Priyanka Bassi is an Indian television actress popularly known for her famous act as Cadet Naina Singh Ahluwalia in the popular soap Left Right Left. She is originally from Delhi and has also attended Barry John's Theatre Group.

Television career
Priyanka made her debut with India's second English-language soap opera Bombay Talking in 2005 She played Sheena Malik, an aspiring actress in Bollywood. Her performance was well received and she was nominated for Indian Telly Awards 2006.

Beginning in 2006, she played the character Naina Singh Ahluwalia in the show Left Right Left. She was nominated for several awards for the role, including the 2007 Ita Best Actress award. She won the Idea Glamour star of the year award in 2007.

In 2008, she participated in Mr. & Ms. TV on Sony where she reached the semi-finals.

In December 2010, she returned to TV screen with Rang Badalti Odhni on Star One.

In April 2011 starred as Kaya Sehgal in Surya The Super Cop on Sony Entertainment Television.

In 2012, she participated in Star Plus's Indian version of the reality show Survivor. She was voted out in the fifth episode.

In 2012, she acted in one episode of Fear Files as Laila which aired on Zee TV.

In 2013 "Priyanka Bassi" ventured into film and television production and setup her production companies collaborating as partner with "Zeishan Quadri" Friday to Friday Entertainers & Media Pvt. Ltd. and Magical Sevenus Pvt. Ltd.

In 2015 her 1st production "Meeruthiya Gangster" as a producer, is due to release on 18 September.

In 2019, she produced the ZEE5 original web series Bhoot Purva under Friday to Friday Entertainers & Media Pvt. Ltd. and the web series was directed by Zeishan Quadri.

Reality shows
2012 Survivor India as Contestant

Modelling
Apart from acting, Priyanka has also done modelling for several brands including Santoor and Bsl Suitings. She has appeared in many music videos including the popular 'Para Hoja Soniye' sung by Channi Singh.

Awards

References

Living people
Actresses from Delhi
Indian television actresses
Female models from Delhi
Actresses in Hindi television
21st-century Indian actresses
Year of birth missing (living people)

Priyanka Bassi


Futsal is a sport that is like association football, but on hard court. It is played on indoor courts by two teams with five players each. Its name is short for futbol de salao, which means "room football" in the Portuguese language, or fútbol de sala, which is the same in the Spanish language. Futsal is most popular in European countries, like Portugal, Spain, Italy, Russia and Kazakhstan and South American countries, like Brazil, Argentina and Uruguay. However, it is also played in many other countries.

The pitch is between 38 and 42 meters long and between 20 and 25 meters wide. This is shorter and narrower than football. The pitch is a hard court and smooth, unlike grass in football. The halves of the game are both twenty minutes long, shorter than the usual 45 minutes in football. There are 6 players on the court in total, including the goalkeeper. Substitutions are unlimited, and the maximum number of subs is 9. Players who break the rules can get yellow or red cards. If a player gets a red card, they can't play in that game anymore. The team that got the red card also has to play with one less player for two minutes or until the other team scores a goal. Another difference from football is that when the ball goes out, instead of throwing it back in, it is kicked in. There is also no offside in futsal.

A teacher from Uruguay called Juan Carlos Ceriani made the game in 1930. The rules were made in Sao Paulo, Brazil in 1933. He used rule templates from Football (soccer), Basketball, and Handball. A World Championship was held in 1971 in Rio de Janeiro, Brazil. The first Futsal World Cup was in 1989 in Rotterdam, Netherlands. Since 1992 it is played every 4 years. In the 2016 Summer Olympics, Futsal was played for the first time in the Olympics.

The impotence of the futsal rules
The importance of futsal are the rules. There is a 6 second rules on the goalkeeper if they hold it longer it is a foul called on the goalkeeper. I will add the importance of no throw ins you have to set the ball on the floor and play. Free-kicks have to be 2 touch and the wall has to be 2 feet or 3 feet away The goalkeeper punts are not allowed in futsal , It is a closed area or open with a net or ceiling on top. Soccer and futsal are very different. Soccer is a sport that is played on a way bigger pitch with 10 players (110 by 100m long and 75 by 64 m wide) and it has different motion throughout the game like how the ball moves fast , slow you may never know. Futsal has about 5-6 players and the pitch is 3x smaller than a soccer pitch and it is about  (25 - 42 m long 16 - 20 m wide).  There are no slide tackles or else the is a foul called on you. Their is headers available but futsal is usually played fast and on the floor. If the ball touches the top net or ceiling it is the other teams ball.

FIFA Futsal World Cup winners

 Netherlands 1989: Brazil
 Hong Kong 1992: Brazil
 Spain 1996: Brazil
 Guatemala 2000: Spain
 Chinese Taipei 2004: Spain
 Brazil 2008: Brazil
 Thailand 2012: Brazil
 Colombia 2016: Argentina

References

Team sports
Indoor sports
Association football

Futsal


Acacia falcata, commonly known as sickle wattle and by other vernacular names including sally, is a perennial shrub or tree native to eastern Australia, which reaches five metres in height and has cream flowers in early winter. It gets its common and scientific name for its sickle-shaped leaves. Hardy and adaptable to cultivation, it is used in regeneration of bushland.

Taxonomy
German botanist Carl Ludwig Willdenow was the first to officially describe the sickle wattle in 1806, although his countryman Johann Christoph Wendland had given it the name Mimosa obliqua in 1798, this was deemed an illegitimate name. The species name is derived from the Latin word falx "sickle". Some common names for it are burra, sally, sickle-shaped acacia and silver-leaved wattle.

Description

Found as a shrub or small tree from  high, Acacia falcata has grey or black bark. Like most wattles it has phyllodes rather than leaves. These are a pale green or grey-green and sickle-shaped, measuring  in length, by  wide with a prominent mid vein. The small round flowers are cream or pale-yellow and appear in early winter from April to August. These are followed by thin seed pods which are  long and  wide. The pods mature from September to December.

Distribution and habitat
The range is from Queensland south through eastern New South Wales to Bermagui on the south coast. It grows predominantly on shale soils in open forest, and is associated with such trees as Eucalyptus paniculata, E. longifolia and  E. tereticornis. Naturalised, it has been recorded in Java in Indonesia, and in North Island in New Zealand.

Ecology
Plants live for five to twenty years in the wild, and are killed by bushfire. The seed is released in December, and dispersed by wind. It is stored in the soil, although it is unclear how related germination is to bushfire. Seed can germinate in disturbed areas.

Acacia falcata is the host plant for the imperial hairstreak (Jalmenus evagoras). One field study recovered 98 species of bug (hemiptera) from A. falcata across its range.

Cultivation and uses
Acacia falcata is adaptable to a wide range of soils in cultivation, and its attractive foliage is a horticultural feature. It is propagated by seed which must be pretreated with boiling water before it is able to germinate. It is easy to grow given a good sunlit position and good drainage, and is used in revegetation.

Australian indigenous people use the bark to make a liniment for treating ailments of the skin. A. falcata is excellent for stabilizing barren sand. The bark is important in the tanning industry.

The 1889 book The Useful Native Plants of Australia records that common names included 'hickory' and 'sally' and that Indigenous Australians of the Cumberland and Camden areas of New South Wales referred to it as "Weetjellan". It also notes that "This bark, which contains much tannin, was used by the Aboriginals [sic.] of the counties of Cumberland and Camden to stupefy fish, and to make embrocations for the cure of cutaneous diseases."

References

falcata
Fabales of Australia
Trees of New Zealand
Trees of Australia
Flora of New South Wales
Flora of Queensland
Shrubs
Medicinal plants of Australia

Acacia falcata


The Holocene extinction is the extinction of nearly all large mammal species after the end of the ice age. This was done by by humans hunting the animals, and by climate change.

Habitat destruction and over-harvesting are two of the primary causes which drive species extinct in more recent times. The fundamental cause of this is the huge increase in human population since the agricultural revolution.

Forests and natural habitats have been greatly reduced throughout the world, and this has been the cause of many extinctions.

References

Earth
Animals
Extinction events

Holocene extinction


Hērbad (also hīrbad, hērbed or ērvad) is a title given to Zoroastrian priests of minor orders.

In the present day, hērbad is the lowest rank in the Zoroastrian priesthood, and is granted following the basic navar ceremony that marks the beginning of theological training. Unlike a mobed or dastūr, a hērbad may not celebrate the yasna, the main service. He may however assist. A hērbad may also not officiate at a recitation of the Vendidad, which is reserved for priests of higher grade.

Amongst lay Zoroastrians, the three terms are used interchangeably. Unlike mobed but like dastūr, hērbad may be adopted as a professional title in a person's name.

