Nicola Berti  (; born 14 April 1967) is an Italian former footballer, who played as a midfielder. Berti's career spanned three decades, during which he played for several clubs: after beginning his career with Parma, he played with Fiorentina, and in particular Inter Milan, where he became an important figure in the club's midfield, winning a Serie A title and three UEFA Cups. After his time in Italy, he ended his career with spells in England, Spain and Australia, at Tottenham, Alavés, and Northern Spirit respectively.

A dynamic, tenacious and hard-working player, he was also regarded as a linchpin for the Italy national football team during the late 1980s and the early 1990s, notably reaching the final of the 1994 FIFA World Cup with Italy, and finishing in third place in the 1990 edition on home soil.

Club career
Born in Salsomaggiore Terme, Berti started his career as a seventeen-year-old with Parma. In his debut season the club won the 1983–84 Serie C1 championship under manager Arrigo Sacchi, and gained promotion to Serie B. After three seasons at Fiorentina he was signed by Inter Milan in 1988 for £3.6 million.

In his first season at the club, Berti formed a notable midfield partnership with Lothar Matthäus, and was part of a team which won the 1988–89 record breaking Scudetto by an 11-point margin under manager Giovanni Trapattoni, losing only twice, and setting a Serie A points record. Berti himself contributed seven league goals in Serie A that season from midfield.

While at Inter, Berti also won the 1989 Supercoppa Italiana, and the UEFA Cup three times, also reaching an additional final in 1997; he played a key role in the club's victories from midfield during this period, and scored in both the 1991 UEFA Cup Final and the 1994 UEFA Cup Final.

In January 1998, Berti joined Tottenham Hotspur on a free transfer. With Spurs in danger of relegation upon his arrival midway through the 1997–98 season, Berti helped the club to a 13th-placed finish in the Premier League. After George Graham replaced Christian Gross as manager of Tottenham, Berti was allowed to leave the club and join Deportivo Alavés on a free transfer.

He later had a season in Australia, with Northern Spirit.

International career
After playing for Italy's under 21 team at both the 1986 and 1988 UEFA European Under-21 Football Championships under manager Cesare Maldini (reaching the final in 1986), Berti made his debut for the Italy senior team against Norway in 1988, under Azeglio Vicini. He scored his first goal, against Scotland on his third appearance for the Azzurri.

He was included in the squad for the 1990 FIFA World Cup, where he appeared in four matches, wearing the number 10 shirt, including the third place playoff versus England which Italy won 2–1; in the final minutes of the match, he scored from a Roberto Baggio cross, but the goal was incorrectly ruled offside - though Baggio's opener was offside and the winning penalty was dubious. At the 1994 World Cup under Arrigo Sacchi, Berti was more established and played in every match on the way to and including the final defeat against Brazil; he notably started the play which led to Roberto Baggio's last-minute match winning goal in the quarter-finals, against Spain, with a trademark long pass, after winning back possession. In total, he represented Italy on 39 occasions between 1988 and 1995, scoring three goals.

International goals
Scores and results list Italy's goal tally first, score column indicates score after each Berti goal.

Style of play
Berti was usually deployed in a central or holding midfield role. Despite his initial lack of notable elegance or technical ability, he was able to improve his ball skills significantly as his career progressed, showing great finesse and technical developments with time, and became known for his ability to run forward with the ball at speed from midfield due to his pace and athleticism, which made him difficult to contain during counter–attacks. He was an energetic, tenacious, and hard tackling box-to-box midfielder, who had a knack for committing fouls and picking up cards due to his aggressive challenges; although he was initially considered to be undisciplined from a tactical standpoint, as unlike most defensive midfielders, he preferred to put pressure on his opponents in more advanced midfield roles and press them further up the pitch rather than mainly sitting in front of his team's defence, he later demonstrated significantly improved tactical intelligence as he matured. A tall, slender, and dynamic footballer, he was known in particular for his pace, stamina, work-rate, vision, and passing range, which made him a versatile player, who was capable of playing anywhere in midfield; these skills allowed him to aid his team both defensively and offensively, or start attacking plays with long balls after obtaining possession. In addition to his ability to break down opposing plays, Berti was also effective in the air, which, along with his attacking drive, movement, and positional sense, as well as his powerful and accurate striking ability from distance, enabled him to run forward – either on or off the ball – after winning back possession, and contribute to his team's offensive play with additional goals from midfield. Although he was initially noted for his physical resemblance to playmaker Gianni Rivera in his youth, Berti's attributes and direct playing style later led him to be compared instead to his childhood idol, Marco Tardelli. During the 1994 World Cup final against Brazil, he was also used out of position as both a left and right–sided winger in a 4–4–2 formation by manager Arrigo Sacchi. Despite his ability, however, he was also known to be injury prone, which somewhat negatively effected the quality of his performances in his later career.

Honours
Parma
 Serie C: 1983–84

Inter Milan
 Serie A: 1988–89; runner-up 1992–93
 Supercoppa Italiana: 1989
 UEFA Cup: 1990–91, 1993–94; runner-up 1996–97

Tottenham Hotspur
 Football League Cup: 1998–99

Italy
 FIFA World Cup: runner-up 1994; third place 1990

Individual
Pirata d'Oro (Inter Milan Player of the Year): 1994

Orders
 5th Class / Knight: Cavaliere Ordine al Merito della Repubblica Italiana: 1991

References

External links

 Nicola Berti at Aussie Footballers
 1990 FIFA World Cup 3rd place play-off
 1994 FIFA World Cup Final

 Record of Caps

1967 births
Living people
People from Salsomaggiore Terme
Italian men's footballers
Men's association football midfielders
Italy men's international footballers
Italy men's under-21 international footballers
1990 FIFA World Cup players
1994 FIFA World Cup players
Parma Calcio 1913 players
ACF Fiorentina players
Inter Milan players
Tottenham Hotspur F.C. players
La Liga players
Serie A players
Serie B players
Serie C players
Premier League players
National Soccer League (Australia) players
Deportivo Alavés players
North West Sydney Spirit FC players
Italian expatriate men's footballers
Expatriate men's soccer players in Australia
Expatriate men's footballers in Spain
Expatriate men's footballers in England
Italian expatriate sportspeople in Australia
Italian expatriate sportspeople in Spain
Italian expatriate sportspeople in England
UEFA Cup winning players
Knights of the Order of Merit of the Italian Republic
Footballers from Emilia-Romagna
Sportspeople from the Province of Parma

Nicola Berti


Cecil Louis Troughton Smith (27 August 1899 – 2 April 1966), known by his pen name Cecil Scott "C. S." Forester, was an English novelist known for writing tales of naval warfare, such as the 12-book Horatio Hornblower series depicting a Royal Navy officer during the Napoleonic Wars. The Hornblower novels A Ship of the Line and Flying Colours were jointly awarded the James Tait Black Memorial Prize for fiction in 1938.  His other works include The African Queen (1935; turned into a 1951 film by John Huston) and The Good Shepherd (1955; turned into a 2020 film, Greyhound, adapted by and starring Tom Hanks).

Early years
Forester was born in Cairo.  After the family broke up when he was still at an early age his mother took him with her to London, where he was educated at Alleyn's School and Dulwich College. He began to study medicine at Guy's Hospital, but left without completing his degree. He was of good height and somewhat athletic, but wore glasses and had a slender physique, so he failed his Army physical and was told that there was no chance that he would be accepted. He began writing seriously, using his pen name, in around 1921.

Second World War
During the Second World War Forester moved to the United States, where he worked for the British Ministry of Information and wrote propaganda to encourage the U.S. to join the Allies. He eventually settled in Berkeley, California.

In 1942, while he was living in Washington, D.C., he met Roald Dahl and encouraged him to write about his experiences in the RAF. According to Dahl's autobiography,  Lucky Break, Forester asked him about his experiences as a fighter pilot, and this prompted Dahl to write his first story, "A Piece of Cake".

Literary career

Forester wrote many novels, but he is best known for the 12-book Horatio Hornblower series about an officer in the Royal Navy during the Napoleonic Wars. He began the series with Hornblower fairly high in rank in the first novel, which was published in 1937, but demand for more stories led him to fill in Hornblower's life story, and he wrote novels detailing his rise from the rank of midshipman. The last completed novel was published in 1962. Hornblower's fictional adventures were based on real events, but Forester wrote the body of the works carefully to avoid entanglements with real world history, so that Hornblower is always off on another mission when a great naval battle occurs during the Napoleonic Wars.

Forester's other novels include The African Queen (1935) and The General (1936); two novels about the Peninsular War, Death to the French (published in the United States as Rifleman Dodd) and The Gun (filmed as The Pride and the Passion in 1957); and seafaring stories that do not involve Hornblower, such as Brown on Resolution (1929), The Captain from Connecticut (1941), The Ship (1943), and Hunting the Bismarck (1959), which was used as the basis of the screenplay for the film Sink the Bismarck! (1960). Several of his novels have been filmed, including The African Queen (1951), directed by John Huston. Forester is also credited as story writer on several films not based on his published novels, including Commandos Strike at Dawn (1942).

Forester also wrote several volumes of short stories set during the Second World War. Those in The Nightmare (1954) were based on events in Nazi Germany, ending at the Nuremberg trials. The linked stories in The Man in the Yellow Raft (1969) follow the career of the destroyer USS Boon, while many of the stories in Gold from Crete (1971) follow the destroyer HMS Apache. The last of the stories in Gold from Crete is If Hitler Had Invaded England, which offers an imagined sequence of events starting with Hitler's attempt to implement Operation Sea Lion and culminating in the early military defeat of Nazi Germany in the summer of 1941.

His non-fiction works about seafaring include The Age of Fighting Sail (1956), an account of the sea battles between Great Britain and the United States in the War of 1812.

Forester also published the crime novels Payment Deferred (1926) and Plain Murder (1930), as well as two children's books. Poo-Poo and the Dragons (1942) was created as a series of stories told to his son George to encourage him to finish his meals. George had mild food allergies and needed encouragement to eat. The Barbary Pirates (1953) is a children's history of early 19th-century pirates.

Forester appeared as a contestant on the television quiz programme You Bet Your Life, hosted by Groucho Marx, in an episode broadcast on 1 November 1956.

A previously unknown novel of Forester's, The Pursued, was discovered in 2003 and published by Penguin Classics on 3 November 2011.

Personal life
Forester married Kathleen Belcher in 1926. They had two sons, John, born in 1929, and George, born in 1933. The couple divorced in 1945. In 1947 he married Dorothy Foster. Kathleen Belcher's great uncle was Capt. Edward Belcher, RN, who achieved renown as a hydrographer and explorer. After his retirement, Belcher devoted much of his time to writing. After penning biographical material, he turned his hand to naval fiction, inventing a character called Horatio Howard Brenton, and attributing great feats and adventures to him. It is possible that Forester found some inspiration in these stories for his own Horatio Hornblower.

Forester died in Fullerton, California on 2 April 1966.

John Forester wrote a two-volume biography of his father, including many elements of Forester's life which became clear to his son only after his father's death.

