Optical storage refers to a class of data storage systems that use light to read or write data to an underlying optical media. Although a number of optical formats have been used over time, the most common examples are optical disks like the compact disc (CD) and DVD. Reading and writing methods have also varied over time, but most modern systems  use lasers as the light source and use it both for reading and writing to the discs. Britannica notes that it "uses low-power laser beams to record and retrieve digital (binary) data."

Overview
Optical storage is the storage of data on an optically readable medium. Data is recorded by making marks in a pattern that can be read back with the aid of light, usually a beam of laser light precisely focused on a spinning optical disc. An older example of optical storage that does not require the use of computers, is microform. There are other means of optically storing data and new methods are in development. An optical disc drive is a device in a computer that can read CD-ROMs or other optical discs, such as DVDs and Blu-ray discs. Optical storage differs from other data storage techniques that make use of other technologies such as magnetism, such as floppy disks and hard disks, or semiconductors, such as flash memory.

Optical storage in the form of discs grants the ability to record onto a compact disc in real time. Compact discs held many advantages over audio tape players, such as higher sound quality and the ability to play back digital sound. Optical storage also gained importance for its green qualities and its efficiency with high energies.

Optical storage can range from a single drive reading a single CD-ROM to multiple drives reading multiple discs such as an optical jukebox. Single CDs (compact discs) can hold around 700 MB (megabytes) and optical jukeboxes can hold much more. Single-layer DVDs can hold 4.7 GB, while dual-layered can hold 8.5 GB. This can be doubled to 9.4 GB and 17 GB by making the DVDs double-sided, with readable surfaces on both sides of the disc. HD DVDs were able to store 15 GB with a single-layer and 30 GB with a dual-layer. Blu-ray discs, which won the HDTV optical format war by defeating HD DVDs, can hold 25 GB for single-layer, 50 GB for dual-layer and up to 128 GB for quad-layer discs. Optical storage includes CDs and DVDs.

History
IBM was a leader in the development of optical storage systems for much of the early history of computing. In 1959, they installed the Automatic Language Translator, which used an optical disk holding 170,000 words and phrases in Russian and their translations in English. In 1961/2, they introduced the IBM 1360, which used small photographic slides that were read using a conventional incandescent lamp as a light source and a photocell as a detector. A separate system wrote data to the slides using an electron gun, making it a read/write system. Fully expanded, the 1360 could hold about a half a terabit of data and allowed for semi-random access. A similar 3rd party system was the Foto-Mem FM 390.

Various forms of optical media, mostly disk form, competed with magnetic recording through most of the 1960s and 70s, but never became widely used. It was the introduction of semiconductor lasers that provided the technology needed to make optical storage more practical in both storage density and cost terms. Prices fell to the point that they could be used in consumer products, leading to the 1978 introduction of the analog LaserDisc format. This was followed in August 1982 by the introduction of the digital audio audio/music CD, which soon led to an effort to standardize data recording on this media. This was introduced in 1985 as the "Yellow Book", which became known as CD-ROM.

In 1983, Philips introduced their early work on magneto-optical drive technology at an industry conference. This used a laser to warm the storage media so that it became susceptible to magnetic fields and an electromagnet, similar to the one in a hard drive, to write data by realigning the material within. It worked like a conventional optical drive during reads, with the laser operating at lower energy levels, too low to heat the disk. Rumors that IBM would use this in future versions of the IBM PC were common for a time, but nothing ever came of this. Canon introduced a version packaged in a jacket similar to those used for the 3.5-inch floppy disk. Introduced in 1985, it found no major uses until 1988 when it was the centrepiece of the NeXT Computer. Variations on this design were introduced through the 1990s but it never became very popular outside of Japan, although Sony's MiniDisc format saw some success.

In 1988, the "Orange Book" added a write-once format, CD-WO, to the existing CD format. The media was compatible with existing CD drives, allowing music and data to be recorded and then read in any existing drive. Over time, this became known as CD-R. In 1990, the Orange Book added magnetic-optical re-writable versions of the CD physical format, CD-MO, which differed from earlier MO systems primarily in that the disk was not enclosed in a jacket. This format saw little use. Continual improvements in drive and media led to the 1997 addition of the CD-RW format, which allowed disks to be written, erased and re-written. This format is incompatible with older CD drives, like CD-R, but read-only drives capable of reading CD-RW became common in the 2000s as CD-RW use proliferated.