History of term
Middle Persian 𐭧𐭩𐭫𐭯𐭲 harpat (Pahlavi 'yhlpt) derives from Avestan 𐬀𐬈𐬚𐬭𐬀𐬞𐬀𐬌𐬙𐬌 aethrapaiti, which the Avesta uses denote a priestly teacher whose students (aethrii) would be taught to recite the sacred texts. By the 2nd century CE, the term had come to refer to a clergyman who taught religious subjects, and the term appears to have commanded greater prestige than it does today. In the late 3rd century inscription at the Ka'ba-ye Zartosht, the high-priest Kartir refers to himself as hērbad.

There is some evidence that suggest that already by the 6th century, hērbads performed advanced theological tasks, including translations and interpretation of Avestan texts. The 10th century Denkard refers to the high-priest Tansar, who, in legend, is attributed with the collation of the Avesta, as hērbad.

Following the collapse of the Sassanid state in the 7th century, after which Zoroastrianism began to be supplanted by Islam, the increasingly impoverished Zoroastrian communities found it difficult to support a priesthood known only for their scholarship. By the 9th century, there was an active rivalry between these scholar-priests and ritual priests, with each group underbidding the other in their attempts to secure an income. For Zoroastrian laypersons, the distinction between the two groups was at best theoretical and by the 10th century, the term hērbad had lost most associations of scholarship and eventually came to refer to priests that had no theological authority. Beyond that distinction, the terms hērbad, mobad and dastūr were used interchangeably.

In the 16th century, the Rivayat epistles encouraged the Indian Zoroastrians to distinguish between priests capable of officiating at a Vendidad reading and the others. That led to the reinstatement of a hierarchy, with hērbads at the lowest rung on the ladder. Above them were the mobads, denoting priests who had completed their training. In India, the mobads have a dastur as their superior. This is effectively an administrative rank and denotes a director of a fire temple. A dastūr is also the highest religious instance for the community that worships at that temple.

References

 Herbad

Herbad


Laurie Jill "Lar" Park Lincoln (née Park; born May 12, 1961) is an American actress. She appeared in the 1987 film House II: The Second Story as Kate, the 1988 horror film Friday the 13th Part VII: The New Blood as Tina Shepard, and a 1988 episode of the anthology horror series Freddy's Nightmares as Karyn. Lincoln starred in the television series Knots Landing from 1987 to 1991.

Life and career
Park was born in Dallas, Texas. She made her acting debut appearing in the 1985 made-for-television movie Children of the Night and in 1987 played the leading role in the independent comedy film, The Princess Academy. Also in 1987, she appeared in the comedy horror House II: The Second Story and following year starred as Tina Shepard in the slasher film, Friday the 13th Part VII: The New Blood, the seventh installment in the Friday the 13th franchise. She also guest-starred on television series including Hunter, Outlaws, Highway to Heaven, Freddy's Nightmares, and Tour of Duty.

In 1987, Park was cast as Linda Fairgate, the daughter-in-law to Karen Fairgate (played by series star Michele Lee) in the CBS prime time soap opera, Knots Landing. She first appeared in the two episodes of show's ninth season, before returning with bigger role as of season eleven to thirteenth. In 1988, Park also played "Sally's Friend" in the eight episodes of season 10 of Knots Landing. After leaving the series in 1991, she guest-starred on Murder, She Wrote, Space: Above and Beyond and Beverly Hills, 90210.

Park returned to acting in mid-2000s appearing in the Lifetime movie Inspector Mom: Kidnapped in Ten Easy Steps and low-budget productions. Her notable credits include comedy horror film Sky Sharks (2020), meta-slasher film 13 Fanboy (2021) where she plays a fictionalised version of herself being stalked and hunted by an obsessed Friday the 13th fan, and Rose Blood: A Friday the 13th Fan Film (2021), the unofficial fan film continuing the story of Tina Shepard, Her character from Friday the 13th Part VII: The New Blood.

Personal life
Lincoln was married to Michael Martin Lincoln on December 5, 1981, and remained married until his death on December 4, 1995. She has two children and lives near Dallas, Texas. She has been battling breast cancer since 2008, and by 2012 had gone through numerous surgeries.

Filmography

Film

Television

References

External links

Lar Park Lincoln website

1961 births
American film actresses
American television actresses
Film producers from Texas
Living people
Actresses from Dallas
American women film producers
21st-century American women

Lar Park Lincoln


Live in New York is a 1981 live double album by James Brown. It was recorded in 1980 at the Studio 54 nightclub. It includes two studio instrumentals, "Brown's Inferno" and "Bay Ridge Boogy", performed by the Bay Ridge Band.

In 1982 a single-LP abbreviation of Live in New Yorks contents was released under the title Mean on the Scene (Audio Fidelity/Phoenix). Since then the contents of the original double LP have been reissued repeatedly, usually with the studio instrumentals (and sometimes other tracks) omitted, under titles including At Studio 54 (1994, Charly) and Live in New York 1980''' (2009, Cleopatra).

A film recording of Brown's Studio 54 performance has received various releases, notably the 2008 DVD Double Dynamite'' (Charly).

Track listing

References

James Brown live albums
1981 live albums
Studio 54

Live in New York (James Brown album)


Margaret Harshaw (12 May 1909 – 7 November 1997) was an American opera singer and voice teacher who sang for 22 consecutive seasons at the Metropolitan Opera from November 1942 to March 1964. She began her career as a mezzo-soprano in the early 1930s but then began performing roles from the soprano repertoire in 1950. She sang a total of 39 roles in 25 works at the Met and was heard in 40 of the Metropolitan Opera radio broadcasts.  She was also active as a guest artist with major opera houses in Europe and North and South America.

Harshaw possessed a wide vocal range, was a convincing actress, and was particularly regarded for her portrayals of Wagnerian heroines. She has the distinction of portraying more Wagner roles on the stage of the Metropolitan Opera - altogether 14 - than any other singer in history.  After retiring from the stage, she became a highly regarded singing teacher, serving on the voice faculties of the Curtis Institute of Music and the Jacobs School of Music at Indiana University, and she taught Young Artists' Programs at Santa Fe Opera(Santa Fe New Mexico) and at Lyric Opera of Chicago.

Early life and education
Harshaw was born in Philadelphia, Pennsylvania to a family of Scottish and English descent, Harshaw had her earliest musical experiences singing in church choirs as a child. She often performed duets with her sister Miriam as well but never seriously contemplated a vocal career during her youth. After graduating from high school, she worked for a telephone company.

From 1928 to 1932, she was a member of the alto section of the Mendelssohn Club, a historic choir which at that time performed often with the Philadelphia Orchestra under conductor Leopold Stokowski.  She proceeded to win a series of vocal competitions in the early 1930s which led to performances in Philadelphia and Washington D.C.

Career

Harshaw made her professional opera debut with the Philadelphia Operatic Society as Azucena in Giuseppe Verdi's Il trovatore on April 30, 1934. That same year she sang the Voice of the Mother of Antonia in The Tales of Hoffmann and the shepherd boy in Tosca with the Philadelphia Orchestra under conductor Alexander Smallens. She performed in a few more operas with the orchestra the following year, singing Giovanna in Rigoletto, Mamma Lucia in Cavalleria rusticana, and Katisha in The Mikado. She also portrayed Dame Hannah in Gilbert & Sullivan's Ruddigore with The Savoy Company on May 10, 1935 at the Academy of Music.

In 1935, Harshaw won the National Federation of Music Clubs singing competition which gave her a $1,000 cash prize and led to her New York City concert debut on July 21 of that year at Lewisohn Stadium under conductor José Iturbi. Later that summer she appeared in several operas with the Steel Pier Opera Company in Atlantic City. In 1936 she entered the graduate program at the Juilliard School where she studied voice with Anna Schoen-René who had been taught by the legendary Pauline Viardot, daughter of the Spanish singer and pedagogue Manuel García. While there she sang the role of Dido in a 1939 student production of Henry Purcell's Dido and Aeneas. Walter Damrosch attended the performance and approached her afterwards, saying "My child, one day you will be Brünnhilde". In 1940 she sang in productions of The Bartered Bride, Carmen, The Devil and Daniel Webster (opera), Le donne curiose, Faust, and The Gondoliers at the Chautauqua Opera. She also appeared frequently at the Worcester Music Festival during the early 1940s.