Bibliography

Horatio Hornblower
 1950 Mr Midshipman Hornblower. Michael Joseph.
 1941 "The Hand of Destiny".Collier's
 1950 "Hornblower and the Widow McCool" ("Hornblower's Temptation" ""Hornblower and the Big Decision"). The Saturday Evening Post
 1952 Lieutenant Hornblower. Michael Joseph.
 1962 Hornblower and the Hotspur. Michael Joseph.
 1967 Hornblower and the Crisis, an unfinished novel. Michael Joseph. Published in the US as Hornblower During the Crisis (posthumous)
 1953 Hornblower and the Atropos. Michael Joseph.
 1937 The Happy Return. Michael Joseph. Published in the US as Beat to Quarters
 1938 A Ship of the Line. Michael Joseph.
 1941 "Hornblower's Charitable Offering". Argosy
 1938  Flying Colours. Michael Joseph.
 1941 "Hornblower and His Majesty". Collier's
 1945 The Commodore. Michael Joseph. Published in the US as Commodore Hornblower
 1946 Lord Hornblower. Michael Joseph.
 1958 Hornblower in the West Indies. Michael Joseph. Published in the US as Admiral Hornblower in the West Indies
 1967 "The Last Encounter". Sunday Mirror, 8 May 1966 (posthumous).
 1964 The Hornblower Companion. Michael Joseph. (Supplementary book comprising another short story, "The Point and the Edge" only as an outline, "The Hornblower Atlas" and "Some Personal Notes")

Omnibus
 1964 The Young Hornblower. (a compilation of books 1, 2 & 3). Michael Joseph.
 1965 Captain Hornblower (a compilation of books 5, 6 & 7). Michael Joseph.
 1968 Admiral Hornblower (a compilation of books 8, 9, 10 & 11). Michael Joseph.
 2011 Hornblower Addendum – Five Short Stories (originally published in magazines)

Other novels
 1924 A Pawn among Kings. Methuen.
 1924 The Paid Piper. Methuen.
 1926 Payment Deferred. Methuen.
 1927 Love Lies Dreaming. John Lane.
 1927 The Wonderful Week. John Lane.
 1928 The Daughter of the Hawk. John Lane.
 1929 Brown on Resolution. John Lane.
 1930 Plain Murder. John Lane.
 1931 Two-and-Twenty. John Lane.
 1932 Death to the French. John Lane. Published in the U.S. as Rifleman Dodd. Little Brown.
 1933 The Gun. John Lane.
 1934 The Peacemaker. Heinemann.
 1935 The African Queen. Heinemann.
 1935 The Pursued (a lost novel rediscovered in 1999 and published by Penguin Classics in 2011)
 1936 The General. Michael Joseph. First published as a serial in the News Chronicle 14–18 January 1935
 1940 The Earthly Paradise. Michael Joseph. Published in the U.S. as To the Indies.
 1941 The Captain from Connecticut. Michael Joseph.
 1942 Poo-Poo and the Dragons. Michael Joseph.
 1943 The Ship. Michael Joseph.
 1948 The Sky and the Forest. Michael Joseph.
 1951 Randall and the River of Time. Michael Joseph.
 1955 The Good Shepherd. Michael Joseph.

Short stories
"The Wandering Gentile", Liverpool Echo, 1955

Posthumous
 1967  Long before Forty (autobiographical). Michael Joseph.
 1971  Gold from Crete (short stories). Michael Joseph.
 2011  The Pursued (novel). Penguin.

Collections
 1944 The Bedchamber Mystery; to which is added the story of The Eleven Deckchairs and Modernity and Maternity. S. J. Reginald Saunders. Published in the US as Three Matronly Mysteries. eNet Press
 1954  The Nightmare. Michael Joseph
 1969  The Man in the Yellow Raft. Michael Joseph (posthumous)

Plays in three acts; John Lane
 1931  U 97
 1933  Nurse Cavell. (with C. E. Bechhofer Roberts)

Non-fiction
 1922 Victor Emmanuel II. Methuen (?)
 1927 Victor Emmanuel II and the Union of Italy. Methuen.
 1924 Napoleon and his Court. Methuen.
 1925 Josephine, Napoleon's Empress. Methuen.
 1928 Louis XIV, King of France and Navarre. Methuen.
 1929 Lord Nelson. John Lane.
 1929 The Voyage of the Annie Marble. John Lane.
 1930 The Annie Marble in Germany. John Lane.
 1936 Marionettes at Home. Michael Joseph Ltd.
 1953 The Adventures of John Wetherell. Doubleday & Company, Inc.
 1953 The Barbary Pirates. Landmark Books, Random House. Published in the UK in 1956 by Macdonald & Co.
 1957 The Naval War of 1812. Michael Joseph. Published in the US as The Age of Fighting Sail
 1959 Hunting the Bismarck. Michael Joseph. Published in the US as The Last Nine Days of the Bismark and Sink the Bismarck

Non-fiction short pieces
"Calmness under Air Raids in Franco Territory". Western Mail, 28 April 1937
"Who Is Financing Franco?". Aberdeen Press & Journal, 5 May 1937
"Sabotage". Sunday Graphic, 11 September 1938
"Saga of the Submarines". Falkirk Herald, 1 August 1945
"Hollywood Coincidence". Leicester Chronicle, 3 September 1955

Film adaptations
In addition to providing the source material for numerous adaptations (not all of which are listed below), Forester was also credited as "adapted for the screen by" for Captain Horatio Hornblower.

 Payment Deferred (1932), based on a 1931 play which was in turn based on Forester's novel of the same name
 Brown on Resolution (1935), based on the novel of the same name
 Eagle Squadron (1942), story
 Commandos Strike at Dawn (1942), short story "The Commandos"
 Forever and a Day (1943), story
 Captain Horatio Hornblower (1951), based on the novels The Happy Return, A Ship of the Line and Flying Colours
 The African Queen (1951), the novel of the same name
 Sailor of the King (1953), the novel Brown on Resolution
 The Pride and the Passion (1957), the novel The Gun
 Sink the Bismarck! (1960), the novel The Last Nine Days of the Bismarck
 Hornblower (1998–2003 series of made-for-television movies), based on the novels Mr. Midshipman Hornblower, Lieutenant Hornblower and Hornblower and the Hotspur
 Greyhound (2020), the novel The Good Shepherd

See also
 Honor Harrington – a fictional space captain and admiral in the Honorverse novels by David Weber, inspired by Horatio Hornblower (see dedication in On Basilisk Station)
 Patrick O'Brian – author of the Aubrey–Maturin series
 Dudley Pope – author of the Ramage series
 Richard Woodman – author of the Nathaniel Drinkwater series
 Douglas Reeman (writing as Alexander Kent) – The Bolitho novels

References

Further reading
 Sternlicht, Sanford V., C.S. Forester and the Hornblower saga (Syracuse University Press, 1999)
 Van der Kiste, John, C.S. Forester's Crime Noir: A view of the murder stories (KDP, 2018)

External links

 C. S. Forester Collection at the Harry Ransom Center

 C. S. Forester Society, which publishes the e-journal Reflections

 C. S. Forester on You Bet Your Life in 1956

1899 births
1966 deaths
20th-century English novelists
20th-century English male writers
20th-century pseudonymous writers
Alumni of King's College London
English historical novelists
English male novelists
James Tait Black Memorial Prize recipients
Nautical historical novelists
People educated at Alleyn's School
People educated at Dulwich College
Writers about the Age of Sail
Writers from London
Writers of historical fiction set in the modern age

C. S. Forester


The Kanoê (also as the Canoe, Kapixaná and Kapixanã) are an indigenous people of southern Rondônia, Brazil, near the Bolivian border. There are two major groups of Kanoê: one residing in the region of the Guaporé River and another in the Rio Omerê Indigenous Territory. The latter consists of just five individuals following violent contact with white settlers in the last few decades. The Kanoê of the Guaporé River have also had a troubled history of interaction with colonists; significantly reduced in population, they are now largely assimilated into neighbouring indigenous and non-indigenous peoples.

Language
The Kanoê language is an isolated, almost extinct language isolate.

See also
 Genocide of indigenous peoples in Brazil
 Man of the Hole

References

External links
 Instituto Socioambiental - ISA at Google Cultural Institute

Indigenous peoples in Brazil
Indigenous peoples of the Amazon
Genocide of indigenous peoples of South America

Kanoê


James C. Mays (November 19, 1953 – January 18, 2022) was a bilingual Canadian historian whose primary works focus on the domestic automotive industry. He lived in the Old Sandwich Town district of Windsor, Ontario since 2004.

Studies
Mays earned a Bachelor of Arts degree from Andrews University in Michigan (1975).  He taught elementary school in New Brunswick and Nova Scotia before graduating with a Master of Education degree from Concordia University in Montreal (1984).

Writing career
The author of more than 30 books, Mays is best known for his nine automotive histories—four of which detail the inner workings of the domestic industry. His marque histories emphasize the importance of the Canadian auto industry wherever possible.

In 1997, Mays' articles appeared for the first time in the newspapers Old Autos and Old Cars Weekly. His bylines began to appear in Canadian, French, British and American periodicals. In 1998, Mays won a Golden Quill Award as editor of a national antique car club magazine.

The author of six cookbooks, Mays won Vogue magazine's Millennium Food & Beverage Award for his 1999 release, You Can't Get Mad Vegan Disease. He offered cooking classes to the public in the 1990s. He began teaching vegan gourmet cooking classes through the Windsor, Ontario Cultural Department in 2010.

To date Mays has written nearly 1,000 automotive history articles, mainly about the Canadian automobile industry. The author founded Syam Publishing (Mays spelled backwards) in 1997 and began publishing Canadian automotive histories bypassed by mainstream publishers.  His first titles were Rambler Canada: The Little Company That Could and the American Motors Century. His centennial offering, Ford and Canada: 100 Years Together, received critical acclaim.

In 2002, Mays donated his automobilia collection to the University of Windsor. In 2006, Mays suffered cardiac problems and a stroke. In 2008, he donated his large collection of rare automotive books, literature, audio-taped interviews with automotive executive and other auto memorabilia to the University of Windsor. Mays continues to lecture, write and research on a limited basis.

A member of the Society of Automotive Historians and the Canadian Automotive Historians Society, Mays is also active in local history and heritage. He is a member of the South Western Ontario Heritage Council, sat on the War of 1812 Bicentennial Committee for the region and wrote the history column for the Scoop, a Windsor labour newspaper.

Mays has shows on CBC Radio One in Windsor and Whitehorse, Yukon. His blogs include Old Cars Canada  and The Adventures of Charles the Bear Cub.  In 2009, Mays was named Artistic Director of The Crosstown Players Theatre, Inc. and became the in-house playwright for the LGBTTQQIA theatre troupe in Windsor.

Awards and honours

In 1998 he won a Golden Quill Award.

In 2002, his book, Rambler Canada was voted "best read" by the Ontario Librarian's Association.

In 2016, Andrews University cited James C. Mays as one of the school's 35 most notable alumni in its 143-year history.

