to weightlessness.

Zero gravity may also refer to:

Aerospace
Zero Gravity Corporation, a company operating weightless flights
Zero Gravity Paragliders, a South Korean aircraft manufacturer
Zero Gravity Flow, a South Korean paraglider design
Zero Gravity Windstar, a South Korean paraglider design
Zero Gravity Pen or Space Pen, a brand of pen that uses pressurized ink cartridges
Zero gravity toilet or space toilet, a toilet that can be used in a low-gravity environment

Groups and organizations
ZeroGravity (stunt team)
Zero Gravity Entertainment, a videogame studio; see Index of DOS games (X)

Fictional groups
Zero Gravity, a fictional English hard rock band in the television series Drake & Josh

Entertainment
Sonic Riders: Zero Gravity, a video game
"Zero Gravity", an episode of the TV show The Big World of Little Adam
Wayne Shorter: Zero Gravity, a 2015 documentary about saxophonist Wayne Shorter
 Z-G (Zero Gravity), a collectible action figure game

Music
"Zero Gravity" (Kerli song), 2012 song by Kerli
"Zero Gravity" (Kate Miller-Heidke song), 2019 song that will represent Australia in the Eurovision Song Contest 2019
Zero Gravity II, a 2014 mixtape by Los
Zero Gravity I, a 2010 mixtape by Los (rapper)
"Zero Gravity", 2004 song by Blank & Jones from the album Monument (Blank & Jones album)
"Zero Gravity", 2009 song by Perfume from the album Triangle (Perfume album)
"Zero Gravity", 2009 song by David Archuleta
"Zero Gravity", 2015 song by Borgeous
"Zero Gravity", 2015 single by Jean Michel Jarre with Tangerine Dream from the album Electronica 1: The Time Machine
"Zero Gravity", 2016 song by ZERO-G; see List of Billboard China V Chart number-one videos of 2016
"0-GRAVITY", 2012 song by Granrodeo off the album Crack Star Flash

Other uses
 A1 Zero Gravity Championship], a pro-wrestling championship from A1 (Alpha-1) wrestling promotion
 Zero Gravity Amusement Park, Dallas, Texas, USA

See also

"Zero Gravity Zone", an episode of the television series Code Lyoko
"Gravity Zero Gravity", a 2007 song by Shonen Knife off the album Fun! Fun! Fun!
zero-gravity roll on roller coasters

Zero-G (disambiguation)
Gravity Zero (disambiguation)

Zero Gravity (disambiguation)


Nia Nal, also known by her code name Dreamer, is a fictional superheroine from the Arrowverse television series Supergirl, portrayed by Nicole Maines. The character is based on, and depicted as an ancestor of, the DC Comics character Nura Nal / Dream Girl. She debuts in the fourth season of the series. Nia Nal is the first transgender superhero on television. Maines reprised the role in the ninth and final season of The Flash.

Storylines

Nia Nal, who has a degree in international relations from Georgetown University, was a political speechwriter in Washington, D.C. where she worked for Cat Grant, the White House Press Secretary, under the administration of President Olivia Marsdin. She is sent to National City to be taken under the wing of Catco Worldwide Media employee Kara Danvers to learn the ways of reporting. As there is increasing anti-alien hatred in the United States, Nia, who reveals herself to be transgender, convinces Catco CEO James Olsen to write an editorial against this hatred. Kara and Nia later interview a healer alien, Amadei, to counter the anti-alien rhetoric. Afterwards, Kara and James discover that Nia has narcolepsy. Nia wakes up suddenly from a dream involving the alien-hating Ben Lockwood. When Kara visits her, Nia reveals she is an alien from the planet Naltor, and select women of this race develop the power of precognition. Brainy, another alien, helps Nia with her dreams which lead them to Lockwood, who is ultimately arrested after being confronted.

Nia has ill confidence about her family when she develops the unwanted "Dreamer" powers that occur to one female in every generation in her family. Nia's sister Maeve, who was taught dream interpretation while expecting to gain the powers, discovers Nia has the powers and renounces her. Kara reveals her identity as the superhero Supergirl to Nia to reassure her. While Nia's mother Isabel lies dying of a spider bite, Nia uses her powers to talk to her mother about them, who assures her she will be able to continue the Dreamer line. Nia trains under Brainy, and after taking the alter ego "Dreamer", defeats a supervillain team called "The Elite" with Kara, J'onn J'onzz and Brainy's help. When Supergirl is framed for multiple crimes and declared a public enemy, Nia is among the few people not fooled. With Kara ceasing to operate as Supergirl, Nia takes her place as National City's superhero Dreamer. J'onn and Nia are sent to Shelley Island, where enslaved aliens are setting up a Claymore satellite on Lex Luthor's orders to destroy Argo City. J'onn and Nia escape and overload the satellite. After Luthor's defeat, Supergirl's name cleared and the anti-alien hatred ended, Nia and Brainy enter a relationship.