In 1942, Harshaw won the Metropolitan Opera's "Auditions of the Air" (precursor to the National Council Auditions) which led to her début at that house as the Second Norn in Richard Wagner's Götterdämmerung on November 25, 1942 under the baton of Erich Leinsdorf. Over the next nine seasons she sang several other mezzo-soprano roles at the Met, largely in operas by Wagner and Verdi. Her Wagner roles during these years included Brangäne in Tristan und Isolde, Erda, Flosshilde, and Fricka in Das Rheingold, Erda in Siegfried, the First Norn and Waltraute in Götterdämmerung, Fricka and Schwertleite in Die Walküre, Magdalene in Die Meistersinger von Nürnberg, Mary in The Flying Dutchman, Ortrud in Lohengrin, Venus in Tannhäuser, and Kundry and the Voice from Above in Parsifal. Other roles in her Met repertoire included Amelfa in Le Coq d'Or, Auntie in Peter Grimes, Azucena, Amneris in Aida, Frugola in Il Tabarro, Geneviève in Pelléas et Mélisande, Gertrud in Hänsel und Gretel, Herodias in Salome, La Cieca in La Gioconda, Mistress Quickly in Falstaff, the Mother in Louise, the Third Lady in The Magic Flute, and Ulrica in Un Ballo in Maschera.

Harshaw made her first foray into the soprano repertoire singing the role of Senta in The Flying Dutchman opposite Paul Schöffler in the title role on November 22, 1950. By 1954 she had completely left the mezzo repertoire, with the exception of Ortrud, and effectively succeeded Helen Traubel in the Wagnerian heroine roles of Brünnhilde, Elisabeth, Isolde, Kundry, and Sieglinde. Her only non-Wagnerian role during her soprano years at the Met was Donna Anna in Wolfgang Amadeus Mozart's Don Giovanni. She remained with the Metropolitan until the close of the 1963–1964 season. Her final and 375th performance at the Met was as Ortrud on March 10, 1964 with Jess Thomas as Lohengrin, Leonie Rysanek as Elsa, and Joseph Rosenstock conducting.

During her many years at the Met, Harshaw was also active as a guest artist with opera houses throughout North America and Europe. She was committed to the San Francisco Opera between 1944 and 1947, portraying such parts as Amneris, Azucena, Brangäne, Fricka, Geneviève, Herodias, La Cieca, Mistress Quickly, Ortrud, Ulrica, and the Nurse in Boris Godunov. In 1948 she sang at the Opéra National de Paris as Amneris, Brangäne, and Dalila in Samson et Dalila, and in the National Opera in Havana, Cuba, as Brangane, with Kirsten Flagstad. In 1950 she made her first appearance with the Philadelphia Civic Grand Opera Company as Amneris, returning there in 1952 to sing Isolde. She was engaged at the Royal Opera, London from 1953 to 1956 and again in 1960, where she excelled as Brünnhilde in Rudolf Kempe's Ring Cycles. In 1954 she sang Donna Anna at the Glyndebourne Festival. In 1961 she made her debut with the Philadelphia Lyric Opera Company as Ortrud. She portrayed the title heroine in Giacomo Puccini's Turandot at the 1964 New York World's Fair. She also sang with opera companies in Cincinnati, New Orleans, San Antonio, Pittsburgh, Houston, Mexico, and Venezuela. She made several Latin American tours and was a soloist with many of the major American orchestras. Other roles in her repertoire included the Leonore in Fidelio, and the title role in Alceste.

In 1962, Harshaw joined the voice faculty at Indiana University, where she taught until 1993, becoming a Distinguished Professor of Voice. In 1989, she was awarded an honorary Doctorate of Music from Westminster Choir College. For the Indiana University Opera Theater, Harshaw sang two performances of Puccini's Turandot on July 29 and August 8, 1964. She sang Kundry in four performances of Wagner's Parsifal on March 15, 1964, March 19 and March 22, 1967, and March 31, 1968. Her final operatic performance anywhere was at Indiana University on March 22, 1970 as Brünnhilde in Wagner's Die Walküre.

She served on the faculty at the Curtis Institute of Music from 1970 to 1976, when the then opera department for which she primarily taught there was dissolved.

After her retirement from Indiana University, Harshaw moved to Lake Forest, Illinois, where she taught privately until her death.  Among her many students were Laura Aikin, William Burden, Katherine Ciesinski, Vinson Cole, Pablo Elvira, Franz Grundheber, Constance Fee, Kevin Langan, Shirley Love, Mark Lundberg, Nancy Maultsby, Emily Magee, Ronald Naldi, Matthew Polenzani, John Reardon, Nadine Secunde, Martha Sheil, Gregory Stapp, Sharon Sweet, Michael Sylvester, Rebecca Turner, Benita Valente, Christine Weidinger, and Kathryn Bouleyn Day.

Personal life
She was married to Oskar Eichna, who died on September 23, 1992. They had one son, Oskar L. Eichna Jr. (died 22 May 2003), and a daughter Margaret Eichna (married name Baier – deceased 10 September 1993) {Obituary from the Chicago Tribune regarding Margaret Harshaw's daughters passing.}

Death
Harshaw died at the age of 88 in Libertyville, Illinois.

References

External links
 Interview with Margaret Harshaw by Bruce Duffie, January, 1994

1909 births
1997 deaths
Singers from Philadelphia
American operatic mezzo-sopranos
American operatic sopranos
Curtis Institute of Music alumni
Curtis Institute of Music faculty
Jacobs School of Music faculty
Juilliard School alumni
20th-century American women opera singers
Classical musicians from Pennsylvania
Winners of the Metropolitan Opera Auditions of the Air
American music educators
American women music educators
American women academics

Margaret Harshaw


The 2016 Albanian Cup final was a football match played on 22 May 2016 to decide the winner of the 2015–16 Albanian Cup, the 64th edition of Albania's primary football cup.

It was won by the first time by Kukësi 5–3 on penalties after the regular and extra time finished in a 1–1. Kukësi thus won its first Albanian Cup title, missing the opportunity last season where it was defeated by Laçi itself. It was the third consecutive cup final for Kukësi while Laçi had the opportunity to win the title for the third time in the last four editions. For the first time in the history of Albanian football, a cup final match was judged by foreign referees.

As Kukësi won both the Albanian Cup and Skënderbeu Korçë won the 2015–16 Albanian Superliga, the 2016 Albanian Supercup will be between Skënderbeu Korçë and Kukësi.

Background
Laçi had previously played in 2 Albanian Cup finals, winning both respectively against Bylis Ballsh in 2013 and Kukësi in 2015. They were the reigning champions, having defeated Kukësi 2–1 in the previous year's final at their Qemal Stafa Stadium.

Kukësi had been to two, losing both, respectively in 2014 to Flamurtari Vlorë and in 2015 to Laçi. The 2016 final was the second between the two sides.

It will be the 5th consecutive final at the Qemal Stafa Stadium in Tiranë, home of Partizani Tirana.

Route to the final

Laçi

Laçi, of Albanian Superliga, entered the tournament in the first round, against Besa Kavajë of Albanian First Division. The first leg in Besa Stadium, on 16 September 2015, ended in a 3–1 convincing win for Laçi, with manager Armando Cungu who used his best eleven to secure the qualify fast. In the returning leg two week later, Laçi drew 1–1 by using players which were not used too much in the league. Dardan Vuthaj scored the only goal of his team in the 82nd minute.

In the second round, Laçi played their fellow relegation league strugglers Bylis Ballsh. They played the first leg on 21 October which ended in a goalless draw. In the returning leg, however, Laçi won 3–2 thanks to a James Adeniyi hat-trick; Stipe Buljan also scored an own goal in the first half.

Laçi met Partizani Tirana in the quarter-finals, a repeat of the last year's quarter-final. On 23 January at Laçi Stadium, they won 2–0 with second-half strikes of James Adeniyi. In the returning leg on 17 February, the "Red Bulls" won, 1–0, at home thanks to the goal of Xhevahir Sukaj, but Laçi managed to progress into the semi-final for the second consecutive season.

In the semi-finals, Laçi met Skënderbeu Korçë, and won, 1–0, in the home leg on 6 April; Marko Ćetković scored the lone goal in the second half. In the returning leg two weeks later, Skënderbeu won 2–1 but thanks to Ćetković's temporary equalizer goal, Laçi were able to secure a spot in the final thanks to the away goal rule.

Kukësi
Kukësi, also in Albanian Superliga, entered at the same stage against a third-tier opponent, Naftëtari Kuçovë. In the first leg in Bashkim Sulejmani Stadium on 16 September 2015, they suffered a shock defeat 3–1 as the own goal of Gucaj was bounced by the strikes of Kopaçi and Behari; in the returning leg two weeks later at the Zeqir Ymeri Stadium, Kukësi overturned the first-leg results and won 4–1 after extra time; Fjoart Jonuzi scored two decisive goals, including one in the 118th minute of the match.