Selected automotive bibliography
 Rescued & Restored: Canadians and their Collectable Cars  (2000)
 Rambler Canada: The Little Company that Could (2002)
 The American Motors Century (2002)
 From Kenosha to the World: The Rambler, Jeffery and Nash Truck Story, 1904-1955 (2003)
 Ford and Canada: 100 Years Together (2003)
 Ford Ranchero 1957-1979 Photo History  (2004)
 The Savvy Guide to Buying Collector Cars at Auction (2006)
 Ford of Canada: 1904–2004 An Old Autos Pictorial Roll Call
 A Car and a Refrigerator Go to War: Nash-Kelvinator in World War Two (2012)
 National Snapshot: Canada and the Automobile in the 20th Century (http://www.nationalsnapsotcanada.blogspot.ca/)

Cookbooks
 Stuff I Ate at Your House (1995)
 You Can't Get Mad Vegan Disease (1997)
 You Can't Get Mad Vegan Disease, The Sequel (1998)
 You Can't Get Mad Vegan Disease, Volume Three (1999)
 Have Yourself a Very Vegan Christmas (2001)
 The Mad Vegan Does Dessert (2002)

References

External links
 www.theoilspoteh.ca
 www.oldcarscanada.com

21st-century Canadian historians
Canadian male non-fiction writers
Writers from Windsor, Ontario
Canadian food writers
1953 births
Living people
Andrews University alumni
Concordia University alumni
Automotive historians

James C. Mays


The Bristol Dockers (formerly the Bristol Bears) are an Australian rules football club based in Bristol, England. The club has both men's and ladies teams competing in the 9-a-side format.

The club currently play home games at Aretians Rugby Football Club and trains at The Downs, Bristol.

History
The Bristol Bears were the first Australian Rules club in England's West Country, formed in 1991, in the British Australian Rules Football League.  Their first match was against fellow newcomers the Sussex Swans at Shoreham-by-Sea, the Bears running out 119-point winners.  The Bears often struggled against the London clubs, although occasional difficulties in travel for the Londoners (forfeiting the long road trip west) meant the Bears performed well on paper without actually taking the paddock.

The Bears changed their name for the 1997 season to the Dockers, continuing on in the BARFL premiership, then becoming part of the BARFL Regional series upon inception of this competition in 2003.  They won the inaugural Regional premiership in this year, the first flag in their 13-year history.

With the creation of the Aussie Rules UK regional leagues in 2007, the Dockers elected to play in the BARFL's London Social League (now the Social Division of the AFL London).

In 2010 the Dockers again made it to the Semi Finals in AFL London Social league, coming undone in the last half of the game and conceding defeat.

In 2011, the Dockers moved to the 9-a-side format in the Welsh Australian Rules Football League, which meant a change in home ground from Aretians Rugby club.

In 2018 the Bristol Dockers announced the formation of a ladies team, a historic moment for the club.

At the conclusion of the 2021 WARFL season, long-time captain-coach Dan "Hoops" Hooper returned to Australia, ending an era dominated by long bombs and torps to goal.

Glory years: 2014–2017
The Bristol Dockers experienced an unprecedented level of success during the 2010s. During the 2014 season the Dockers went unbeaten, winning 11 consecutive games, including a home and away double against arch rivals Cardiff Panthers. The 2014 final is one of the greatest moments in dockers history. The final was played at Aretians RFC in Bristol and won by a single score by the dockers.
In 2017 Bristol Dockers were yet again crowned WARFL champions. With dockers finishing second in the league a tough away final in Cardiff was played out. The final started badly for the dockers who  were 3 goals down after the first 2 quarters. In true dockers style Bristol turned it around in the 3rd, blowing away the strong Panthers team. Dockers stood firm in the final quarter to hold on and win comfortably.

2018–2019
The 2018 season proved to be yet another successful season for the Dockers. Following the title in 2017 the dockers qualified for the AFL Europe - European Champions League.
Bristol were handed a tough draw, including tournament favorites and reigning champions, West London Wildcats and the "Young but Powerful" Zagreb Dockers, in the game billed the "Docker Derby".
Despite the tough draw, and unconventional tournament preparation, the Dockers achieved a creditable 13th place in the tournament, with a notable victory over Styrian Dogs in the knockout stages.

The tournament was also notable for being the Dockers first internationally televised match, playing against the French ALFA Lions.

Back on home soil The Dockers set out to defend their WARFL title. 2018 was a big year for the WARFL with the introduction of cross regional tournaments with the South Eastern Australian Football League (SEAFL). These included games against Portsmouth Pirates, Southampton Titans and Sussex Swans, with the dockers coming out victorious in the inaugural tournament.

Bristol Dockers performed admirably over the course of the season defending their title. Significant victories were recorded over South Cardiff Panthers in a season defining, hard fought, 13 point victory playing with a scratch 9 and the spectacular round 5 186–22 victory over Chippenham Redbacks.

The July Grand Final versus the South Cardiff Panthers was played out in Bristol at the Dings Crusaders RFC. Bristol were victorious 14 14 98 d Cardiff Panthers 5 17 47, in their most comprehensive victory ever over their fierce rivals.

In 2019 the club decided to form a women's team. On 2 March, as part of a round robin tournament involving Sussex Swans, London Swans and Cardiff Panthers, the Bristol Dockers Ladies competed in their first ever competitive games.

As 2018 WARFL Champions the Dockers qualified for the 2019 AFL Europe - European Champions League. Following an intense preseason campaign a much changed Bristol Dockers Squad finished a creditable 12th, with Dockers Team Manager Stating "Its really big for us as a chance to push ourselves against stronger teams before our season – and also fantastic to be part of keeping the focus on club sides outside of London in the UK."

Bristol Dockers kicked off their WARFL Campaign with a comprehensive victory over the Chippenham Redbacks 101 to 40 in horrendous conditions.

Individual awards

References

External links
 Bristol Dockers official website
 Bristol Dockers Instagram

Australian rules football clubs in England
Sport in Bristol
1991 establishments in England
Australian rules football clubs established in 1991

Bristol Dockers


KBFF (95.5 FM, "Live 95.5") is a commercial radio station licensed to Portland, Oregon, and serving the Portland metropolitan area, including parts of Oregon and Washington.  The station airs a Top 40 (CHR) radio format and is owned by Alpha Media.  It carries the syndicated morning drive time show "Brooke & Jeffrey" from KQMV in Seattle.

KBFF's studios and offices are located in Downtown Portland, on SW Fifth Avenue.  The transmitter is in Portland's West Hills, off SW Fairmount Court.  KBFF has an effective radiated power (ERP) of 100,000 watts.

History

Early history
The 95.5 MHz spot on the FM dial in Portland was first occupied by the original KWJJ-FM.  That station signed on in 1946.  It only transmitted with an effective radiated power of 3,400 watts and it mostly simulcast AM 1080 KWJJ (now KFXX).  But in the 1940s and 50s, few radios could receive FM signals and management saw little opportunity to make it profitable.  In the mid-1950s, KWJJ silenced the FM station, giving up the license.

On September 23, 1959, the Federal Communications Commission (FCC) granted International Good Music, Inc. (IGM) a construction permit to build a new FM station on 95.5 MHz. In early October 1959, call sign KGMG was granted, standing for "Good Music," the format term for classical music. By September 9, 1960, 95.5 KGMG was testing intermittently.

On September 25, 1960, at 7 a.m., KGMG began regular operations by airing programming from the IGM automation system.  KGMG broadcast from 7 a.m. to 1 a.m. daily, and only selected commercials were played and no singing jingles were allowed. By March 1962, KGMG was broadcasting the recorded "Heritage Concert" series. On March 17, 1962, KGMG became the second Portland station to broadcast in multiplex stereo. In July 1962, KGMG began leasing antenna space to Pacific Motor Trucking Co. for a 25-watt VHF transmitter.

On April 20, 1964, KGMG switched to an automated MOR format from IGM. By mid-1964, KGMG was broadcasting 9 a.m. to 11 p.m. daily.

KXL-FM Stereo 95
On May 13, 1965, the FCC approved the $125,000 sale of KGMG to Seattle, Portland & Spokane Radio, a joint venture of Dena Pictures, Inc. and the Alexander Broadcasting Company.  Seattle, Portland & Spokane Radio also owned AM 750 KXL (now KXTG).  Two months later, on July 5, 1965, KGMG became KXL-FM and began duplicating KXL's "Good Music" format as KXL & KXL-FM Stereo.

In September 1966, KXL-FM staff began taping the evening "Good Music" programming for syndicator IGM, now known as Broadcast Programming International (BPI).  The company provided the software to many FM stations nationwide.  In 1969, KXL-FM raised its power to 100,000 watts and increased antenna height to 990 feet.

At the time, KXL (AM) was a daytimer, required to sign off at sunset to avoid interfering with clear channel station WSB in Atlanta, so it simulcasted its programming on KXL-FM, which could continue the programming at night.  In 1970, KXL-AM-FM switched to a "Popular Music" middle of the road (MOR) format as KXL-FM Stereo 95.  Most FM stations by the 1970s could not fully simulcast their AM stations, but this rule didn't apply to AM stations that were daytimers.  KXL-FM continued to simulcast KXL (AM) through 1974.

In March 1984, KXL-FM switched to TM's Beautiful Music service and was playing five to six vocals an hour until 1989, when the station began running Unistar's "Special Blend" soft adult contemporary satellite format with local morning host George Walker.

K95.5/Star 95.5/95.5 KXL
In April 1990, KXL-FM changed format to "Lite Favorites," a combination of soft AC and soft rock.  It was branded as K95.5. This format also utilized a satellite music service except for drive times.

On September 27, 1993, KXL-FM switched to a Hot AC format as Star 95.5 but only lasted a year.

On October 18, 1994, KXL-FM switched to all '70s Hits as Seventies 95.5.  This format only lasted a year and a half.

Music Radio 95 KXL/Mix 95.5/95.5FM
On April 15, 1996, KXL-FM modified its 1970s format to include 1980s music and adopted the branding Music Radio 95 KXL.

In the Fall of 1996, KXL-FM returned to Hot AC. On April 1, 1997, KXL-FM switched to a new slogan as Mix 95.5.  In December 1997, Carl Widing was hired as Program Director and in February 1998, KXL-FM switched to a Triple A format as 95.5FM.

On November 30, 1998, KXL-FM was sold to the Rose City Radio Corp. for $55 Million.

Jammin' 95.5
On March 26, 1999, at 5:30 p.m., KXL-FM switched to a rhythmic contemporary format as Jammin' 95.5, becoming the first FM station in Portland to air the format full time. The first song was "Changes" by 2Pac.

On April 30, 1999, KXL-FM changed the call letters to KXJM.

95-5 The Game
On May 1, 2008, due to declining ratings, Rose City Radio announced that KXJM would change formats to all sports on May 12, as "95.5 The Game."  The switch almost left Portland without a hip-hop station, and as a result, would leave Portland listeners with only two choices for rhythmic music: Mainstream Top 40 KKRZ, whose playlist included some hip-hop songs, and KVMX, the market's Rhythmic Adult Contemporary station.