Optical media took another large step with the 1996 introduction of DVD, which was to video what the CD was to music. Originally to be known as "digital video disc", the name changed before release to be "digital versatile disc" to indicate that it was also useful for computer storage.  Over time, DVDs followed a similar pattern as CDs; Pioneer introduced a write-once format in 1997 that could be read in existing DVD drives, DVD-R. But a second write-once format DVD+R emerged in 2002, leading to a brief format war before dual format drives became common. A read-write format, DVD-RW, was introduced in 1999, but like earlier CDs it could not be read by "normal" DVD drives. Over time, improvements led to most newer DVD drives being able to read any of these media.

Another technical improvement during this era was the introduction of higher-frequency semiconductor lasers operating in the blue and near ultraviolet spectrum. These shorter wavelengths, combined with improvements in the underlying media, allowed much more data to be stored on a disk. With the widespread introduction of high-definition television in the early 2000s, the need for a medium able to store the much larger higher-resolution video files became an issue, leading to two competing standards, HD DVD and Blu-ray. The former could be produced on existing DVD production equipment but (initially) offered lower resolution video formats (and less data storage) while the later required new production equipment but offered 1080p support. Over time, Blu-ray won the resulting high-definition optical disc format war, with Toshiba announcing their withdrawal of HD DVD on 19 February 2008. This proved to be a Pyrrhic victory as the market quickly moved to streaming services. Blu-ray remains preferred to streaming services for its technical qualities, but has a tiny market share .

, Blu-ray is the last major optical format to reach widespread use. The ever-increasing speed of broadband internet has replace many of its roles as a distribution medium for media and video games, and the rapidly falling prices of Flash memory through the 2010s did the same in its archival role with read-write formats. A number of new technologies have been proposed as the basis for a new optical standard, but have not seen widespread use. These include:

 the Holographic Versatile Disc (HVD) introduced in 2003, but still not in commercial use
 210 nanometers ultraviolet lasers which would roughly double density
 3D optical data storage, which has multiple layers of media and thus stores multiples of Blu-ray capacity
 5D optical data storage which is primarily aimed at long-term data storage on the order of thousands of years
 Near-field optics
 Solid immersion optics (allowing an extremely high numerical aperture).
 Discs utilizing very short wavelengths such as UV or X-rays.
 Layer selection discs (LS-R).
 Multi-level technology.
 Complex pit shapes allowing multiple channels to be stored on one track.
 Wavelength multiplexing techniques.

The Optical Storage Technology Association (OSTA) was an international trade association formed to promote the use of recordable optical data storage technologies and products.

See also
5D optical data storage
3D optical data storage

References

Storage media
Optical storage media
Optical computer storage
Optical storage

Optical storage


Bamberton is an industrial site located on the Saanich Inlet, just south of Mill Bay, around 45k kilometres north of Victoria on Vancouver Island.

The community of Bamberton was first developed in 1912 when the Associated Cement Company plant was built. Bamberton was owned by the cement company and occupied by the plant, its employees and their families until the plant closed in 1980.

Since the plant closed, ownership of Bamberton has changed hands multiple times and several development plans have been proposed. In 2015 the Malahat First Nation purchased Bamberton and announced a partnership with Steelhead LNG. With them, they have proposed the creation of a Liquefied natural gas (LNG) facility at the Bamberton site.

History

Before the Founding of Bamberton
Aboriginal people began to inhabit Vancouver Island around 2000 BCE. The Malahat, Tseycum, Tsartlip, Tsawout, and Pauquachin came to reside along the Saanich Inlet. The land of the Saanich Inlet is a central part of the culture of First Nations people for both spiritual practice and economic subsistence.

From the late 1700s to the mid 1800s, devastating First Nations' population declines occurred throughout B.C. due to disease outbreak and armed conflict as a result of the arrival of European settlers. In 1852, the Saanich First Nations' communities signed the Douglas Treaties selling their land to the Colony of Vancouver Island. In 1913, the McKenna-McBride Commission established the location of present-day reserves, including Tsawout Village at Saanichton Bay, Tseycum Village at Patricia Bay, Pauquachin Village at Coles Bay, Tsartlip Village at Brentwood Bay, Malahat First Nation south of Mill Bay, the Cowichan Lake First Nations, and the Cowichan tribes near Duncan.