In the second round, Kukësi met another low-league side, Iliria Fushë-Krujë. In the first leg away on 21 October, Kukësi secured a spot to the quarter-final by scoring five times in the Iliria Fushë-Krujë net. In the returning leg of Albanian Cup second round, the team overwhelmed 3–0 Iliria Fushë-Krujë at home, securing an 8–1 aggregate victory and progression to the quarter-finals. Two goals from Mateus Lima and one strike from Bledar Musolli secured the victory.

In the quarter-finals, Kukësi faced Teuta Durrës. On 23 January, Kukësi was defeated 1–0 at away leg; Ardit Hila scored the lone goal in the 20th minute. In the returning leg at home, Kukësi won 2–0 thanks to the goals from Ylli Shameti and Renato Malota, the centre-backs of the team.

Kukësi were tasked with out of form Flamurtari Vlorë in the semi-finals. In the first leg away on 6 April, Edon Hasani scored an early goal in the 11th minute which was followed by Shameti's header nine minutes later, which almost had qualified Kukësi in the final. On 20 April, in the returning leg of Albanian Cup, Kukësi recorded another 2–0 win against Flamurtari, securing a 4–0 aggregate victory and progression in the final for the second consecutive season.

Pre-match
Before the final, both teams required foreign referees for the match. That was more specifically the request of Kukësi rather than Laçi.

Match

References

Albanian Cup
Cup
Albanian Cup finals
Albanian Cup Final, 2016
Albanian Cup Final, 2016
Albanian Cup Final 2016

2016 Albanian Cup final


Sir Francis Leggatt Chantrey  (7 April 1781 – 25 November 1841) was an English sculptor. He became the leading portrait sculptor in Regency era Britain, producing busts and statues of many notable figures of the time. Chantrey's most notable works include the statues of King George IV (Trafalgar Square); King George III (Guildhall), and George Washington (Massachusetts State House). He also executed four monuments to military heroes for St Paul's Cathedral, London. He left the Chantrey Bequest (or Chantrey Fund) for the purchase of works of art for the nation, which was available from 1878 after the death of his widow.

Life

Chantrey was born at Jordanthorpe near Norton (then a Derbyshire village, now a suburb of Sheffield), where his family had a small farm.
His father, who also dabbled in carpentry and wood-carving, died when Francis was twelve; and his mother remarried, leaving him without a clear career to follow. At fifteen, he was working for a grocer in Sheffield, when, having seen some wood-carving in a shop-window, he asked to be apprenticed as a carver instead, and was placed with a woodcarver and gilder called Ramsay in Sheffield.

At Ramsay's house he met the draughtsman and engraver John Raphael Smith who recognised his artistic potential and gave him lessons in painting, and was later to help advance his career by introducing him to potential patrons.

In 1802, Chantrey paid £50 to buy himself out of his apprenticeship with Ramsay and immediately set up a studio as a portrait artist in Sheffield, which allowed him a reasonable income.

For several years he divided his time between Sheffield and London, studying intermittently at the Royal Academy Schools. In the summer of 1802, he travelled to Dublin, where he fell very ill, losing all his hair. He exhibited pictures at the Royal Academy for a few years from 1804, but from 1807 onwards devoted himself mainly to sculpture.

Asked later in life, as a witness in a court case, whether he had ever worked for any other sculptors, he replied: "No, and what is more, I never had an hour's instruction from any sculptor in my life".

His first recorded marble bust was one of the Rev. James Wilkinson (1805–06), for Sheffield parish church. His first imaginative sculpture, a head of Satan was shown at the Royal Academy in 1808.

In 1809, the architect Daniel Asher Alexander commissioned him to make four monumental plaster busts of the admirals Duncan, Howe, Vincent and Nelson for the Royal Naval Asylum at Greenwich, for which he received £10 each. Three of them were shown at the Royal Academy that year.

On 23 November 1809, he married his cousin, Mary Ann Wale at St Mary's Church, Twickenham. By this time he was settled permanently in London, His wife brought £10,000 into the marriage, which allowed Chantrey to pay off his debts, and for the couple to move into a house at 13 Eccleston Street, Pimlico, (recorded as Chantrey's address in the Royal Academy catalogues from 1810). He also bought land to build two more houses, a studio and offices. In 1811, he showed six busts in the Royal Academy.

The subjects included Horne Tooke and Sir Francis Burdett, two political figures he greatly admired; his early mentor John Raphael Smith, and Benjamin West. Joseph Nollekens placed the bust of Tooke between two of his own, and the prominence given to it is said to have had a significant influence on Chantrey's career. In the wake of the exhibition he received commissions amounting to £12,000. In 1813 he was able to raise his price for a bust to a hundred and fifty guineas, and in 1822 to two hundred.

He visited Paris in 1814, and again in 1815, this time with his wife, Thomas Stothard, and D. A. Alexander, visiting the Louvre where he especially admired the works of Raphael and Titian. In 1819 he went to Italy, accompanied by the painter John Jackson, and an old friend named Read. In Rome he met Thorvaldsen and Canova, getting to know the latter especially well.

In 1828 Chantrey set up his own foundry in Eccleston Place, not far from his house and studio, where large-scale works in bronze, including equestrian statues, could be cast.

Working practices

Chantrey developed a procedure of making a portrait sculpture in which he would begin by making two life-sized drawings of his sitter's head, one full-face and one in profile, with the aid of a camera lucida. His assistants would then make a clay model based on the drawings, to which Chantrey would add the finishing touches in front of the sitter. A plaster cast would be made of the clay model, and then a marble replica made of that. Allan Cunningham and Henry Weekes were his chief assistants, and made many of the works produced under Chantrey's name. The debilitating effects of heart disease made him even more reliant on assistants in the last few years of his life.

Style
Chantrey was rare among the leading sculptors of his time in not having visited Italy at a formative stage in his career. A writer in Blackwood's Edinburgh Magazine in 1820 saw him as liberating English sculpture from foreign influence:Those who wish to trace the return of English sculpture from the foreign artificial and allegorical style, to its natural and original character—from cold and conceited fiction to tender and elevated truth, will find it chiefly in the history of Francis Chantrey and his productions.

More recently, Margaret Whinney wrote that Chantrey "had a great gift for characterisation, his ability to render the softness of flesh was much admired" and that "though compelled by the fashion of the day to produce, on occasions, classicizing works, his robust common sense and his enormous talent is better displayed in works which combine an almost classical simplicity of form with naturalism in presentation".

Works

Chantrey was a prolific sculptor. According to an article published in 1842, he produced, besides his busts and reliefs, three equestrian statues, 18 standing ones, 18 seated ones and 14 recumbent figures. His most notable works include the statues of George III in The Guildhall, London; of George Washington in the State-house at Boston, Massachusetts; of George IV at Brighton (in bronze); of William Pitt the Younger in Hanover Square, London (in bronze); of James Watt in Westminster Abbey and in Greenock (also a bust, plus one of William Murdoch, at St. Mary's Church, Handsworth); of William Roscoe and George Canning in Liverpool; of John Dalton in Manchester Town Hall; of Lord President Blair and Lord Melville in Edinburgh.

He made a bronze equestrian statue of Sir Thomas Munro for Madras (now Chennai) and another of King George IV, originally commissioned, on the instructions of the king himself, to stand on top of the Marble Arch, in front of Buckingham Palace, but eventually placed in Trafalgar Square. The horses in these two works are identical. A third, of the Duke of Wellington for a site in front of the Royal Exchange in London, was completed after Chantrey's death.

He executed four monuments to military heroes for St Paul's Cathedral: they commemorate Major-General Daniel Hoghton, Major-General Bowes, and Colonel Henry Cadogan, and (in a single monument) Major-Generals Gore and Skerrett. He was also responsible for the memorials to Sir James Brisbane in St James' Church, Sydney and to Reginald Heber in Calcutta, a replica of which was made for St Paul's Cathedral in London. Other good examples of his church monuments are those to the Earl of Farnham (1826) in Urney Parish Church, Cavan and Mary Anne Boulton (1834) in Great Tew In Snaith church there is a notable monument to Viscount Downe by Chantrey.

One of his most famous works was The Sleeping Children, a monument to two girls of the Robinson family, depicting them asleep in one another's arms, the younger holding a bunch of snowdrops. It attracted a great deal of attention when shown at the Royal Academy in 1817, before its installation in Lichfield Cathedral. The design of the monument was widely rumoured to be by Thomas Stothard; Chantrey's biographer, James Holland, however gave more credence to another account of its history, according to which Stothard had merely made a drawing from Chantrey's preliminary model. Another popular work, much reproduced, was a small statue, made for Woburn Abbey of the young Louisa, Lady Russell, depicted cradling a dove.

The Derby Museum has an unusual bust of William Strutt.