On May 9, 2008, at 6 p.m., KVMX officially ditched its Rhythmic AC format and became Portland's new home for Rhythmic Contemporary as "Jammin' 107.5."  Both KXJM and KVMX simulcasted the format that weekend until KXJM's flip to sports at 9 a.m. the following Monday, May 12. KVMX also acquired the KXJM call letters, the website and all intellectual properties from Rose City.

On May 27, 2008, the original KXJM officially chose KXTG as its new call letters to better reflect the sports format and "The Game" moniker.   KXTG and AM sister station KXL changed ownership would be bought by Alpha Broadcasting in May 2009.  Despite the station's emphasis on local hosts, ratings success did not follow, usually peaking at about a 2.0 share in the Arbitron ratings.

Live 95-5
On May 21, 2011, Alpha announced that on May 25, at 5:00 p.m., KXTG's sports format would be moving to AM 750 KXL, which was running a news/talk format that at the time was simulcasting on 101.1 FM, previously a rock station.  95.5 FM would then launch a new format at the same time, although the announcement didn't say what that new format would be.

The question of what the format would be began to take on a life of its own when industry website RadioInsight reported that Alpha registered several domain names for the station, in order to keep people guessing. On May 24, 2011, a logo and website for "Live 95.5" appeared in a Google cache, with the hint referenced in its moniker as "Today's Modern Mix," indicating a contemporary music format.

On May 25, at 5 p.m., KXTG flipped to a Hot AC/Adult Top 40 format as Live 95-5, Today's Modern Mix For The Modern Woman.  The first song was "Raise Your Glass" by P!nk, beginning a 10,000 songs-in-a-row promotion to attract listeners interest. The station also changed its call letters to KBFF.

KBFF saw its ratings improve, going from a 1.9 in its last book as a Sports outlet in May 2011 to a 3.6 share in the June 2011 book, along with a spike in its audience cumes, topping 105.1 The Buzz for the Adult Top 40 crown.

In September 2012, KBFF shifted to Top 40/CHR. To capitalize on this, the station shortened its slogan to "Today's Modern Mix," and then eventually "Portland's #1 Hit Music Station."

In August 2014, KBFF dropped its entire on-air lineup and relaunched as Live 95.5, The Station That Sounds Like Portland.

In April 2015, the station restructured its on-air lineup, adding the syndicated Brooke & Jubal morning drive time show, based at KQMV in Seattle.

On October 22, 2018, at 10 a.m., as a Halloween stunt, KBFF began branding itself as "eviL 95-5" ("eviL" is Live spelled backwards) and started airing spooky sounds in between songs. This continued until November 1 at Midnight.

References

External links

BFF
Contemporary hit radio stations in the United States
Radio stations established in 1960
1960 establishments in Oregon
Alpha Media radio stations

KBFF


"The Doom That Came to Sarnath" (1920) is a fantasy  short story by American writer H. P. Lovecraft. It is written in a mythic/fantasy style and is associated with his Dream Cycle. It was first published in The Scot, a Scottish amateur fiction magazine, in June 1920.

Plot
According to the tale, more than 10,000 years ago, a race of shepherd people colonized the banks of the river Ai, in a land called Mnar, forming the cities of Thraa, Ilarnek, and Kadatheron (not to be confused with Kadath), which rose to great intellectual and mercantile prowess. Craving more land, a group of these hardy people migrated to the shores of a lonely and vast lake at the heart of Mnar, founding the city of Sarnath.

But the settlers were not alone. Not far from Sarnath was the ancient grey-stone city of Ib, inhabited by a queer race who had descended from the Moon. Lovecraft described them as "in hue as green as the lake and the mists that rise above it.... They had bulging eyes, pouting, flabby lips, and curious ears, and were without voices." These beings worshipped a strange god known as Bokrug, the Great Water Lizard, although it was more their physical form that caused the people of Sarnath to despise them.

The citizens of Sarnath killed all the creatures inhabiting Ib, destroyed the city, and took their idol as a trophy, placing it in Sarnath's main temple. The next night, the idol mysteriously vanished, and Taran-Ish, the high-priest of Sarnath, was found dead. Before dying, he had scrawled a single word onto the empty altar: "DOOM".

One thousand years later, Sarnath was at the zenith of both its power and decadence. Nobles from distant cities were invited to the feast in honor of Ib's destruction. That night, however, the revelry was disrupted by strange lights over the lake, heavy greenish mists, and the tidal marker, the granite pillar Akurion, was mostly submerged. Soon, many visitors fled, maddened by fear.

After this, some of the survivors reported seeing the long-dead inhabitants of Ib peering from the windows of the city's towers instead of the king and his retinue, while others refused to say exactly what they had seen. Those who returned saw nothing of those unlucky enough to be left behind; only empty marsh, many water lizards, and most disturbingly, the missing idol. Ever since then, Bokrug remained the chief god in the land of Mnar.

Inspiration
The influence of Lord Dunsany on the story can be seen in the reference to a throne "wrought of one piece of ivory, though no man lives who knows whence so vast a piece could have come", which evokes the gate "carved out of one solid piece" of ivory in Dunsany's "Idle Days on the Yann".

Though Sarnath is a historical city in India —the place where Buddha first taught— Lovecraft said that he thought he invented the name independently.

Connections to other works by Lovecraft
In the story "The Quest of Iranon", the title character says, "I...have gazed on the marsh where Sarnath once stood." When the narrator of "The Nameless City" sees the ruins of the story, he says he "thought of Sarnath the Doomed, that stood in the land of Mnar when mankind was young, and of Ib, that was carved from grey stone before mankind existed." In At the Mountains of Madness, the city of the Elder Things is described as "a megalopolis ranking with such whispered prehuman blasphemies as Valusia, R'lyeh, Ib in the land of Mnar, and the Nameless City of Arabian Desert."

The inhabitants of Ib are known in the works of Lin Carter as the Thuum'ha.

References in other media
Mike Mignola's Batman: The Doom That Came to Gotham is an Elseworlds story which combines the character Batman with various elements of the Cthulhu mythos, and takes its name from "The Doom that Came to Sarnath".
In the "Horror on the Orient Express" campaign of the roleplaying game Call of Cthulhu is a chapter which includes delegations from Sarnath and Ib to discuss the matter in front of King Kurates just before the 10 centuries are over.
The Doom that Came to Wulfhafen by C. L. Werner, originally published 2002 in Inferno! issue 29.
In Ron Lundeen's roleplaying adventure "Dreams of the Yellow King"  for the game Pathfinder the players have the chance to witness the destruction of the city of Sarnath.
NECRONOMIDOL's track, "Sarnath" is based on this tale. The lyrics include many obvious references to "The Doom That Came to Sarnath", such as having "Doom doom doom" backing the chorus as well as this particular part of the song's lyrics:  "I will gouge, The sigil of Doom, Even if it takes 1000 years'" which directly reference the story, where it is said that it took 1000 years for Ib's vengeance to be fulfilled. The sigil of Doom is another plot element included in these lyrics, as well.
Mnar and its cities are used as place names by George R. R. Martin in his high fantasy reference-book The World of Ice & Fire.

See also
The Doom That Came to Sarnath and Other Stories is also the title of a collection of short stories by Lovecraft, first published in February 1971.

References

Sources
  Definitive version.

External links

 Full text – The Doom That came to Sarnath

1920 short stories
Fantasy short stories
Fiction set in prehistory
Genocide in fiction
Horror short stories
Short stories by H. P. Lovecraft
Works originally published in British magazines
Works originally published in literary magazines

The Doom That Came to Sarnath


Nicomachus (; fl. c. 375 BC) was the father of Aristotle.

The Suda states that he was a doctor descended from Nicomachus, son of Machaon the son of Asclepius. Greenhill notes he had another son named Arimnestus, and a daughter named Arimneste, by his wife Phaestis, or Phaestias, who was descended from Asclepius as well. He was a native of Stageira, and the friend and physician of Amyntas III, king of Macedonia, 393–369 BC. Nicomachean Ethics, Aristotle's work on Ethics may have been dedicated to his father.

Aristotle's son was also called Nicomachus.

Notes

4th-century BC Greek physicians
Ancient Stagirites
Aristotle
Old Macedonian kingdom

Nicomachus (father of Aristotle)


A Dolby noise-reduction system, or Dolby NR, is one of a series of noise reduction systems developed by Dolby Laboratories for use in analog audio tape recording. The first was Dolby A, a professional broadband noise reduction system for recording studios in 1965, but the best-known is Dolby B (introduced in 1968), a sliding band system for the consumer market, which helped make high fidelity practical on cassette tapes, which used a relatively noisy tape size and speed. It is common on high-fidelity stereo tape players and recorders to the present day, although Dolby has as of 2016 ceased licensing the technology for new cassette decks. Of the noise reduction systems, Dolby A and Dolby SR were developed for professional use. Dolby B, C, and S were designed for the consumer market. Aside from Dolby HX, all the Dolby variants work by companding:  compressing the dynamic range of the sound during recording, and expanding it during playback.

Usage
When recording a signal on magnetic tape, there is a low level of noise in the background which sounds like hissing. One solution to this issue is to use low-noise tape, which records more signal, and less noise. Other solutions are to run the tape at a higher speed or use a wider tape. Cassette tapes were originally designed to trade off fidelity for the convenience of recording voice by using a very narrow tape running at a very slow speed of  housed in a simple plastic shell when  or  tape speeds were for high fidelity, and  was of lower fidelity. As a result of their narrow tracks and slow speed, cassettes make tape hiss a very severe problem.

Dolby noise reduction is a form of dynamic pre-emphasis employed during recording, plus a form of dynamic de-emphasis used during playback, which work in tandem to improve the signal-to-noise ratio. The signal-to-noise ratio is simply how large the music signal is compared to the low level of tape noise with no signal. When the music is loud, the low background hiss level is not noticeable, but when the music is soft or in silence, most or all of what can be heard is the noise. If the recording level is adjusted so that the music is always loud, then the low-level noise would not be audible.

One cannot simply increase the volume of the recording to achieve this end; tapes have a maximum volume they can record, so already-loud sounds will become distorted. The idea is to increase the volume of the recording only when the original material is not already loud, and then reduce the volume by the same amount on playback so that the signal returns to the original volume levels. When the volume is reduced on playback, the noise level is reduced by the same amount. This basic concept, increasing the volume to overwhelm inherent noise, is known as pre-emphasis, and is found in a number of products.

On top of this basic concept, Dolby noise reduction systems add another improvement. This takes into account the fact that tape noise is largely heard at frequencies above 1,000 Hz. It is the lower-frequency sounds that are often loud, like drum beats, so by only applying the companding to certain frequencies, the total amount of distortion of the original signal can be reduced and focused only on the problematic frequencies. The differences in the various Dolby products are largely evident in the precise set of frequencies that they use and the amount of modification of the original signal volume that is applied to each of the frequency bands.