Although the Douglas Treaties stipulated that the First Nations people would be able to continue land based ceremonial and subsistence practices, the creation of Indian Reserves led to the encroachment of non-Natives within traditional resource harvesting locations and ongoing projects of civilization that led to land degradation.

Although Bamberton was, and continues to be, privately owned, neighbouring First Nations groups view the land and resources as part of their traditional territory predating ownership. They have always believed that they have claim to the land and a say in its use, and continue to fight for this right under Malahat ownership.

Cement: 1912-1980

Bamberton is named for H.K.G. Bamber, a cement manufacturer from Gravesend, England, who was the original owner of the land upon which Bamberton is located and was the managing director of British Portland Cement Manufacturers Ltd..[1] The cement works had their origin across the Saanich Inlet at Tod Inlet in 1904 when the Vancouver Portland Cement Company established operations on the site now occupied by the Butchart Gardens. The demand for cement in the building boom outstripped the capacity of the Tod Inlet operation and led the company to construct a further plant at Bamberton, which opened in 1912 under the name Associated Cement Company. Both companies were operated by B.C. Cement Company Ltd. of Victoria. The outbreak of World War I ended the real estate boom leaving both plants idle for seven years. The plant at Bamberton resumed operations in 1921. By 1927, the Bamberton plant was producing 3,000 barrels per day and used 40,000 tons of Vancouver Island coal each year. The company owned the isolated, self-contained settlement that housed 180 employees at its peak. The community was well equipped and included a recreation hall with a dance floor as large as that of The Empress (hotel). Over the final 20 years of operation, production declined, costs increased, and a protracted strike occurred. In October 1982, the owner, then Genstar Cement Company, advertised for sale the abandoned and overgrown site. Demolition of the mill began within weeks.

Recent Ownership and Development

Residential Development Proposals: 1982-2015
Several mixed residential and commercial developments have been proposed for Bamberton. Throughout the late 80's and the 90's The Trust for Sustainable Development proposed a 20 year plan that would see 12,000 future residents. The project met criticism regarding environmental impact on the Saanich Inlet. Its large size raised concerns over traffic and water supply. Ultimately funders decided not to go ahead with the project. Bamberton Properties LLP, an offshoot of Three Point Properties, bought the land in 2005. Bamberton properties spent up to $35 million in clean up costs and spent five years working with the Cowichan Valley Regional District (CVRD) to create a plan that would be approved. The CVRD determined there was no need for additional residential zoned property in the Mill Bay area, and subsequently Bamberton Properties was sold to the Malahat First Nation.

Malahat Ownership & Liquid Natural Gas (LNG) Proposal
On July 17, 2015, Malahat First Nation announced that they had purchased the Bamberton site, an acquisition that more than tripled the size of their territory. Chief Micheal Harry stated that this acquisition is a "tremendous opportunity" for the Malahat and "beyond exciting for the community". Chief Harry also stated that he hopes the land will bring long term employment opportunities for band members.

Just over a month later, Steelhead LNG Corp. and Malahat First Nation announced the completion of a Mutual Benefits Agreement supporting the proposed development of Malahat LNG, a LNG facility to be located at the Bamberton site. If built, the floating facility will process up to 6 million tonnes per annum. Steelhead anticipates that this project will bring about significant economic benefits, including 30 years of revenue generation for local, provincial and federal governments and the creation of 200 permanent jobs at the facility. In addition, they predict that the project will create hundreds of direct and indirect jobs on Vancouver Island in a wide variety of sectors including design, construction and operations. They also note that training and employment opportunities will be available for both the Malahat First Nations and neighboring First Nations communities.

On September 1, 2015, Steelhead announced that they had partnered with U.S. pipeline developer Williams in order to construct a pipeline to the facility. The 128 km. long proposed pipeline would interconnect with Spectra Energy B.Cs pipeline system at Sumas, Washington and travel over-land in Washington state to Cherry Point Refinery, located 11 km Southwest of Blaine in Whatcom County. From there, the pipeline would be constructed underwater until it reaches the facility at Bamberton.