Honours
Chantrey was elected an Associate of the Royal Academy in 1816 and a full Academician in 1818. In 1822 Henry Wolsey Bayfield named Chantry Island in Ontario after him. He received the degree of MA from Cambridge, and that of DCL from Oxford, and was knighted in 1835.

Death
He died suddenly at his home in Eccleston Street, Pimlico, London, on 25 November 1841, having suffered from heart disease for some years. He was buried in a tomb constructed by his assistant James Heffernan in the churchyard of his native village, Norton in Derbyshire (now a suburb of Sheffield).

Bequest

By his will, dated 31 December 1840, Chantrey (who had no children) left his whole residuary personal estate after the decease or on the second marriage of his widow (less certain specified annuities and bequests) in trust for the president and trustees of the Royal Academy (or in the event of its dissolution to such society as might take its place), the income to be devoted to the encouragement of British painting and sculpture, by "the purchase of works of fine art of the highest merit ... that can be obtained." The funds might be allowed to accumulate for not more than five years; works by British or foreign artists, dead or living, might be acquired, so long as such works were entirely executed within Great Britain, the artists having been in residence there during the execution and completion. The prices to be paid were to be "liberal," and no sympathy for an artist or his family was to influence the selection or the purchase of works, which were to be acquired solely on the ground of intrinsic merit. No commission or orders might be given: the works must be finished before purchase. Conditions were made as to the exhibition of the works, in the confident expectation that the government or the country would provide a suitable gallery for their display; and an annual sum of £300 and £50 was to be paid to the president and the secretary of the Royal Academy respectively, for the discharge of their duties in carrying out the provisions of the will.

Lady Chantrey died in 1875 and was buried with George Jones in Highgate Cemetery, and two years later the fund became available for the purchase of paintings and sculptures. The capital sum available amounted to £105,000 in 3% Consols (reduced to 2½% in 1903), which was producing an available annual income varying between £2,100 and £2,500 by around 1910. Initially the works acquired were shown at the Victoria and Albert Museum, but in 1898 the Royal Academy arranged with the treasury, on behalf of the government, for the transfer of the collection to the National Gallery of British Art, which had been erected by Sir Henry Tate at Millbank. It was agreed that the Tate Gallery should be its future home, but that the trustees and director of the National Gallery should have no power over what works were to be transferred there, or added to the collection at a later date.

By the end of 1905, 203 works had been bought—all but two from living artists—at a cost of nearly £68,000. Of these, 175 were oil paintings, 12 were watercolours, and 16 were sculptures. The bequest remained the main source of funding for expanding the collection of what is now Tate Britain until the 1920s, and it remains active today.

References

Sources

Attribution:

Further reading
. A complete illustrated record of the purchases, etc..
 A controversial publication by the leading assailant of the Royal Academy.
Report from the Select Committee of the House of Lords on the Chantrey Trust, together with the Proceedings of the Committee, Minutes of Evidence and Appendix (Wyman & Sons, 1904), and Index (separate publication, 1904).

External links

Works by Sir Francis Leggatt Chantrey at the National Portrait Gallery, London
 Profile on Royal Academy of Arts Collections
 , an image drawn by Henry Corbould and accompanied by Felicia Hemans's poem, The Child's Last Sleep, from the Friendship's Offering annual for 1826.
 , drawn by Henry Corbould from the statue at Woburn Abbey and accompanied by Felicia Hemans's poem, The Child and Dove, from The Literary Souvenir annual for 1826.
 , a poem by Felicia Hemans for the Forget Me Not annual for 1829 on The Sleeping Children in Lichfield Cathedral.

1781 births
1841 deaths
Burials at Highgate Cemetery
History of Sheffield
Artists from Sheffield
English sculptors
English male sculptors
Royal Academicians
Knights Bachelor
Fellows of the Royal Society
People from Derbyshire (before 1933)
19th-century British sculptors
19th-century English painters
English male painters
19th-century English male artists

Francis Leggatt Chantrey


The nasal cavity (or nasal fossa) is a large air filled space above and behind the nose in the middle of the face.

Function
The nose cavity is divided into a right and left passageway. The tissue that covers the wall of your nasal cavity contains many blood vessels. Heat from the blood in the vessels helps warm the air as you breathe. Moisture (small amount of water) is added to the air you breath by special cells in the walls of the nasal cavity. The air is warmed and moistened before it reaches your lungs.
Cilia (small hairs) and mucus along the inside wall of the nasal cavity trap and remove dust and germs from the air as it flows through the nasal cavity. The cilia move the mucus down the nasal cavity to the pharynx, where it can be swallowed.

Location
The nasal cavity is covered by the nasal bone. The top of the inside of the mouth separates the nasal cavity from the mouth.
The nasal cavity is divided in two by a vertical fin called the nasal septum. On the sides of the nasal cavity are three horizontal outgrowths called turbinates. These turbinates guide the air through the nasal cavity. The vomeronasal organ is found at the back of the septum and has a role in finding pheromones.

Diseases
Diseases of the nasal cavity include viral infections and nasal cavity cancer. Picking your nose can lead to bloody noses as well.

Other websites

 Gross anatomy dissection of the nasal cavity, video   and
Nose
Anatomy of the respiratory system

Nasal cavity


Jamie Wayne Attwell (born 8 June 1982 in Bristol) is an English football goalkeeper. He represented Wales at junior level.

Attwell began his career as a junior with local Bristol sides Shirehampton and St. Vallier, before joining Everton's junior scheme. He failed to settle at Everton and returned to Bristol in March 2001, playing a couple trial games for Bristol City before signing a three-year traineeship with Tottenham Hotspur. He was released by Tottenham after failing to make the grade and had trials with Kidderminster Harriers, Bradford City, Salisbury City and Southend United before joining Bristol City in August 2001 as cover for Steve Phillips and Mike Stowell

He failed to make the first team with City and joined Tiverton Town on loan in March 2002, before being released by City at the end of the season.

In July 2002, Attwell was on trial at Tranmere Rovers, but moved to Torquay United later that month.

He made his league debut in place of the injured Kevin Dearden on 17 August 2002 in a 4–3 defeat away to York City. His next game came on 22 October 2002, a 4–0 defeat in the Football League Trophy at home to Wycombe Wanderers, followed 4 days later by a 5–1 defeat away to Scunthorpe United.

He was dropped after the Scunthorpe game, but on 29 October played in the 4–0 home win against AFC Bournemouth, replacing Dearden as a substitute with the game still at 0-0. He made one further appearance for Torquay, on 19 November, as a half-time substitute for Arjan van Heusden in the 2–2 draw at home to Kidderminster Harriers, a game Torquay were leading 2-0 when he came on, before being released early the following week. He had conceded 15 goals in the equivalent of less than four games.

References

External links

1982 births
Living people
English men's footballers
Tottenham Hotspur F.C. players
Bristol City F.C. players
Torquay United F.C. players
English Football League players
Men's association football goalkeepers
Footballers from Bristol

Jamie Attwell


The center of percussion is the point on an extended massive object attached to a pivot where a perpendicular impact will produce no reactive shock at the pivot.   Translational and rotational motions cancel at the pivot when an impulsive blow is struck at the center of percussion.   The center of percussion is often discussed in the context of a bat, racquet, door, sword or other extended object held at one end.

The same point is called the center of oscillation for the object suspended from the pivot as a pendulum, meaning that a simple pendulum with all its mass concentrated at that point will have the same period of oscillation as the compound pendulum.

In sports, the center of percussion of a bat, racquet, or club is related to the so-called "sweet spot", but the latter is also related to vibrational bending of the object.

Explanation

Imagine a rigid beam suspended from a wire by a fixture that can slide freely along the wire at point P, as shown in the Figure. An impulsive blow is applied from the left.  If it is below the center of mass (CM) it will cause the beam to rotate counterclockwise around the CM and also cause the CM to move to the right. The center of percussion (CP) is below the CM.  If the blow falls above the CP, the rightward translational motion will be bigger than the leftward rotational motion at P, causing the net initial motion of the fixture to be rightward.  If the blow falls below the CP the opposite will occur, rotational motion at P will be larger than translational motion and the fixture will move initially leftward. Only if the blow falls exactly on the CP will the two components of motion cancel out to produce zero net initial movement at point P.

When the sliding fixture is replaced with a pivot that cannot move left or right, an impulsive blow anywhere but at the CP results in an initial reactive force at the pivot.

Calculating the center of percussion
For a free, rigid beam, an impulse  applied at right angle at a distance  from the center of mass (CM) will result in the CM changing velocity  according to the relation:

where  is the mass of the beam. Similarly, the torque about the CM will change the angular velocity  according to:

where  is the moment of inertia around the CM.