Concept and creation
In January 2018, Supergirl creator and executive producer Greg Berlanti spoke at an event about the lack of trans representation in the broader Arrowverse. "We don't have an active trans character across the shows[...] And so I still feel behind the times every day on that issue," Berlanti said. In May 2018, it was reported that an open casting call was searching for a transgender actress of any ethnicity in her early 20s to join Supergirls fourth season as Nia Nal. The character was initially described as, "A confident, wunderkind of a fashionista. Once a political speechwriter, Nia is the newest addition to the Catco investigative reporting team. With her she brings sparkling wit and biting humor but under that banter-y, chic façade, lays a soulful young woman who has much to offer the world. A young Cat Grant type."

On July 21, 2018, trans activist and actress Nicole Maines was announced in the role at the show's San Diego Comic-Con panel. It was also confirmed that Nia would become the superhero "Dreamer" and that she is an ancestor of the Legion of Super-Heroes member Nura Nal / Dream Girl. Maines described Nia Nal / Dreamer as having "this ferocious drive to protect people and to fight against discrimination and hatred. She's the superhero we need right now." The character is the first transgender superheroine on television.

Powers and abilities
Nia Nal's powers include precognition, and astral projection.

In other media

Comics
On June 8, 2021, Dreamer made her comic book debut in the story "Date Night", written by Maines, featured in DC Pride #1. On June 2, 2022, the official DC Twitter account announced Dreamer will appear in a graphic novel written by Maines with art by Rye Hickman. On July 12, Nia appeared in Superman: Son of Kal-El #13, making her debut within the main DC comics continuity.

Video games
Dreamer appears as a cosmetic costume in Fortnite.

See also

 Coagula, the first transgender superhero in DC's publishing history

References

Astral projection in popular culture
Crossover characters in television
DC Comics extraterrestrial superheroes
DC Comics hybrids
DC Comics LGBT superheroes
DC Comics television characters
Female characters in television
Fictional characters from parallel universes
Fictional characters with energy-manipulation abilities
Fictional characters with precognition
Fictional extraterrestrial–human hybrids
Fictional LGBT characters in television
Fictional reporters
Fictional transgender women
Fictional writers
Legends of Tomorrow characters
Supergirl (TV series) characters
Superhero television characters
Television characters introduced in 2018

Nia Nal


Finn Lied (12 April 1916 – 10 October 2014) was a Norwegian military researcher and politician. He was a member of the Labour Party. He was born in Fana, Norway.

He served as a captain in the army from 1944 to 1945, and civil engineer. From 1946 to 1956 he was a researcher at the Norwegian Defence Research Establishment. He had 41 positions in different government councils, boards and agencies. He served as the Minister of Industry in 1971–1972, in the Bratteli's First Cabinet. From 1973 to 1984 he was the chairman of Statoil.

From 1971 he was a member of the Norwegian Academy of Science and Letters. He was also a fellow of the Norwegian Academy of Technological Sciences. He was appointed a Commander of the Royal Norwegian Order of St. Olav in 1980, and became Honorary Knight Commander of the Royal Victorian Order in 1982.

Lied died in Oslo, Norway, aged 98.

References

1916 births
2014 deaths
Norwegian politicians
Civil servants

Finn Lied


Alacrima refers to an abnormality in tear production that could mean reduced tear production or absent tear production.  Because a lack of tears presents in only in a few rare disorders, it aids in diagnosis of these disorders, including Triple-A syndrome and NGLY1 deficiency.

Alacrima can be formally diagnosed through a Schirmer's test.

References

External links

Disorders of conjunctiva

Alacrima


In differential geometry, Meusnier's theorem states that all curves on a surface passing through a given point p and having the same tangent line at p also have the same normal curvature at p and their osculating circles form a sphere. The theorem was first announced by Jean Baptiste Meusnier in 1776, but not published until 1785.
At least prior to 1912, several writers in English were in the habit of calling the result Meunier's theorem, although there is no evidence that Meusnier himself ever spelt his name in this way.
This alternative spelling of Meusnier's name also appears on the Arc de Triomphe in Paris.

References

Further references
Meusnier's theorem Johannes Kepler University Linz,  Institute for Applied Geometry
Meusnier's theorem in Springer Online

Theorems in differential geometry

Meusnier's theorem


The Redford Theatre is an atmospheric theatre in the Old Redford neighborhood of Detroit. The theatre opened in January 1928, advertised as "Detroit's most unique suburban theatre," due to its grand design, featuring Japanese and Chinese motifs.

The Redford is part of a series of three grand cinemas in the Detroit suburbs operated by the Kunsky circuit, all of which stand today. The Redford features its original 3-manual, 10-rank Barton organ, which is played regularly.

The Redford's ownership passed to the Goldberg family and their Community Theatre chain in the 1930s. The Motor City Theatre Organ Society purchased the theatre in 1977, and continues to operate and renovate the space, presenting organ shows and classic movies. The theatre was listed on the National Register of Historic Places in 1985.

History

The Redford was built during a short-lived period of rapid expansion of the City of Detroit, its namesake neighborhood having been annexed into the city in 1926 from Redford Township. The annexation was accompanied by promises of further development and increased access to city services, and the construction of the Redford Theatre became a key part of that development. The theatre's construction was financed by bonds sold by Backus, Fordson, and Company in the amount of $225,000, .