In October 2015, the project received regulatory approval by the National Energy Board. Steelhead CEO Nigel Kuzemko stated: "We welcome this decision by the National Energy Board, which represents a significant milestone for our company and our projects" and "While these developments and the regulatory approval by the NEB are being well received in the global LNG marketplace, we recognize that we are still at the beginning of a long process that will see us engage and work closely with First Nations, government, communities, residents and regulators to secure the environmental and regulatory approvals we need for our projects to continue to move forward."

The project has generated considerable controversy from other Saanich First nations groups. The chiefs of the Tsarlip, Tsawout, Tseycum and Pauquachin have made it clear that they are united in opposition to the project. "We wanted to make a strong impact statement to make sure our statement is heard ... we are making it well known that we oppose LNG in our territory," said Chief Rebecca David of the Pauquachin First Nation. "The decisions and choices we make today affect the next seven generations. We are trying to protect the water and the lands of our future children." Chief Don Tom of the Tsarlip First Nation was quoted as saying that the pipeline and shipping through the inlet threaten both the environment and their way of life, as the inlet is an important source of food, recreation and spiritual connectivity to their ancestors.

The site shares its name with the nearby Bamberton Provincial Park.

Footnotes

References

External links

Unincorporated settlements in British Columbia
Company towns in Canada
Populated places in the Cowichan Valley Regional District
Ghost towns in British Columbia
1912 establishments in British Columbia

Bamberton


The  was an infantry division of the Imperial Japanese Army. Its call sign was the . It was formed on 2 February 1942 in Hankou as a security (class C) division, simultaneously with the 59th and 60th divisions. The nucleus for the formation was the 18th Independent Mixed Brigade. Also, many of the soldiers of the 136th Infantry Brigade of the 106th Division, demobilized in 1940, were re-employed in the 58th Division. As a security division, the 58th Division's backbone consisted of independent infantry battalions, and it did not include an artillery regiment.

Action
Immediately after being formed in Hankou, the 58th Division was transferred to Yingcheng and continued at first to perform the security duties of the 18th Independent Mixed Brigade.

In May 1943, the 58th Division participated in the inconclusive Battle of West Hubei, helping to temporarily secure the Yichang - Wuhan riverway.

The 58th Division participated in Operation Ichi-Go from May 1944, operating around Hengyang between 20 July and 8 August 1944 and later around Guilin. As the Japanese forces achieved a breakthrough, the division was assigned to the Eleventh Army headquarters in Liuzhou for garrison duty. In this role it bordered the sectors covered by the 3rd Division to its south and 13th Division to its west.

The 58th Division was subordinated directly to the China Expeditionary Army and ordered to retreat on 1 April 1945 following the start of the Battle of Okinawa. On 18 April 1945 the Chinese forces in Guanxi began attacking the 58th Division as it retreated to Nanjing, leading to increasing losses.

The 94th Independent Infantry Battalion, garrisoning an area 30 km north-north-east of Liuzhou, was temporarily attached to the 3rd Division, arriving at Nanning on 13 April 1945. The battalion was returned to the 58th Division on 26 May 1945 in Binyang County. The flanking 13th Division started to retreat on 27 May 1945, and Liuzhou was finally abandoned by the 58th Division on 19 June 1945. The 106th Independent Infantry Battalion of the 58th division became the rear guard of the Eleventh Army and left Luzhai County on 4 July 1945. The fighting with the pursuing Chinese ceased after the surrender of Japan on 15 August 1945.

See also
 List of Japanese Infantry Divisions

Notes
This article incorporates material from Japanese Wikipedia page 第58師団 (日本軍), accessed 9 June 2016

Reference and further reading

 Madej, W. Victor. Japanese Armed Forces Order of Battle, 1937-1945 [2 vols]
Allentown, PA: 1981

Japanese World War II divisions
Infantry divisions of Japan
Military units and formations established in 1942
Military units and formations disestablished in 1945
1942 establishments in Japan
1945 disestablishments in Japan

58th Division (Imperial Japanese Army)


A supermassive black hole (SMBH or less often SBH) is a black hole with a mass that is between 105 and 1010 the mass of the Sun. Scientists are confident that almost all galaxies, including the Milky Way, have a supermassive black hole at each of their centers.