For any point P a distance  on the opposite side of the CM from the point of impact, the change in velocity of point P  is

where  is the distance of P from the CM. Hence the acceleration at P due to the impulsive blow is:

When this acceleration is zero,  defines the center of percussion. Therefore, the CP distance, , from the CM, is given by

Note that P, the rotation axis, need not be at the end of the beam, but can be chosen at any distance .

Length  also defines the center of oscillation of a physical pendulum, that is, the position of the mass of a simple pendulum that has the same period as the physical pendulum.

Center of percussion of a uniform beam

For the special case of a beam of uniform density of length , the moment of inertia around the CM is:

 (see moment of inertia for proof),

and for rotation about a pivot at the end,

.

This leads to:

.

It follows that the CP is 2/3 of the length of the uniform beam  from the pivoted end.

Some applications

For example, a swinging door that is stopped by a doorstop placed 2/3 of the width of the door will do the job with minimal shaking of the door because the hinged end is subjected to no net reactive force.  (This point is also the node in the second vibrational harmonic, which also minimizes vibration.)

The sweet spot on a baseball bat is generally defined as the point at which the impact feels best to the batter.   The center of percussion defines a place where, if the bat strikes the ball and the batter's hands are at the pivot point, the batter feels no sudden reactive force.  However, since a bat is not a rigid object the vibrations produced by the impact also play a role.    Also, the pivot point of the swing may not be at the place where the batter's hands are placed.   Research has shown that the dominant physical mechanism in determining where the sweet spot is arises from the location of nodes in the vibrational modes of the bat, not the location of the center of percussion.

The center of percussion concept can be applied to swords.  Being flexible objects, the "sweet spot" for such cutting weapons depends not only on the center of percussion but also on the flexing and vibrational characteristics.

References

Physical quantities
Mechanics
Percussion

Center of percussion


The Masonic Lodge Building, also known as the Campbell Building  and first known as the French & Church Building, is an historic building located at 702 Market Street at the corner of Seventh Avenue in the historic commercial core of Kirkland, Washington. It was built in 1890-91 by Kirkland businessman and postmaster Edwin M. Church with pioneer Harry D. French as part of the land boom following Peter Kirk's proposal of building a huge steel mill on the east side of Lake Washington. Home to Kirkland's Post Office from 1891 to 1907, In 1922, The building was purchased by Kirkland Lodge No. 150 of the Free and Accepted Masons, which still occupies the building's upper level.

The building is notable for its sturdy brick construction and Victorian elements including a wooden cornice and window caps. It remains basically unchanged except for new aluminum frame windows installed by the lodge in the 1960s to replace the original wood double hung ones. On August 3, 1982, it was added the National Register of Historic Places.

Present and past appearance
This is a two-story rectangular brick building with a flat roof. The building measures
54' x 79' with the southwest corner cut at a 45° angle to create a corner entrance. The
exterior brick is laid in the common bond pattern.

The wall design on the street level of the west facade is alternate brick piers and 8" round,
cast iron columns one story in height. The window and door treatments are typical storefront
with large wood sash windows with transoms and doorways without decoration. There is frieze and cornice 'molding' above the window transoms at the second floor level terminating at the northwest and southeast corners in a decorative bracket and triangular ornament. The second floor of the west facade is given a pier effect by the use of vertical sections of raised brick at regular intervals between the tall rectangular windows. Original double hung windows have been replaced with Aluminium frame windows. Above these windows are window caps of pressed tin, featuring entablature heads topped by scrolls flanking a triangular ornament. These were most likely manufactured by the Mesker Brothers Foundry in St. Louis, Missouri, as the design appears in their catalogs.

There is a continuous decorated metal parapet with dentils, brackets and wide paneled
frieze crowning the building, terminating at the northwest and southeast corners in a decorative bracket similar to those mentioned previously. Below the frieze are several rows of
brick corbelling. The decorative parapet and frieze form a smooth curve around the angled corner of the building. Just below the frieze at this point was a plaster conch shell decoration which has been missing for several years, most likely due to deterioration. The corner has recessed nine foot wooden double doors at the street level, now sheathed in brushed copper.

History

The Builders
Edwin M. Church was born in New York and spent his early years all over the midwest, serving in the 1st Iowa Cavalry Regiment during the American Civil War. After living in Kansas for several years, he and his family traveled west by train to San Francisco where they boarded the steamer Pacific. This steamer would sink off of Cape Flattery on its next voyage, killing all but two aboard. Church arrived in Seattle in May 1875 where he briefly lived near Auburn. His family finally settled on a large plot of land in Houghton on the eastern shore of Lake Washington by the end of 1876. During this time Church worked as a bricklayer while his family tended to crops. He eventually sold most of the property to other settlers, excluding the plot for his house, which he rebuilt in 1880 and expanded in 1886.

Harry French, whose father, S. Foster French had brought them to the area from Maine in August 1872, was one of the earliest settlers in what would become Kirkland. Their original home, though moved from its original location, still stands and is one of the oldest homes on the East Side.

The Building
In the spring of 1889, Church purchased the Kirkland grocery store of J.J. Tompkins and became a businessman. He was appointed Kirkland's postmaster in June 1890 and by the end of the year, with Peter Kirk's plans for the town nearing certainty, Church joined forces with Harry D. French, son of one of Kirkland's earliest pioneers, to construct a $12,000 brick building at the Northeast corner of Market Street and Picadilly (now Seventh Avenue) to accommodate their businesses as well as the post office. Church and French purchased the 4 lots on the corner from the Kirkland Land & Improvement Co. on February 13, 1891 for $3,100 (About $89,300 in 2019) but it is unclear whether the building, which occupies the southern 2 lots, was completed by this time. Though the building topped out at 2 floors, its walls were reported to be thick enough to support an eventual third floor if needed. In 1894, Church would be removed from the position of postmaster due to what reports called "offensive partisanship" (He would be succeeded by C.C. Filson, who would later found the Filson Company in Seattle). In later years, E.A. Brooks operated the grocery store in the building and lived upstairs with his family. When Brooks had his own building built further down Market Street in 1907 (still standing), he moved his store and the post office into the new quarters. In the 1920s a Mr. Evans operated a variety store in the southern half of the building for a time while the other storefront was used as a band practice space. In the later 20's the ground floor was used for automotive storage. The corner store was later used as a plumbing shop then a cabinet shop.

The Masons
In 1922, Kirkland Lodge No. 150 of the Free and Accepted Masons of Washington purchased the building for their meeting space, moving from an older wooden building a block away. The Masons remodeled the space by replacing the roof and removing most of the partition walls on the second floor. They rented out their meeting space for use by several other Masonic lodges. When a garage building was built to the north of the Masonic Lodge Building, they used its north wall as a bulkhead, weakening it and necessitating the construction of a retaining wall. Under direction of the Lodge, the basement, rendered useless by time and dampness, was filled with 15,000 yards of pea gravel and capped with a layer of cement that replaced the original floor in 1954. The then vacant store rooms have been occupied ever since.

See also
Peter Kirk
Peter Kirk Building
Joshua Sears Building

References

Kuhn, Lael "King County Historic Sites Survey for the Masonic Lodge Building" Washington State Department of Archaeology and Historic Preservation 21 November 1977. Retrieved January 10, 2010
History
"An Early Settler: Brief Outline of the Life of Postmaster E.M. Church" - The Seattle Times 1890. Retrieved December 31, 2009 [Kirkland Heritage Society]
"Some Early Settlers: How S. Foster French and Captain Jay O'Connor helped to develop the finest piece of country in King County" The News (Seattle) 1890. Retrieved December 31, 2009 [Kirkland Heritage Society]
" Kirkland Town of Brick Business Blocks 150 New Buildings" Unknown publication 1890. Retrieved December 31, 2009 [Kirkland Heritage Society]

External links
 Kirkland Lodge No. 150 website
 Grand Lodge of Washington, F.&.A.M. directory

Commercial buildings completed in 1891
History of King County, Washington
National Register of Historic Places in Kirkland, Washington
Masonic buildings in Washington (state)
1890s architecture in the United States
Victorian architecture in Washington (state)
Former post office buildings
Romanesque Revival architecture in Washington (state)
Clubhouses on the National Register of Historic Places in Washington (state)

Masonic Lodge Building (Kirkland, Washington)


The twisting of a ferromagnetic rod through which an electric current is flowing when the rod is placed in a longitudinal magnetic field. It was discovered by the German physicist Gustav Wiedemann in 1858

. The Wiedemann effect is one of the manifestations of magnetostriction in a field formed by the combination of a longitudinal magnetic field and a circular magnetic field that is created by an electric current. If the electric current (or the magnetic field) is alternating, the rod will begin torsional oscillation.