The opening of the theatre was the culmination of a weeklong festival, sponsored by local businesses. At its opening, the Redford was advertised as "Detroit's most unique suburban theatre," likening the experience of seeing a show there to "sitting in a Japanese garden." The theatre's interior also featured standard components of an atmospheric theatre, including a blue plaster ceiling evoking clouds and twinkling stars.

The interior theme of the theatre extended to its 3-manual/10-rank Barton theatre organ, which was installed with Japanese and Chinese-themed instruments.

During World War II, many of the original Japanese-style decorations, including the lobby chandeliers, were covered up or removed as part of a broader trend of anti-Japanese sentiment. Organ performances ended around the same time, although the organ remained intact. The original marquee was scrapped for the war effort.

In 1966, the Motor City Theatre Organ Society, a local chapter of the American Theatre Organ Society, began a series of organ performances at the theatre. The MTCOS had begun to restore the organ the year prior, and initially performed their organ shows after the last film showing of the evening. The organ shows were successful, showing a continued desire for programming at the Redford.

The MCTOS arranged to buy the theatre in 1977, and owned it outright by 1985, the same year as it was listed on the National Register of Historic Places. Work began that year to restore the Redford to its original 1928 appearance. The theatre currently seats 1610, lower than the original capacity of over 2000.

The Redford continues to be operated by the all-volunteer staff of the MTCOS, and is committed to keeping prices for admission and concessions low. The theatre derives its revenue from admission, concession sales, and the rental of the venue for private events, including weddings.

Organ

The Redford Theatre features a 3-manual/10-rank theatre organ, built by the Bartola Musical Instrument Company. The "Golden-Voiced Barton" has been altered only slightly from its original state, with the addition of a piano and modifications to the tuba. The organ is played regularly at public events, including overtures before classic films, accompaniment for silent films, and full-length organ concerts.

The Redford's organ is one of two theatre organs in Detroit that remain in their original venue, and one of fewer than forty Bartons in their original installations. A contemporaneous original-installation Barton organ is located nearby at the Michigan Theater in Ann Arbor. The Redford's sibling theatres, the Kunsky-Birmingham (now an Emagine multiplex) and the Kunsky-Royal Oak (now the Royal Oak Music Theatre), featured similar Barton organs, but neither remain in their original venues.

Programming

Because of its location on the outskirts of Detroit, the spacious Redford often has not been a first-run movie theatre. However, like many current second-run theatres, it has shown films that were market-tested at other movie houses. For example, on May 16, 1956, the Redford presented two prominent 1955 films - The Rose Tattoo and The Trouble with Harry.

When most of the movie theaters in the Detroit area were in the city of Detroit, the Redford Theatre screened many films that were first shown at one of the large theaters in the Grand Circus Park area of downtown Detroit. Cimarron opened at the Redford on April 19, 1931, after its Detroit premiere at the Fox Theatre on February 5, 1931. In 1956, The Searchers opened at the Palms on May 18 and arrived at the Redford on August 15.

In the early 1930s, the Redford often showed three movies in one week (usually starting on Sundays, Wednesdays and Fridays). During one week in 1931, patrons enjoyed Joan Crawford and Clark Gable in Laughing Sinners (July 12–14), Lew Ayres in Iron Man (July 15–16) and Spencer Tracy in Six Cylinder Love (July 17–18). Accompanying Redford films of the 1930s were comedy shorts (Laurel and Hardy, Charley Chase and Our Gang), cartoons (Mickey Mouse, Bugs Bunny and Mighty Mouse), golf instructional films with Bobby Jones and vaudeville acts.

In the 1950s, the Redford often showed double features, along with "Kiddie Matinees" on Saturday afternoons that included cartoons and special movies. Occasionally, the Redford hosted Detroit area premieres, such as the December 25, 1956 opening of Friendly Persuasion, which was crowded out of the larger theaters by blockbusters like The Ten Commandments.

When movies started opening outside of downtown Detroit in the 1960s, the Redford was a first run theater for many prominent movies, including One Hundred and One Dalmatians (1961), Hud (1963), Von Ryan's Express (1965), You Only Live Twice (1967), Cool Hand Luke (1967), and The Graduate (1967).

In the 1970s, when socioeconomic forces closed many Detroit theaters and opened many others in the Detroit suburbs, the Redford went into decline and later was reborn with a still-running series of classic Hollywood movies. The Redford is one of the few remaining theaters mentioned in a September 11, 1981 Detroit News article about film repertory houses in the Detroit area.

Current film programming at the Redford Theatre consists of a bi-weekly movie series that ranges from silent films through the musicals of the 40s, 50s and 60s to some films from the 2000s. Spring and Fall festivals featuring films of the Three Stooges have grown in popularity. In addition to the classic film series and organ concerts produced by MCTOS, the theatre is available for rental by community groups wishing to produce their own shows.

See also

 Senate Theater

References

External links

Cinemas and movie theaters in Michigan
Theatres on the National Register of Historic Places in Michigan
Music venues in Michigan
Event venues established in 1928
Theatres in Detroit
1928 establishments in Michigan
National Register of Historic Places in Detroit

Redford Theatre