Formation
How supermassive black holes get started is not yet known. Astrophysicists agree that once a black hole is in place in the center of a galaxy, it can grow by attracting matter and by merging with other black holes. Formation of ordinary (star-sized) black holes from the deaths of the first stars has been extensively studied and supported by observations.

However, there appears to be a gap between stellar-mass black holes, and supermassive black holes.

Stellar-mass black holes, formed from collapsing stars, range up to perhaps 33 solar masses. The minimal supermassive black hole is in the range of a hundred thousand solar masses. Between these extremes there appear to be few intermediate-mass black holes. Such a gap would suggest that the two types were formed by different processes.

Observations show that quasars were much more frequent when the Universe was younger. Supermassive black holes of billions of solar masses had already formed when the Universe was less than one billion years old. This suggests that supermassive black holes arose very early in the Universe, inside the first massive galaxies.

The Milky Way SBH

Astronomers are confident that our own Milky Way galaxy has a supermassive black hole at its center. It is 26,000 light-years from the Solar System, in the direction of the constellation Sagittarius. The region is called Sagittarius A*, and the evidence for its being a black hole is:
The star S2 follows an elliptical orbit with a period of 15.2 years and a pericenter (closest distance) of 17 light hours ( or 120 AU) from the center of the central object.
From the motion of star S2, the object's mass can be estimated as 4.1 million solar masses.
The radius of the central object must be significantly less than 17 light hours, because otherwise, S2 would either collide with it or be ripped apart by tidal forces. In fact, recent observations indicate that the radius is no more than 6.25 light-hours, about the diameter of Uranus' orbit.
Only a black hole is dense enough to contain 4.1 million solar masses in this volume of space.
The Max Planck Institute for Extraterrestrial Physics, and the UCLA Galactic Center Group, have provided strong evidence that Sagittarius A* is the site of a supermassive black hole. This is based on data from the ESO, and the Keck telescope. Our galactic central black hole is calculated to have a mass of approximately 4.1 million solar masses, or about 8.2 × 1036 kg.

References

Black holes
Galaxies

Supermassive black hole


Ostheim vor der Rhön is a town in Northern Bavaria in the district of Rhön-Grabfeld in Franconia. Though politically part of Bavaria since 1947, it was historically a part of Thuringia, and remains religiously, architecturally, and to some extent culturally distinct from its immediate surroundings.

History
Ostheim was first mentioned in 804. During the Reformation, Ostheim (along with much of the surrounding region) became Protestant.  However, in the 1580s and 1590s, a powerful Counter-Reformation effort led by Julius Echter von Mespelbrunn, the Prince-Bishop of Würzburg, reconverted most of the Streutal (the Streu valley, in northern Franconia) back to Catholicism. Ostheim and a few villages nearby became Protestant islands in a solidly Catholic region.  (The town's heavily fortified Lutheran church dates from this period.) Ostheim was sacked by Imperial troops in 1634 during the Thirty Years War, but survived and retained its distinctive character.  From the 17th century until 1920 the town was an exclave of Protestant Saxe-Weimar-Eisenach, first in Catholic Franconia and then in Bavaria after Franconia came under the Bavarian crown. After the First World War, it became an exclave of Thuringia in Bavaria from 1920 until 1947.

During the late 19th and early 20th century, as religious differences faded in importance, the town became increasingly integrated into the surrounding region, becoming a small regional industrial center as well as a market for the surrounding agricultural hinterland.  In 1945 Ostheim became part of the American controlled zone, in the Free State of Bavaria.  In 1947 it was formally transferred to Bavarian control in exchange for some similar exclaves in the Soviet Zone.

Ostheim lies on the river Streu between Mellrichstadt and Fladungen.  It is one of the stops in Wim Wenders' 1976 road trip film Kings of the Road.

The gunmaking company Herbert Schmidt Ostheim (also: HS - Herbert Schmidt Waffentechnik) was based in Ostheim.
It is also the home of German soft drink manufacturer Bionade.  Ostheim's historic architecture, walkable town center and easy access to the biking and hiking trails of the Streu valley have helped make it a local center for tourism.