Within each band, the amount of pre-emphasis applied depends on the original signal volume. For instance, in Dolby B, a low-level signal will be boosted by 10 dB, while signals at the "Dolby Level", +3 VU, receive no signal modification at all. Between the two limits, a varying level of pre-emphasis is applied. On playback, the opposite process is applied (de-emphasis), based on the relative signal component above 1 kHz. Thus, as this portion of the signal decreases in amplitude, the higher frequencies are progressively increasingly attenuated, which also reduces in level the constant background noise on the tape when and where it would be most noticeable.

The two processes (pre- and de-emphasis) are intended to cancel each other out as far as the actual recorded program material is concerned. During playback, only de-emphasis is applied to the incoming off-tape signal and noise. After playback de-emphasis is complete, the apparent noise in the output signal is reduced, and this process should not produce any other effect noticeable to the listener other than reduced background noise. However, playback without noise reduction produces a noticeably brighter sound.

The correct calibration of the recording and playback circuitry is critical in order to ensure faithful reproduction of the original program content. The calibration can easily be upset by poor-quality tape, dirty or misaligned recording/playback heads, or using inappropriate bias levels/frequency for the tape formulation, as well as tape speed when recording or duplicating. This can manifest itself as muffled-sounding playback, or "breathing" of the noise level as the volume level of the signal varies.

On some high-end consumer equipment, a Dolby calibration control is included. For recording, a reference tone at Dolby Level may be recorded for accurate playback level calibration on another transport. At playback, the same recorded tone should produce the identical output, as indicated by a Dolby logo marking at approximately +3 VU on the VU meter(s). In consumer equipment, Dolby Level is defined as 200 nWb/m, and calibration tapes were available to assist with the task of correct level setting. For accurate off-the-tape monitoring during recording on 3-head tape decks, both processes must be employed at once, and circuitry provided to accomplish this is marketed under the "Double Dolby" label.

Dolby A

Dolby A-type noise reduction was the Dolby company's first noise reduction system, presented in 1965. It was intended for use in professional recording studios, where it became commonplace, gaining widespread acceptance at the same time that multitrack recording became standard. The input signal is split into frequency bands by four filters with 12 dB per octave slopes, with cutoff frequencies (3 dB down points) as follows: low-pass at 80 Hz; band-pass from 80 Hz to 3 kHz; a high-pass from 3 kHz; and another high-pass at 9 kHz. (The stacking of contributions from the two high-pass bands allows greater noise reduction in the upper frequencies.) The compander circuit has a threshold of −40 dB, with a ratio of 2:1 for a compression/expansion of 10 dB. This provides about 10 dB of noise reduction increasing to a possible 15 dB at 15 kHz, according to articles written by Ray Dolby and published by the Audio Engineering Society (October 1967) and Audio (June/July 1968).

As with the Dolby B-type system, correct matching of the compression and expansion processes is important. The calibration of the expansion (decoding) unit for magnetic tape uses a flux level of 185 nWb/m, which is the level used on industry calibration tapes such as those from Ampex; this is set to 0 VU on the tape recorder playback and to Dolby Level on the noise reduction unit. In the record (compression or encoding) mode, a characteristic tone (Dolby Tone) generated inside the noise reduction unit is set to 0 VU on the tape recorder and to 185 nWb/m on the tape.

The Dolby A-type system also saw some use as the method of noise reduction in optical sound for motion pictures.

Dolby B

Dolby B-type noise reduction was developed after Dolby A, and it was introduced in 1968. It consisted of a single sliding band system providing about 9 dB of noise reduction (A-weighted), primarily for use with cassette tapes. It was much simpler than Dolby A and therefore much less expensive to implement in consumer products. Dolby B recordings are acceptable when played back on equipment that does not possess a Dolby B decoder, such as many inexpensive portable and car cassette players. Without the de-emphasis effect of the decoder, the sound will be perceived as brighter as high frequencies are emphasized, which can be used to offset "dull" high-frequency response in inexpensive equipment. However, Dolby B provides less effective noise reduction than Dolby A, generally by an amount of more than 3 dB.

The Dolby B system is effective from approximately 1 kHz upwards; the noise reduction that is provided is 3 dB at 600 Hz, 6 dB at 1.2 kHz, 8 dB at 2.4 kHz, and 10 dB at 5 kHz. The width of the noise reduction band is variable, as it is designed to be responsive to both the amplitude and the frequency distribution of the signal. It is thus possible to obtain significant amounts of noise reduction down to quite low frequencies without causing audible modulation of the noise by the signal ("breathing").

From the mid-1970s, Dolby B became standard on commercially pre-recorded music cassettes even though some low-end equipment lacked decoding circuitry, although it allows for acceptable playback on such equipment. Most pre-recorded cassettes use this variant. VHS video recorders used Dolby B on linear stereo audio tracks.

Prior to the introduction of later consumer variants (Dolby C being the first), cassette hardware supporting Dolby B and cassettes encoded with it would be labeled simply "Dolby System," "Dolby NR", or wordlessly with the Dolby symbol. This continued in some record labels and hardware manufacturers even after Dolby C had been introduced, during the period when the new standard was relatively little-known.

JVC's  system, used in place of Dolby B on earlier JVC cassette decks, is considered compatible with Dolby B. JVC eventually abandoned the ANRS standard in favor of official Dolby B support; some JVC decks exist whose noise-reduction toggles have a combined "ANRS / Dolby B" setting.

Dolby FM

In the early 1970s, some expected Dolby NR to become normal in FM radio broadcasts and some tuners and amplifiers were manufactured with decoding circuitry; there were also some tape recorders with a Dolby B "pass-through" mode. In 1971 WFMT started to transmit programs with Dolby NR, and soon some 17 stations broadcast with noise reduction, but by 1974 it was already on the decline. Dolby FM was based on Dolby B, but used a modified 25 μs pre-emphasis time constant and a frequency-selective companding arrangement to reduce noise.

A similar system named High Com FM was evaluated in Germany between July 1979 and December 1981 by IRT, and field-trialed up to 1984. It was based on the Telefunken High Com broadband compander system, but never introduced commercially in FM broadcasting. Another competing system was FMX, which was based on CX.

RMS

A fully Dolby B-compatible compander was developed and used on many tape recorders in the former German Democratic Republic in the 1980s. It was called RMS (from , English: "Noise reduction system").

Dolby C

The Dolby C-type noise reduction system was developed in 1980. It provides about 15 dB noise reduction (A-weighted) in the 2 kHz to 8 kHz region where the ear is highly sensitive and most tape hiss is concentrated. Its noise reduction effect results from the dual-level (consisting of a high-level stage and a low-level stage) staggered action arrangement of series-connected compressors and expanders, with an extension to lower frequencies than with Dolby B. As in Dolby B, a "sliding band" technique (operating frequency varies with signal level) helps to suppress undesirable breathing, which is often a problem with other noise reduction techniques.

As a result of the extra signal processing, Dolby C-type recordings will sound distorted when played back on equipment that does not have the required Dolby C decoding circuitry. Some of this harshness can be mitigated by using Dolby B on playback, which serves to reduce the strength of the high frequencies.

With Dolby C-type processing, noise reduction begins two octaves lower in frequency in an attempt to maintain a psychoacoustically-uniform noise floor. In the region above 8 kHz, where the ear is less sensitive to noise, special spectral-skewing and anti-saturation networks come into play. These circuits prevent cross modulation of low frequencies with high frequencies, suppress tape saturation when large signal transients are present, and increase the effective headroom of the cassette tape system. As a result, recordings are cleaner and crisper with a much improved high-frequency response that the cassette medium heretofore lacked. With a good quality tape, the Dolby C response could be flat to 20 kHz at the 0 dB recording level, a previously unattainable result. An A-weighted signal-to-noise ratio of 72 dB (re 3% THD at 400 Hz) with no unwanted "breathing" effects, even on difficult-to-record passages, was possible.

Dolby C first appeared on higher-end cassette decks in the 1980s. The first commercially available cassette deck with Dolby C was the NAD 6150C, which came onto the market around 1981. Dolby C was also used on professional video equipment for the audio tracks of the Betacam and Umatic SP videocassette formats. In Japan, the first cassette deck with Dolby C was the AD-FF5 from Aiwa. Cassette decks with Dolby C also included Dolby B for backward compatibility, and were usually labeled as having "Dolby B-C NR".

Dolby SR

The Dolby SR (Spectral Recording) system, introduced in 1986, was the company's second professional noise reduction system. It is a much more aggressive noise reduction approach than Dolby A. It attempts to maximize the recorded signal at all times using a complex series of filters that change according to the input signal. As a result, Dolby SR is much more expensive to implement than Dolby B or C, but Dolby SR is capable of providing up to 25 dB of noise reduction in the high-frequency range. It is only found on professional recording equipment.

In the motion picture industry, as far as it concerns distribution prints of movies, the Dolby A and SR markings refer to Dolby Surround which is not just a method of noise reduction, but more importantly encodes two additional audio channels on the standard optical soundtrack, giving left, center, right, and surround.

SR prints are fairly well backward compatible with old Dolby A equipment. The Dolby SR-D marking refers to both analog Dolby SR and digital Dolby Digital soundtracks on one print.

Dolby S

Dolby S was introduced in 1989. It was intended that Dolby S would become standard on commercial pre-recorded music cassettes in much the same way that Dolby B had in the 1970s, but it came to market when the Compact Cassette was being replaced by the compact disc as the dominant mass market music format. Dolby Labs claimed that most members of the general public could not differentiate between the sound of a CD and a Dolby S encoded cassette. Dolby S mostly appeared on high-end audio equipment and was never widely used.

Dolby S is much more resistant to playback problems caused by noise from the tape transport mechanism than Dolby C. Likewise, Dolby S was also claimed to have playback compatibility with Dolby B in that a Dolby S recording could be played back on older Dolby B equipment with some benefit being realized. It is basically a cut-down version of Dolby SR and uses many of the same noise reduction techniques. Dolby S is capable of 10 dB of noise reduction at low frequencies and up to 24 dB of noise reduction at high frequencies.

Dolby HX/HX-Pro

Magnetic tape is inherently non-linear in nature due to hysteresis of the magnetic material. If an analog signal were recorded directly onto magnetic tape, its reproduction would be extremely distorted due to this non-linearity. To overcome this, a high-frequency signal, known as bias, is mixed in with the recorded signal, which "pushes" the envelope of the signal into the linear region. If the audio signal contains strong high-frequency content (in particular from percussion instruments such as hi-hat cymbals), this adds to the constant bias causing magnetic saturation on the tape. Dynamic, or adaptive, biasing automatically reduces the bias signal in the presence of strong high-frequency signals, making it possible to record at a higher signal level.

The original Dolby HX, where HX stands for Headroom eXtension, was invented in 1979 by Kenneth Gundry of Dolby Laboratories, and was rejected by the industry for its inherent flaws. Bang & Olufsen continued work in the same direction, which resulted in a 1981 patent (EP 0046410) by Jørgen Selmer Jensen. Bang & Olufsen immediately licensed HX-Pro to Dolby Laboratories, stipulating a priority period of several years for use in consumer products, to protect their own Beocord 9000 cassette tape deck. By the middle of the 1980s the Bang & Olufsen system, marketed through Dolby Laboratories, became an industry standard under the name of Dolby HX Pro.