In linear approach angle of rod torsion α does not depend on its cross-section form and is defined only by current density and magnetoelastic properties of the rod:

,

where
  is current density;
  is magnetoelastic parameter, proportional to longitudinal magnetic field value;
  is the shear modulus.

Applications
Magnetostrictive position sensors use the Wiedemann effect to excite an ultrasonic pulse. Typically a small magnet is used to mark a position along a magnetostrictive wire. The magnetic field from a short current pulse in the wire combined with that from the position magnet excites the ultrasonic pulse. The time required for this pulse to travel from the point of excitation to a pickup at the end of the wire gives the position. Reflections from the other end of the wire could lead to disturbances. In order to avoid this the wire is connected to a mechanical damper that end.

See also
 Matteucci effect the inverse effect
 Magnetostriction
 Magnetomechanical effects for a collection of similar effects

References

Magnetism
Magnetic ordering

Wiedemann effect


George Habash (), also known by his laqab "al-Hakim" (; 1 August 1926 – 26 January 2008), was a Palestinian Christian politician and physician who founded the Marxist–Leninist Popular Front for the Liberation of Palestine (PFLP).

Habash was born in Lydda, Mandatory Palestine in 1926. In 1948, 19-year-old Habash, a medical student at the American University of Beirut, went to his home town of Lydda during the 1948 Arab–Israeli War, when the city and his family were driven out in what became known as the Lydda Death March that led to the death of his sister. In 1951, after graduating first in his class from medical school, Habash worked in Palestinian refugee camps in Jordan and ran a clinic in Amman. He later relocated to Syria and Lebanon.

In 1967, after being sidelined in the Palestine Liberation Organization by Yasser Arafat, he founded the Popular Front for the Liberation of Palestine, a leftist movement which opposes the existence of Israel and advocates for a one democratic and secular state. In the 1970 Dawson's Field hijackings, Habash masterminded the hijackings of four Western airliners to Jordan, which led to the Black September conflict, and his subsequent exile to Lebanon. He remained opposed to a two-state solution even after the PLO signed the Oslo Peace Accords in 1993. He resigned as secretary general of the PFLP due ill health in 2000, and died after a heart attack in 2008.

Early life

Habash was born in Lydda (today's Lod) to a Greek Orthodox Christian Palestinian family in 1926. As a child, he sang in the church choir. In 1948, 19-year-old Habash, a medical student at the American University of Beirut, went to his home town of Lydda during the 1948 Arab–Israeli War to help his family. While he was there, the Israel Defense Forces attacked the city and as a result, most of its civilian population was forced to leave in what became known as the Lydda Death March. They marched for three days without food or water until they reached the Arab armies' front lines, which led to his sister's death. Habash and his remaining family became refugees and were not allowed to return home. He later finished his education at the AUB and graduated in 1951.

Political thinkers who were influences on Habash at this period included Constantin Zureiq, whose lectures at AUB on 'Arab nationalism and the Zionist danger' in the late 1940s and early 1950s Habash had attended, and Sati' al-Husri an Arab Muslim intellectual who emphasized national cohesiveness, territorial patriotism, and loyalty to the state, and gave priority to Arab unity over Islamic unity.

In 1951, after graduating first in his class from medical school, Habash worked in refugee camps in Jordan and ran a clinic with Wadie Haddad in Amman. He firmly believed that the state of Israel should be ended by all possible means, including political violence. In an effort to recruit the Arab world to this cause, Habash founded the Arab Nationalist Movement (ANM) in 1951 and aligned the organization with Gamal Abdel Nasser's Arab nationalist ideology.

He was implicated in the 1957 coup attempt in Jordan, which had originated among Palestinian members of the National Guard. Habash was convicted in absentia, after having gone underground when Hussein of Jordan proclaimed martial law and banned all political parties. In 1958 he fled to Syria (then part of the United Arab Republic), but was forced to return to Beirut in 1961 by the tumultuous breakup of the UAR.

Habash was a leading member of the Palestine Liberation Organization until 1967 when he was sidelined by Fatah leader Yasser Arafat, with whom he had a complex relationship described as a mix of "camaraderie and rivalry" and "a love-hate relationship". In response, Habash founded the Popular Front for the Liberation of Palestine.

Popular Front for the Liberation of Palestine
In 1964 he began reorganizing the ANM, regrouping the Palestinian members of the organization into a "regional command." After the Six-Day War in 1967, disillusion with Nasser became widespread. This prompted the foundation, led by Habash, of the Popular Front for the Liberation of Palestine (PFLP) as a front of several Palestinian factions, like the "heroes of return" and "Palestinian Liberation Front", along with the ANM on 11 December, when he also became its first secretary-general. Habash was arrested by Abdelkarim al-Joundi and briefly imprisoned in Syria under the accusation of plotting to overthrow the Baathist ruling party in 1968 but escaped with the help of Wadie Haddad who with four others extracted Habash from a maximum security prison whilst disguised as military police. In the same year, he also came into conflict with long-time ally Wadie Haddad, but both remained in the PFLP.

At a 1969 congress, the PFLP re-designated itself a Marxist–Leninist movement and has remained a Communist organization ever since. Its pan-Arab leanings have been diminished since the ANM days, but popular support for a united Arab front has remained, especially in regard to Israeli and western political pressures. It holds a firm position regarding Israel, demanding its complete eradication as a racist state through military struggle and promotes a one-state solution (one secular, democratic, non-denominational state).

The 1969 congress also saw an ultra-leftist faction under Nayef Hawatmeh and Yasser Abd Rabbo split off as the Popular Democratic Front for the Liberation of Palestine (PDFLP), later to become the Democratic Front for the Liberation of Palestine (DFLP). During Habash's time as secretary-general, the PFLP became known as one of the most radical and militant Palestinian factions and gained world notoriety after a string of aircraft hijackings and attacks against Israel affiliated companies as well as Israeli ambassadors in Europe mostly planned by Haddad. The PFLP's pioneering of modern international terror operations brought the group, and the Palestinian issue, onto newspaper front pages worldwide, but it also provoked intense criticism from other parts of the Palestine Liberation Organization.
In 1970, Habash was evicted from Jordan due to the key role of the Popular Front in the Black September clashes. In 1974, the Palestinian National Council adopted a resolution recognizing a two-state solution to the Israeli–Palestinian conflict and Habash, who opposed this, formed the Rejectionist Front from several other opposition parties.

Habash aligned the PFLP with the PLO and the Lebanese National Movement, but stayed neutral during the Lebanese Civil War in the late 1970s. After a stroke in 1980, when he was living in Damascus, his health declined and other PFLP members rose to the top.

After the Oslo Agreements, Habash formed another opposition alliance of Rejectionists, including Islamist organizations such as Hamas and the Islamic Jihad Movement in Palestine, that became prominent during the First Intifada. In 2000, he resigned from his leadership post of the PFLP due to poor health and was succeeded by Abu Ali Mustafa. He continued to be an activist for the group until 2008 when he died of a heart attack in Amman.

Black September
The PFLP ignored tensions with the mainstream leadership of Yasser Arafat's Fatah faction, and instead focused on bringing about revolutionary change in Jordan. Habash expressed the opinion that what proceeded was not "only military but also psychological warfare" and one had to "hold the Israelis under permanent pressure".

In the 1970 Dawson's Field hijackings, Habash masterminded the hijackings of four Western airliners over the United States, Europe, the Far East and the Persian Gulf. The aircraft were forced to fly to a World War II airfield in Jordan, the passengers and crews were disembarked and the planes were then blown up.

The Dawson's Field hijackings were instrumental in provoking the Black September crackdown, which came close to destroying the PLO. The hijackings led Hussein of Jordan of Jordan to carry out a major offensive against militant strongholds in his kingdom resulting in the deaths of thousands of Palestinians. In autumn 1970, Habash visited Beijing. After Black September, the PLO fedayeen relocated to Lebanon.

In 1972, Habash experienced failing health and gradually began to lose influence within the organization. The Palestinian National Council's (PNC) adoption of a resolution viewed by the PFLP as a two-state solution in 1974, prompted Habash to lead his organization out of active participation in the PLO and to join the Iraqi-backed Rejectionist Front. Only in 1977 would the PFLP opt to rejoin, as the Palestinian factions rallied their forces in opposition to Anwar Sadat's overtures towards Israel, pro-U.S. policies and fragmentation of the Arab world. During the Lebanese Civil War that broke out in 1975, PFLP forces were decimated in the battle against Syria. Later, the PFLP would draw close to Syria, as Syria's government shifted, but PFLP involvement in the Lebanese war remained strong until the US-negotiated evacuation of PLO units from Beirut in 1982 and continued on a smaller scale after that.