Landmarks

Fortress church, a large Lutheran church surrounded by walls and towers. Includes a small museum.
Lichtenburg, 12th-century castle on a hill above the town center.  Most of the castle is a ruin, but part has been renovated for use as a guest house
Historic Old Town with mills and half-timbered houses, including many well preserved examples from the 17th and 18th centuries.  The architecture is a mixture of Thuringian and Bavarian influences.
Organ museum in the town center with over a dozen historical organs and interactive displays on construction, preservation and organ music
Hill Graves

Economy

Traffic
Ostheim is located on the Bundesstraße 285, the Bundesautobahn 71 is about ten kilometers away and accessible via the connection point Mellrichstadt.

The railway station of the city, on the route Mellrichstadt-Fladungen of Streutalbahn is operated only seasonally in the museum traffic.

Established businesses
 Bionade GmbH – Manufacturers of a biological soft drink
 Hey Orgelbau – Manufacturer of pipe organs
 Organbuilder Hoffmann und Schindler – Manufacturer of Organs
 Verlag Peter Engstler – Alternatively literature, poetry, magazines

References

External links

Friendly end of political enclave in 1947 (German)
Sonntags Blatt 1972 church enclave switch
 Ostheim vor der Rhön travel guide on Wikivoyage

Former exclaves
Grand Duchy of Saxe-Weimar-Eisenach
Rhön-Grabfeld
Rhön Mountains
South Thuringia

Ostheim


Heinz Kindermann (born 20 June 1942 in Welhotta, Reichsgau Sudetenland) is a German politician who served as a Member of the European Parliament from 1994 until 2009. He is a member of the Social Democratic Party of Germany, part of the Socialist Group.

In parliament, Kindermann served on the Committee on Agriculture and Rural Development and the Committee on Fisheries. He was also a member of the Delegation to the EU-Croatia Joint Parliamentary Committee and a substitute for the Delegation for relations with the countries of south-east Europe.

Career
 1956–1958: Farming apprenticeship
 1961–1967: Studied veterinary medicine

Education
 1968: Doctorate
 1967–1990: Veterinary doctor in a partnership in Strasburg
 1990: Specialist qualification for small animals
 1990–1994: Veterinary official in Strasburg
 1992: Passed the veterinary officers' civil service examination
 1992–1994: Head of the district veterinary and food supervisory office of Strasburg
 1991–1993: Chairman of Strasburg district SPD
 1991–1992: Head of the Human Justice and Culture of the Minorities
 1992–1995: Vice-Chairman of Uecker-Randow district SPD
 1990–1994: Municipal Councillor and SPD Group Chairman in Strasburg
 1994–2009: Member of the European Parliament

External links

1942 births
Living people
People from Litoměřice District
People from Sudetenland
Sudeten German people
Social Democratic Party of Germany MEPs
MEPs for Germany 2004–2009
MEPs for Germany 1994–1999
MEPs for Germany 1999–2004
Recipients of the Cross of the Order of Merit of the Federal Republic of Germany

Heinz Kindermann


Ti Dagiti Bisaya (Ingles: Visayans) ket di Tattao a Filipino ethnic group whose members ket dagiti ingay iti umuna wenno balin iti pagsasao a Bisaya, ti moste waydli nga sao di Cebuano, Hiligaynon, ken Waray-Waray.

Pagsasao

Kabisay-an refers both to the Visayan people collectively and the lands occupied by them. The English translation, Visayas, is used only to refer to the latter. From a geopolitical standpoint, the Philippine region of the Visayas comprises the following islands: Panay, Romblon, Guimaras, Negros, Cebu, Bohol, Siquijor, Leyte, Biliran and Samar.

Visayans refer to their respective languages as Binisaya or Bisaya. The table below lists the Philippine languages classified as Visayan by the Summer Institute of Linguistics. Although all of them belong to the same language family of Visayan, not all speakers identify themselves as Visayan. The Tausūg ethnic group, for instance, only use Bisaya to refer to Christian Visayan-speakers.

Visayans

Tattao a Bisayano


Francisco Piquer Chanza (2 June 1922 – 11 December 2009) was a Spanish actor.