HX-Pro only applies during the recording process. The improved signal-to-noise ratio is available no matter which tape deck the tape is played back on, and therefore HX-Pro is not a noise-reduction system in the same way as Dolby A, B, C, and S, although it does help to improve noise reduction encode/decode tracking accuracy by reducing tape non-linearity. Some record companies issued HX-Pro pre-recorded cassette tapes during the late 1980s and early 1990s.

Technological trends
The widespread proliferation of digital audio in professional and consumer applications (e.g., compact discs, music download, music streaming) has made analog audio production less prevalent and therefore changed Dolby's focus on Dolby Vision, but Dolby's analog noise reduction systems are still widely used in niche analog production environments.

See also
 Dynamic Noise Reduction (DNR), a playback-only noise reduction system often confused with Dolby
 dbx (noise reduction), a competing system
 High Com, a competing system

References

External links
 Dolby Laboratories, Inc.
 Some Not Well Known Aspects of Analog Tape -- concerning Dolby-HX/HX-Pro, AES 1990 March, Arndt Klingelnberg
 Overview of Dolby and other noise reduction systems, Richard Hess

Dolby Laboratories
Noise reduction systems
Sound recording
American inventions
Audiovisual introductions in 1965
American brands

Dolby noise-reduction system


The Task is a 2011 British horror film directed by Alex Orwell, written by  Kenny Yakkel, produced by Christopher Milburn and Courtney Solomon, and starring Alexandra Staden, Victor McGuire and Adam Rayner. The film, inspired by MTV's Fear, was produced by After Dark Originals and released by Lions Gate Entertainment on 28 January 2011.

Plot
Six terrified people, Shoe (Ashley Mulheron), Randall (Marc Pickering), Toni (Amara Karan), Dixon (Texas Battle) and brother and sister Stanton (Tom Payne) and Angel (Antonia Campbell-Hughes), are kidnapped to take part in a new reality show which will see them spending a night in an abandoned prison to win $20,000. Show host, Taylor (Adam Rayner) handcuffs the contestants together, removes their belongings and sends them into the prison.

The contestants find their way to the Warden's office, where they unlock themselves. Soon after, a TV monitor turns on, revealing an evil clown who warns the contestants of the Warden (Valentin Ganev) who used to work at the prison, before being sentenced to death for murdering inmates. Randall is set a task to travel to the chapel of the prison. With a microphone to communicate with the others, Randall ventures to the chapel and reads a prayer backwards to summon the spirit of the Warden. After completing his task, Randall returns to the others. Outside, the show's team, including Connie (Alexandra Staden), Sclezi (Sam Stockman), Big Daddy (Victor McGuire) and Snow (Sean Mcconaghy) begin to lose connection to some of the cameras inside the prison. Sclezi is sent in to fix them, however, he is stabbed in the eye by the Warden.

Dixon is set a task, to remain lying in a hole in the ground. Once he is inside the hole, the Warden arrives and locks him in. Connie, Big Daddy and Snow see this, but believe the network had twisted the show to also make them contestants. They let the game continue. Shoe and Randall are set a challenge to eat a meat believed to be human flesh, which they complete. Toni and Stanton are sent to the gas chamber for their task. Stanton locks Toni in a chair in the gas chamber, and puts a gas mask on her. As the chamber fills with gas, Stanton is instructed to find the switch to stop the gas somewhere in the prison. When he leaves, the Warden appears in the chamber and removes Toni's mask. While Randall and Shoe make their way back to base, they come across the Warden, who stabs them to death. As Stanton turns off the gas, the Warden knocks him unconscious.

Connie starts to become worried and sends Big Daddy and Taylor into the prison to check up on the contestants. They are soon attacked, and Connie attempts to warn Angel to get out of the prison. Angel believes this to be part of the game, as she has just been given the task to free Toni and Dixon. She enters a cell and finds a knife before the Warden appears with the key. She stabs him with what she thinks is a fake knife, and retrieves the key. She then finds Stanton hanging by his ankles in a cell, but before she can help him, the Warden stabs him in the neck and the abused inmates devour him.

Angel flees, and runs into Connie, who has entered the prison. The Warden returns, and as Angel runs, the Warden catches up with Connie. As Connie prepares to be stabbed, two more Wardens, Shoe, Randall, Taylor and Big Daddy reveal the show was a set up, and Connie was the real contestant. After the initial shock, Connie is sent to retrieve Toni, Taylor to get Dixon, and the others to leave the prison. Taylor finds Dixon murdered in the hole, and Connie realizes Toni is dead. The Warden locks Connie in the gas chamber and gases her, while the others are sealed into the prison. Angel manages to escape out of the prison to Snow, having discovered people were being murdered by the real Warden. Snow follows Angel with his camera asking her for a final word; not knowing the rest of the cast and crew are trapped in the prison, Angel responds by breaking his camera.

Cast
 Alexandra Staden as Connie
 Victor McGuire as Big Daddy
 Sean Mcconaghy as Snow
 Adam Rayner as Taylor
 Antonia Campbell-Hughes as Angel
 Ashley Mulheron as Shoe
 Amara Karan as Toni
 Tom Payne as Stanton
 Marc Pickering as Randall
 Texas Battle as Dixon
 Sam Stockman as Scelzi
 Rob Ostlere as Pisser
 Atanas Srebrev as Bob
 Jonas Talkington as Clown
 Valentin Ganev as Warden

Production

Release
The Task received a limited theatrical release in the US on 28 January 2011, Rated R for violence and language. It was released on DVD on 26 July 2011. Of the one review the movie holds on Rotten Tomatoes, the review certified it 'Rotten'.

Reception
The task got a poor reception at the top crabbers movie bonanza. Fans of the genre finding the ending particularly disappointing and devoid of any horror.

References

External links

2011 films
2011 horror films
British horror films
British slasher films
Lionsgate films
Films shot in Bulgaria
Horror films about clowns
2010s English-language films
2010s British films

The Task (film)


The Death of Nelson, 21 October 1805 is an 1807 painting by Arthur William Devis portraying the death of Horatio Nelson at 16:30 on 21 October 1805, below decks on his flagship  during the Battle of Trafalgar. It is now in the National Maritime Museum, Greenwich.

Inception
Only a month after Trafalgar, on 22 November, a press advert by the publisher Josiah Boydell announced he would give a prize of 500 guineas for the best "Death of Nelson" painting, which he would then engrave.  Devis and Benjamin West were the two most notable entrants.  Devis was released from debtors' prison to produce such a painting, in order to pay off his debts, and – possibly with the help of Alexander Davison (Nelson's banker and one of Devis's patrons) – was allowed to spend a week on board  off Portsmouth after her return from Trafalgar. There he made sketches, a model of the place Nelson died, notes and studies for the individual portrait heads (including a sketch of Nelson's body and the bullet that had killed him, during the autopsy on 11 December by Dr William Beatty, the ship's surgeon, as the ship sailed from Portsmouth to the Nore for Nelson's lying-in-state), as well as a separate portrait of Dr Beatty.  Beatty also commissioned Devis to produce a half-length painting of Nelson as vice-admiral from the autopsy sketches, which he lent to Emma Hamilton (who later lost it in an accident whilst travelling), and illustrations for his Narratives.

Reception

West criticised Devis's treatment, which was in contrast to West's own "Epic Composition", also titled The Death of Nelson (which even more inaccurately showed Nelson dying on Victory'''s quarterdeck where he had first been shot, and was refused by the Greenwich Royal Naval Hospital on West's death – it is now in the Walker Art Gallery Liverpool).  However, it was Devis's work that won Boydell's commission, though it was only printed in 1812 despite having already gained 800 subscribers by August 1806 and despite the chosen engraver, William Bromley, having promised to have it done in two years from December 1806.  West's painting had made it to print by 1811 and the two had equally great success in the short term, though the Naval Gallery (housed in the Painted Hall at Greenwich Hospital) refused to buy Devis's painting from Boydell.  However, Devis's was purchased by Nicholas Vansittart, Lord Bexley (envoy to the Danes at the time of the Battle of Copenhagen), who in 1825 presented it to the Naval Gallery, from which point onwards it became the better known of the two works.  Devis's large oil sketch for it was bought in 1852 by Queen Victoria, from 1892 or earlier to 1992 a waxwork tableau at Madame Tussaud's reproduced the painting, a smaller copy was placed near Nelson's place of death during restoration of Victory in the 1920s, and the original was placed as the Painted Hall's central painting by the late 19th century.  In this position, it was at the heart of the Hall's role as a major Nelsonic and naval shrine.

Accuracy and iconography
As with its model, Benjamin West's 1777 The Death of General Wolfe (engraved by Boydell's uncle John), this painting takes liberties with the actual setting and people present.  The place of death on the 'tween-deck was actually far shorter than depicted, and Captain Thomas Hardy (standing behind Nelson) was not present at the moment of death.  The grouping, with Nelson's posture against a large timber of the ship's hull and role as the main light source in an otherwise dark painting, recalls the Deposition of Christ from the cross.

Persons depicted
Revd Alexander Scott, Nelson's chaplain, rubbing his chest to help relieve the painVictorys purser Walter Burke, supporting the pillow.
Nelson's steward, Chevalier, looking towards Beatty
William Beatty, ship's surgeon, who feels Nelson's pulse and is about to pronounce him dead
Captain Thomas Hardy, standing behind Nelson
Midshipman Collingwood and Lieutenant John Yule (rear left and left), with a pile of captured enemy flags being brought in by a seaman
Guitano, Nelson's valet, standing in right profile in front of Collingwood, holding a glass from which Nelson took his last sips of waterVictory'''s carpenter, Mr Bunce, stands on the far right above Bligh
Lieutenant George Miller Bligh, the dazed and wounded figure far right, below Bunce
Assistant Surgeon Neil Smith seated far right

References

External links
Death of Nelson in National Maritime Museum collection

Cultural depictions of Horatio Nelson
1807 paintings
English paintings
Paintings about death
1805 in Europe
Naval war paintings
Paintings in Royal Museums Greenwich

The Death of Nelson, 21 October 1805


Viral license is an alternative name for copyleft licenses, especially the GPL, that allows derivative works only when permissions are preserved in modified versions of the work. Copyleft licenses include several common open-source and free content licenses, such as the GNU General Public License (GPL) and the Creative Commons Attribution-ShareAlike license (CC BY-SA).

Scope
The term is most often used to describe the GPL, which requires that any derivative work also be licensed under compatible licenses with the GPL. The viral component is described as such because the licenses spreads a continuing use of the licenses in its derivatives. The "virality" can force a license change of free software, e.g. when software is derived from two or more sources having incompatible viral licenses in which the derivative work could not be re-licensed at all.

Although the concept is generally associated with licenses that promote free content, some have attempted to compare it to the proprietary original equipment manufacturer source code software distribution agreements which grant licensees the right to redistribute copies of the software, but restrict what terms can be in the end user license agreement. Such licenses could be considered viral if they led derivative or connected software to gain the same license.