Oslo Agreements
After the signing of the Oslo Peace Accords in 1993, Habash and the PFLP again broke completely with Arafat, accusing him of selling out the Palestinian revolution. The group set up an anti-Arafat and anti-Oslo alliance in Damascus, for the first time joined by non-PLO Islamist groups such as Hamas and the Palestinian Islamic Jihad, which had grown to prominence during the First Intifada. After finding the position sterile, with Palestinian political dynamics playing out on the West Bank and Gaza areas of the Palestinian National Authority (PNA), Habash carefully sought to repair ties to Arafat, and gain a hold in post-Oslo politics without compromising PFLP principles. However, there is no indication that he ever accepted the two-state solution. This balancing act could not save the PFLP from being eclipsed by the militant Islamist factions on the one hand, and the resource-rich Fatah with its PNA patronage network on the other. The significance of the PFLP in Palestinian politics has diminished considerably since the mid-90s. The PFLP participated in the Palestinian legislative elections of 2006 as Ahmad Sa'adat won 4.2% of the popular vote.

In the late 1990s, Habash's medical condition worsened. In 2000 he resigned from the post as secretary-general, citing health reasons. He was succeeded as head of the PFLP by Abu Ali Mustafa who was assassinated by Israel during the Second Intifada. Habash went on to set up a PFLP-affiliated research center, but he remained active in the PFLP's internal politics. Until his death he was still popular among many Palestinians, who appreciate his revolutionary ideology, his determination and principles, the rejection of the Oslo Agreements and his intellectual style.

Death

Habash died on 26 January 2008, at the age of 81 of a heart attack in the Jordan Hospital, Amman, where Habash was a cancer patient. The President of the Palestinian National Authority, Mahmoud Abbas called for three days of national mourning. Habash was buried in a suburban cemetery of Amman with the obsequies of the Eastern Orthodox Church. Abbas said Habash was a "historic leader" and called for Palestinian flags to be flown half-mast. Abdel Raheem Mallouh, PFLP deputy secretary-general, called Habash a "distinguished leader... who struggled for more than 60 years without a stop for the rights and the interests of his people". Hamas leader and dismissed Palestinian Prime Minister Ismail Haniyeh sent his condolences, saying Habash "spent his life defending Palestine".

References

External links
A Visit With George Habash: Still the Prophet of Arab Nationalism and Armed Struggle Against Israel, By Grace Halsell, Washington Report on Middle East Affairs, September 1998, pages 49, 136
BBC Obituary
Obituary in The Times, 28 January 2008
Obituary in The Guardian, 29 January 2008
George Habbash – short overview on auhrenia.com – dead link checked Sept 21, 2014

1926 births
2008 deaths
American University of Beirut alumni
Stalinism
Anti-revisionists
Arab Nationalist Movement
Christian communists
Dawson's Field hijackings
Palestinian militants
Eastern Orthodox Christians from Palestine
Palestinian Christian socialists
Palestinian Arab nationalists
Palestinian communists
Palestinian Marxists
20th-century Palestinian physicians
Palestinian revolutionaries
People from Lod
Popular Front for the Liberation of Palestine members
People of the Lebanese Civil War
Arab people in Mandatory Palestine

George Habash


Peter Trevor Collingwood (6 May 1920 – 23 September 2016) was an English-born actor who appeared in theatre roles, films, miniseries and serials from 1938 to 2003 in his native England and Australia. Collingwood was known for his portrayal of judges, military men and upper-crust befuddled types. He was also a playwright.

Biography

Early life
Collingwood was born in Kent(some sources give, Farnham, Surrey), England on 6 May 1920. He enrolled in the Embassy School of Acting at the Embassy Theatre, London, in 1937. His first professional acting job was in Wang Shifu's Chinese play The Western Chamber at London's Torch Theatre in 1938.

Navy service
During the Second World War, Collingwood served in the British Navy, including on the Greek submarine  as liaison officer, but was discharged due to eye sight problems.

Theatre and film roles
After the war, Collingwood joined Amersham Repertory Theatre, followed by the Young Vic Company, and a number of other companies. In 1950 he married Margery Shaw. They moved to Perth, Scotland where he worked for the Perth Repertory Company. During this time, he wrote the farce Gathering Nuts, which was performed by the company, as well as by a number of other repertory companies.

In 1953, Collingwood returned to London with his family—daughter Julia, stepsons Christopher and Michael—where he worked regularly on stage, in film, and on television.

In 1961, with Margery and step-son Michael, Collingwood travelled overland to Sri Lanka, then by ship to Perth, Australia. From late 1961 to 1963, he worked at the Perth Playhouse.

The family returned to England for two years, during which he appeared in a number of successful West End shows, including Inadmissible Evidence, Meals on Wheels, and I Love you Mrs Patterson.

In 1967, Collingwood emigrated to Australia, first living in Perth before settling near Sydney in Balmain, New South Wales. He worked for many Sydney theatre companies including the Old Tote, Nimrod Theatre, Belvoir Theatre Company, the independent and Sydney Theatre Company Between 1970 and 1972 he was director of the Marian Street Theatre.

Television
Collingwood appeared in serial roles, both dramatic and comedic, including Homicide, Division 4, Mother and Son,  A Country Practice, Police Rescue, Home and Away (as Bert King), and Always Greener.

Television roles also included Lord John Russell in Edward the Seventh and Mr. Dunkley in Are You Being Served?.

Death
Collingwood retired in 2003 and died 23 September 2016 at the age of 96.

Selected filmography

Appearances in movies

 River Beat (1954) - Coroner
 Up the Creek (1958) - Chippy
 Further Up the Creek (1958) - Chippy
 The Green Helmet (1961) - Charlie
 Morgan – A Suitable Case for Treatment (1966) - Geoffrey
 Picnic at Hanging Rock (1975) - Colonel Fitzhubert
  Fast Talking (1984) - School Principal

Appearances in miniseries
 The Timeless Land, ABC Television (Australia), 1980 - Governor Phillip
 Under Capricorn, 1983 - Governor
 Coral Island, 1983 - Reverend McNab
 The Dismissal, 1983 - Tun Abdul Razak
 A Difficult Woman, ABC Television (Australia), 1998 - Chris Fitzgerald

Notes and references

External links

1920 births
2016 deaths
Place of death missing
Australian male television actors
English male television actors
20th-century Australian male actors
20th-century English male actors
British emigrants to Australia
Male actors from Kent
Royal Navy officers of World War II

Peter Collingwood


Skilurus, or Scylurus, was a renowned Scythian king reigning during the 2nd century BC. His realm included the lower reaches of the Borysthenes and Hypanis, as well as the northern part of Crimea, where his capital, Scythian Neapolis, was situated.

Skilurus ruled over the Tauri and controlled the ancient trade emporium of Pontic Olbia, where he minted coins. In order to gain advantage against Chersonesos, he allied himself with the Sarmatian tribe of Rhoxolani. In response, Chersonesos forged an alliance with Mithridates VI of Pontus. Skilurus died during a war against Mithridates, a decisive conflict for supremacy in the Pontic steppe. Soon after his death, the Scythians were defeated by Mithridates (ca. 108 BC). Either Skilurus or his son and successor Palacus were buried in a mausoleum at Scythian Neapolis; it was used from ca. 100 BC to ca. 100 AD.

Pseudo-Plutarch, in Sayings of Kings and Commanders, reports the following version of the Aesopic fable "The Old Man and his Sons": "Scilurus on his death-bed, being about to leave eighty sons surviving, offered a bundle of darts to each of them, and bade them break them. When all refused, drawing out one by one, he easily broke them; thus teaching them that, if they held together, they would continue strong, but if they fell out and were divided, they would become weak." cf. "Unity makes strength".

References
Content of this page in part derives from the Great Soviet Encyclopedia article on the same subject.

Scythian kings
Ancient Crimea
2nd-century BC monarchs
2nd-century BC Iranian people

Skilurus


"World's on Fire" is a song and third single from the album Cultura by Gibraltarian Flamenco Metal band Breed 77. This was their first ever DVD release and just failed to hit the UK Top 40 by a small margin, securing a spot at number 43. However, it topped the official BBC Rock Chart at number 1.

The CD single also featured the debut of a brand new song; Tomorrow.

Track 1 written by Paul Isola, Danny Felice & Pedro Caparros. Track 2 (CD) written by Breed 77. Track 2 (DVD + Vinyl) written by Pete Chichone, Paul Isola & Danny Felice.

The line-up for this single consisted of: Paul Isola, Danny Felice, Stuart Cavilla, Pete Chichone and Pedro Caparros.

Track listing

 "World's on Fire"
 "Tomorrow"
 "Un Lugar Seguro" (A Safe Place)

References

2004 singles
Breed 77 songs
Albert Productions singles
2004 songs

World's on Fire (song)