As an example of viral licensing outside software, after it was revealed that French author Michel Houellebecq plagiarized sections of Wikipedia articles in his novel La Carte et Le Territoire, some commentators said that this automatically made his entire book licensed under the CC BY-SA Attribution and ShareAlike license.

History
The term 'General Public Virus' or 'GNU Public Virus' (GPV) as a pejorative name dates back to a year after the GPLv1 was released. In 2001 Microsoft vice-president Craig Mundie remarked "This viral aspect of the GPL poses a threat to the intellectual property of any organization making use of it." In another context, Steve Ballmer declared that code released under GPL is useless to the commercial sector (since it can only be used if the resulting surrounding code becomes GPL), describing it thus as "a cancer that attaches itself in an intellectual property sense to everything it touches". In response to Microsoft's attacks on the GPL, several prominent Free Software developers and advocates released a joint statement supporting the license.

Criticism of the term
According to Free Software Foundation compliance engineer David Turner, the term viral license creates a misunderstanding and a fear of using copylefted free software. David McGowan has written that there is no reason to believe the GPL could force proprietary software to become free software, but could "try to enjoin the firm from distributing commercially a program that combined with the GPL'd code to form a derivative work, and to recover damages for infringement."  If the firm "actually copied code from a GPL'd program, such a suit would be a perfectly ordinary assertion of copyright, which most private firms would defend if the shoe were on the other foot."
Richard Stallman has described this view with an analogy, saying, "The GPL's domain does not spread by proximity or contact, only by deliberate inclusion of GPL-covered code in your program. It spreads like a spider plant, not like a virus."

Interoperability
Popular copyleft licenses, such as the GPL, have a clause allowing components to interact with non-copyleft components as long as the communication is abstract, such as executing a command-line tool with a set of switches or interacting with a Web server. As a consequence, even if one module of an otherwise non-copyleft product is placed under the GPL, it may still be legal for other components to communicate with it normally. This allowed communication may or may not include reusing libraries or routines via dynamic linking — some commentators say it does, the FSF asserts it does not and explicitly adds an exception allowing it in the license for the GNU Classpath re-implementation of the Java library.

The interoperability clauses are often pragmatically inoperative due to the vigorous enforcement and strict interpretation of the GPL as it related to integration, aggregation, and linking. It is argued that most forms of incorporation, aggregation, or connectivity with GPL-licensed code is a derivative work that must be licensed under the GPL. In recent years, a number of communities using GPL-incompatible licenses have dropped efforts and support for interoperability with GPL-licensed products in response to this trend. Some developers and communities have switched to the GPL or a GPL-compatible license in response, which critics and supporters alike agree is intentional result.

See also
 Viral phenomenon
 Permissive license
 Patentleft

References

External links
 MS lawyers join open source fray, CNET, Stephen Shankland, 25 June 2001

Criticism of copyleft

Viral license


Dathuputhran is a 1970 Indian Malayalam film,  directed and produced by Kunchacko. The film stars Prem Nazir, Sathyan, Sheela and Jayabharathi in the lead roles. The film had musical score by G. Devarajan.

Cast

Prem Nazir as Ponnachan
Sathyan as Kunjachan
Sheela as Gracy
Jayabharathi as Annakutty
Adoor Pankajam as Achamma
Alummoodan as Kothan Mathai
K. P. Ummer as Jose
Kottayam Chellappan as Police Officer
S. P. Pillai as Kunjavarachan
Ushakumari as Omana
Pankajavalli as Rahel
Kaduvakulam Antony as Paulose
Vijayasree as Vanaja
PJ Antony as Maanichan
Adoor Bhasi as Jose's father
Aranmula Ponnamma as Kunjachan's mother

AJ Abraham as Doctor

Soundtrack
The music was composed by G. Devarajan and the lyrics were written by Vayalar Ramavarma.

References

External links

1970 films
1970s Malayalam-language films

Dathuputhran


Rafter Romance is an American 1933 pre-Code romantic comedy film directed by William A. Seiter and released by RKO Radio Pictures. The film, which was based on the 1932 novel of the same name by John Wells, stars Ginger Rogers, Norman Foster and George Sidney, and features Robert Benchley, Laura Hope Crews and Guinn Williams.

Plot
Mary Carroll (Ginger Rogers) is a young woman from upstate who came to New York City to find a job and a career, but whose money has almost run out. Both she and Jack Bacon (Norman Foster), an aspiring artist who lives in the same Greenwich Village building, are behind on their rent and their landlord, Max Eckbaum (George Sidney), a good-natured soul who nevertheless has expenses to meet, comes up with a solution: Move Mary into Jack's loft and have them share the apartment on a shift basis. They would never see each other or know who the other is, since Jack is out all night and sleeps during the day, and Mary is taking a job selling refrigerators by telephone, which keeps her out all day.

However, both manage to get a very bad impression of each other after realizing the other is of the opposite sex from articles of clothing lying about. A series of misunderstandings leads to a series of pranks aimed at each other: Jack places a bucket in the shower, and when Mary goes in it falls on her head. Then she places Jack's suit in the shower, so that it gets wet. In retaliation, he saws Mary's bed in half so that it would come apart when she sits on it.

The situation gets complicated when the couple accidentally meet outside their apartment and, not knowing who the other is, begin to fall in love. Matters get worse when Mary's boss, lecherous H. Harrington Hubbell (Robert Benchley), tries to invite her out for dinner, while Jack's would-be "patron", a lonely, libidinous, rich older woman, Elise Peabody Willington Smythe (Laura Hope Crews), tries to maintain her monopoly over Jack.

When Jack accompanies Mary to a company picnic, they slip away from the group together and miss the bus back to town, forcing them to take a taxi. When they arrive at Jack's home, Mary realizes that Jack is her roommate. Trying to allay what he assumes are her suspicions about the arrangement, and unaware Mary is the person with whom he has been sharing the attic loft, Jack strongly denounces his co-tenant to her until the landlord comes and explains all.

Elise and Hubbell also arrive at the apartment, where Elise tries to bribe Mary, while a protective cabdriver, Fritzie (Guinn Williams), punches Hubbell, mistaking him for Jack. Realizing his mistake, Fritzie then goes to his cab where Jack is pleading with Mary. Fritzie is about to punch Jack when Mary intervenes, and the cab drives off with Jack and Mary kissing in the backseat. Asked if they will get married, the landlord says, "I arranged it."

Cast

 Ginger Rogers as Mary Carroll
 Norman Foster as Jack Bacon
 George Sidney as Max Eckbaum
 Robert Benchley as H. Harrington Hubbell
 Laura Hope Crews as Elise Peabody Whittington Smythe
 Guinn Williams as Fritzie
 Sidney Miller as Julius Eckbaum

Production
Production on Rafter Romance began in mid-June 1933. RKO initially announced that Joel McCrea and Dorothy Jordan would star in the film, and then paired Lew Ayres with Ginger Rogers, before casting Norman Foster as the male lead. Foster and Rogers had been teamed before on Young Man of Manhattan in 1930, and also made Professional Sweetheart together later in 1933.

Four years after the release of Rafter Romance, producer Merian C. Cooper re-made it as Living on Love, with James Dunn and Whitney Bourne, also for RKO.  The plots of other films, including the German film Ich bei Tag und du bei Nacht (1932), the French film A Moi le jour, à toi nuit (1932) and the British Early to Bed (1933) have similarities to Rafter Romance, but are actually based on a completely separate screenplay by Robert Liebmann and János Székely.

Merian C. Cooper accused RKO of not paying him all the money contractually due for the films he produced in the 1930s. A settlement was reached in 1946, giving Cooper complete ownership of six RKO titles:
 Rafter Romance
 Double Harness (1933) with Ann Harding and William Powell
 The Right to Romance (1933) with Ann Harding and Robert Young
 One Man's Journey (1933) with Lionel Barrymore
 Living on Love (1937)
 A Man to Remember (1938)

According to an interview with a retired RKO executive, Cooper withdrew the films, only allowing them to be shown on television in 1955-1956 in New York City.  In 2007 the films were shown at the Film Forum in New York, and Turner Classic Movies, which had acquired the rights to the six films after extensive legal negotiations, broadcast them, their first full public exhibition in over 70 years. TCM, in association with the Library of Congress and the Brigham Young University Motion Picture Archive, had searched many film archives throughout the world to find copies of the films in order to create new 35mm prints.

References

External links

1933 films
1933 romantic comedy films
American romantic comedy films
American black-and-white films
Films scored by Max Steiner
Films directed by William A. Seiter
Films set in New York City
Films based on American novels
1930s English-language films
1930s American films
English-language romantic comedy films

Rafter Romance


A fillet was originally worn in classical antiquity, especially in cultures of the Mediterranean, Levant and Persia, including Hellenic culture. At that time, a fillet was a very narrow band of cloth, leather or some form of garland,  frequently worn by athletes. It was also worn as a sign of royalty and became symbolized in later ages as a metallic ring which was a stylized band of cloth. Greeks called it Diadema (διάδημα) and although most Roman Emperors didn't wear it, after Caesar refused it when offered him by Antonius, except in a few cases, Constantine the Great adopted the Greek emblem of royalty. Before the diadem was worn by the Roman emperors as a symbol of sovereignty, it was used as a head-dress by Roman women.

Later, in medieval times, a fillet was a type of headband worn by unmarried women, in certain monk hoods, usually with a wimple or barbette.
This is indicated in the sign language of said monks (who took oaths of silence), wherein a sweeping motion across the brow, in the shape of a fillet, indicated an unmarried woman.

Gallery

See also
 Diadem
 Tainia
 Wreath

References

13th-century fashion
14th-century fashion
Headgear
Crowns (headgear)

Fillet (clothing)


is a 2015 Japanese film, featuring a crossover between the casts and characters of the Super Sentai television series Ressha Sentai ToQger and Zyuden Sentai Kyoryuger, including the debut appearance of the main cast of Shuriken Sentai Ninninger. Kyaeen's Hiroyuki Amano guest stars. It was released nationally in Japan on January 17, 2015.

Story
Lady of the Galaxy Line informs the ToQgers that a strange energy is heading its way to Earth as it sends a Galaxy Line terminal crashing to Earth. The ToQgers investigate, finding themselves fighting a group of Cambrima and Zorima before the main five members of the Kyoryugers save them from the Deboth Army grunts. Noticing how long it has been since they fought together, the Kyoryugers take over the fight and defeat the Deboth Army minions before learning the Galaxy Line terminal is surrounded by a barrier. The Ressha arrives and Daigo, able to see it despite being an adult due, is given a special pass. Once in the Ressha, Daigo reveals the figure who created around the terminal to be the one who created his team's enemy Deboth: Creator Devius. Furthermore, Daigo explains that Devius is siphoning the Galaxy Line terminal's energy and that his team have a chance to stop him before he reaches full power to destroy Earth. Though Right offers his aid, Daigo turns down the ToQgers' help as they are unable to fight the Deboth Army and advises them to leave this to him and his team. At Castle Terminal, Crimson High Priest Salamazu appears before Emperor Z to set up an alliance between the Shadow Line and Devius.

While waiting for a train, Utsusemimaru finds himself facing Clock Shadow and a group of Close before Akira arrives to aid the Kyoryuger. The two sixth-member Sentai warriors transform to fight Clock Shadow as the rest of the ToQgers arrives. The only one who knows Clock Shadow's power to de-age people with his singing voice, ToQ 6gou summons the Build Ressha to get his team and Kyoryu Gold away from Clock Shadow, who then finds himself surrounded by the unorthodox Shuriken Sentai Ninninger team, who drives him away. But Clock Shadow succeeds in restoring the ToQgers to their child forms while turning Utsusemimaru into a baby. After being driven back by Salamazu and the Shadow line, the Kyoryugers meet with the ToQgers as the latter discuss a team-up despite Daigo's refusal to her children involved. Before Right explains it is no different than before, the groups are ambushed by Clock Shadow the Close and Zorima. Despite the Kyoryugers' intent to protect the children, the ToQgers transform and exchange their ToQ Ressha with the Kyoryugers' Zyudenchi so the Sentai teams can combine their Imagination and Brave to defeat the grunts.

But after dissolving his partnership with the Shadow Line to steal their darkness to complete Devius's power up, Salamazu appears and absorbs Clock Shadow and the remaining grunts before he transforms into a giant box train worn by five giant Close. Kyoryuzin, ToQ-Oh and Build DaiOh face Salamazu before forming Gigant Kyoryuzin with Ressha and ToQ Rainbow with Zyudenchi to defeat their enemy while the ToQgers and Utsusemimaru return to their adult status. However, the victory is short-lived as Devius appears and proceeds to use the darkness Salamazu gave him to overwhelm the Sentai teams with the Kyoryugers injured. Later, at the Hyper Ressha Terminal, the ToQgers understand that they may need to fight Devius on their own as the Zyudenryu left their Zyudenchi in the terminal. Daigo, overhearing the ToQgers' discussion about protecting their families, understands them a bit better. The next morning, the Conductor, Ticket, and Wagon have gathered in the office of the President of the Rainbow Line where they meet the spirit of Torin. With Torin's cooperation, they were able to combine the giant Zyudenchi to create a Brave Zyudenchi. The attack plan is for the other ToQgers to hold off Devius' defenses when the Red Ressha gets the Brave Zyudenchi to the barrier to breakthrough.

While the others contend with Cryners and revived Shadow Creeps, ToQ 1gou reaches the terminal and faces Devius before being overwhelmed. Things seem bleak until Kyoryu Red arrives to ToQ 1gou's aid while the other Kyoryugers aid the ToQgers. After Devius achieves full power, ToQ 1gou and Kyoryu Red assume their Hyper ToQ 1gou and Kyoryu Red Carnival forms to defeat him with a Gabutyra Ressha before escaping the cave-in. But Devius is revealed to have survived as he emerges as a giant to wipe out the two Sentai teams. However, the ToQgers find unexpected help from the Shadow Line, who want revenge on Devius's treachery, along with the other Kyoryugers that Canderrilla and Luckyuro called last night. The three groups proceed to clip Devius's wings before destroying him for good. Later, the ToQgers say their goodbyes to the Kyoryugers with Daigo wishing them the best of luck at getting home someday.

Cast
: ,
: ,
: ,
: ,
: ,
:
:
:
:
:
:
: ,
:
:
:

Voice cast
:
:
:
:
, ToQger Equipment Voice:
:
:
:
:
, Cryner and Castle Terminal Announcements:
:
:
:
:
:
:
:
:
:
:
:
:
Kyoryuger Equipment Voice:
Ninninger Equipment Voice:

Reception
The film has earned  at the Japanese box office.

References

External links
(In Japanese)

2010s Super Sentai films
Crossover tokusatsu films
2015 films
Films scored by Toshihiko Sahashi

Ressha Sentai ToQger vs. Kyoryuger: The Movie


Fleur Nicolette Andrea van de Kieft (born 22 October 1973 in Amsterdam) is a former field hockey striker from the Netherlands, who played 137 official international matches for Holland, in which she scored a total number of 44 goals.

Van de Kieft was a member of the Dutch Women's Team that won the bronze medal at the 2000 Summer Olympics, after defeating Spain (2-0) in the third place match. Four years earlier, when Atlanta, Georgia hosted the Games, she won her first Olympic bronze medal.

A player from Laren and Rotterdam Van de Kieft made her debut for the Dutch on 29 January 1996 in a friendly against the United States. Her last cap came on 1 September 2002, when Holland defeated Australia: 4–3.

References
KNHB Profile

External links

1973 births
Living people
Dutch female field hockey players
Olympic field hockey players for the Netherlands
Field hockey players at the 1996 Summer Olympics
Field hockey players at the 2000 Summer Olympics
Field hockey players from Amsterdam
Olympic bronze medalists for the Netherlands
Olympic medalists in field hockey
Medalists at the 1996 Summer Olympics
Medalists at the 2000 Summer Olympics
20th-century Dutch women
21st-century Dutch women

Fleur van de Kieft


In metallurgy, hot working refers to processes where metals are plastically deformed above their recrystallization temperature. Being above the recrystallization temperature allows the material to recrystallize during deformation. This is important because recrystallization keeps the materials from strain hardening, which ultimately keeps the yield strength and hardness low and ductility high. This contrasts with cold working.

Many kinds of working, including rolling, forging, extrusion, and drawing, can be done with hot metal.

Temperature
The lower limit of the hot working temperature is determined by its recrystallization temperature. As a guideline, the lower limit of the hot working temperature of a material is 60% its melting temperature (on an absolute temperature scale). The upper limit for hot working is determined by various factors, such as: excessive oxidation, grain growth, or an undesirable phase transformation. In practice materials are usually heated to the upper limit first to keep forming forces as low as possible and to maximize the amount of time available to hot work the workpiece.

The most important aspect of any hot working process is controlling the temperature of the workpiece. 90% of the energy imparted into the workpiece is converted into heat. Therefore, if the deformation process is quick enough the temperature of the workpiece should rise, however, this does not usually happen in practice. Most of the heat is lost through the surface of the workpiece into the cooler tooling. This causes temperature gradients in the workpiece, usually due to non-uniform cross-sections where the thinner sections are cooler than the thicker sections. Ultimately, this can lead to cracking in the cooler, less ductile surfaces. One way to minimize the problem is to heat the tooling. The hotter the tooling the less heat lost to it, but as the tooling temperature rises, the tool life decreases. Therefore the tooling temperature must be compromised; commonly, hot working tooling is heated to 500–850 °F (325–450 °C).

Advantages and disadvantages
The advantages are:
Decrease in yield strength, therefore it is easier to work and uses less energy or force
Increase in ductility
Elevated temperatures increase diffusion which can remove or reduce chemical inhomogeneities
Pores may reduce in size or close completely during deformation
In steel, the weak, ductile, face-centered-cubic austenite microstructure is deformed instead of the strong body-centered-cubic ferrite microstructure found at lower temperatures

Usually the initial workpiece that is hot worked was originally cast. The microstructure of cast items does not optimize the engineering properties, from a microstructure standpoint. Hot working improves the engineering properties of the workpiece because it replaces the microstructure with one that has fine spherical shaped grains. These grains increase the strength, ductility, and toughness of the material.

The engineering properties can also be improved by reorienting the inclusions (impurities). In the cast state the inclusions are randomly oriented, which, when intersecting the surface, can be a propagation point for cracks. When the material is hot worked the inclusions tend to flow with the contour of the surface, creating stringers. As a whole the strings create a flow structure, where the properties are anisotropic (different based on direction). With the stringers oriented parallel to the surface it strengthens the workpiece, especially with respect to fracturing. The stringers act as "crack-arrestors" because the crack will want to propagate through the stringer and not along it.

The disadvantages are:
Undesirable reactions between the metal and the surrounding atmosphere (scaling or rapid oxidation of the workpiece)
Less precise tolerances due to thermal contraction and warping from uneven cooling
Grain structure may vary throughout the metal for various reasons
Requires a heating unit of some kind such as a gas or diesel furnace or an induction heater, which can be very expensive

Processes
Rolling
Hot rolling
Hot spinning
Extrusion
Forging
Drawing
Rotary piercing

References

Notes

Bibliography
.

Metalworking
Metallurgical processes

Hot working


Richard Chen is the former executive chef of Wing Lei, a Chinese restaurant inside Wynn Las Vegas.

Early life and education
Chen was introduced to catering at the age of seven by his parents who ran a restaurant in Taiwan. The family moved to the United States and re-established a new restaurant in suburban Chicago where Richard continued assisting them. Chen graduated at the Culinary Institute of America in Hyde Park, New York.

Career
In 1986 he was appointed chef at the La Vista International Hotel (which was in December 1995 renamed as Marriott World Trade Center).

He then returned to Chicago to become a chef in Euro-French cuisine at the Ritz-Carlton Chicago.

In 2002, Chen became Chef de Cuisine and manager of the fusion restaurant Shanghai Terrace at The Peninsula Chicago. Chicago magazine named it as one of its "Best New Restaurants" in 2002 and Zagat listed it in the "Top Food, Service and Décor" category.

While at the Shanghai Terrace, Chen also became executive chef of Wing Lei starting April 28, 2005 after an extensive recruitment campaign by Steve Wynn himself. The 2008 Las Vegas Michelin Guide awarded it one star, making it the only Chinese restaurant in North America to have earned the honor. It has also received the 2008 AAA Four Diamond award. The name Wing Lei is derived from the translation of the Chinese character for Wynn and means "forever prosperous".

Chen married Cathy Yee in the summer of 2006. Cathy owns the Chinese restaurant Ya Fei in the Robinson neighborhood in Pittsburgh. Kathy herself was named Pittsburgh Magazine'''s Restaurateur of the Year.

Chen then opened his contemporary Chinese restaurant, Richard Chen Pan Asian Cuisine, on August 1, 2008, in the recently re-identified Eastside development in East Liberty neighborhood of Pittsburgh with executive chef Simon Lewis and general manager Alec Chipman and co-owner and wife Cathy Chen. It featured upscale dining for Pan-Asian cuisine in a fusion-inspired interior. EDGEstudio from Pittsburgh's Garfield neighborhood designed the 120 seat,  interior. In its short 9 months of operations, it became locally favoured and was a semi-finalist for best new restaurant for the 2009 James Beard Foundation Award. It temporarily closed April 29, 2009 and permanently closed on April 30, 2009, citing economic concerns. A pan-Asian restaurant has opened in the space. Pittsburgh Magazine'' readers voted it the 2009 "Worst Loss to the Local Dining Scene".

In May 2011, Chen left Wing Lei to start Kushi Yama in Amarillo, Texas.

Chen has repeatedly explained to various interviewers how his French influenced light Chinese plates, which require impeccable technique in the making, differ so evidently from popular Chinese take-out food.

References

Year of birth missing (living people)
Living people
American people of Taiwanese descent
People from the Las Vegas Valley
American chefs
American male chefs
Chinese chefs
Culinary Institute of America Hyde Park alumni

Richard Chen