Piquer's career as a stage, film, television and voice actor spanned six decades beginning in 1940. He won the Prix du Cinema Writers Circle for his role as the protagonist in the 1957 film Dirty Hands. He was Juan Proctor in fourteen episodes of the comedy Studio 1 and appeared in four episodes of El Comisario among many others. One of his last film roles was in 1998 in José Luis Garci's The Grandfather where he played the Prior of Zaratay. In 2007, he received what was his best role, that of Belardo with the National Classical Theater Company in Del Rey Abajo, Ninguno. On 11 December 2009 Francisco Piquer Chanza died in Madrid, Spain after a long illness.

Filmography

References

1922 births
2009 deaths
Spanish male stage actors
Spanish male film actors
Spanish male television actors
Spanish male voice actors

Francisco Piquer


The lookdown (Selene vomer) is a species of game fish in the family Carangidae. It was first described in 1758 by Carl Linnaeus, in the 10th edition of Systema Naturae.

Description
Although the lookdown is similar to the Atlantic moonfish, it can be distinguished by its dorsal and anal fins, the second ray on each fin being many times longer than the surrounding rays. This gives the dorsal and anal fins a noticeably scythe-like shape. The dorsal fin of the lookdown has 9 spines and 23 rays, while the anal fin has only 3 spines and 18 rays.

Like the Atlantic moonfish, it has a deep, rhombus-shaped, laterally-compressed body. The head has the mouth set low and the eyes high. The overall profile of the head is concave. The caudal fin is forked, as in the pompanos, while the pectoral fin is scythe-like and reaches the middle of the second dorsal fin.

The lookdown is silvery on both sides with a darker tinge on top. A young fish has several faint vertical bars that fade as it grows. The longest lookdown known was 48.3 cm long, and the heaviest weighed 2.1 kg.

Distribution and habitat
In the western Atlantic, the lookdown is found from Canada and Maine south to Uruguay, including Bermuda and the Gulf of Mexico. Although it is common in tropical Atlantic waters, it is rarely seen in the Greater Antilles.

The lookdown is found in marine and brackish waters at depths of 1 to 53 meters. It lives in shallow water near the coast, along hard or sandy bottoms. Juveniles may be seen in estuaries
or near sandy beaches. The lookdown often shoals, but it may also break away into smaller groups or pairs.

Commercial importance
The lookdown does not play a significant role in commercial fisheries. However, it is sought after for large public aquarium displays due to its interesting shape and flashy appearance.

Gallery

References

External links

Selene (fish)
Fish of the Eastern United States
Fish of the Western Atlantic
Fish described in 1758
Taxa named by Carl Linnaeus

Lookdown


OP or Op may refer to:

Arts and entertainment
 One Piece, a 1997 Japanese manga and anime
 OP, an abbreviated term for opening theme songs in anime
 Opposite prompt, a stage right prompt corner on a theatre stage
 Optimus Prime, a character from the Transformers franchise
 Op., short for opus number, used to denote one work of musical composition from many
 Original pronunciation, the phonology of Early Modern English, as used in William Shakespeare's time, specifically when used to perform his works in modern times.
 Out of print, a status of a book title at a publishing house

Businesses and organizations
 Operational planning, the process of planning short term measures in a company
 OP Financial Group, a Finnish company
 Oborový podnik ("specialized business"), a bygone Czechoslovak state designation for a business entity
 Ocean Pacific, a retail clothing company
 Oratory Preparatory School, in New Jersey, United States
 Dominican Order (), a Catholic religious order
 Odisha Police, police patrol in Odisha, India
 Publications Office of the European Union (), interinstitutional body of the European Union

Internet
 Original post (or poster), the opening entry (or author thereof) in a thread or discussion in an internet forum
 Overpowered (game balance), in video games, when a particular aspect or character is lacking game balance

Mathematics and computers
 Op (statistics), a symbol used in probability mathematics
 Octagonal prism
 Over-provisioning, a phenomenon associated with solid state storage; see

Places
 Orchard Park, New York
 Overland Park, Kansas
 O'Brien Peak
 O'Cain Point
 O'Connor Peak
 O'Donnell Peak
 O'Fallon Park
 O'Higgins Park
 O'Leary Peak
 O'Neal Point
 O'Neill Peak
 O'Neill Point
 O'Neill Regional Park
 O'Shea Peak
 O'Sullivan Peak

Other uses
 Observation post, a position from which soldiers can watch enemy movements
 Old Pauline, an ex-pupil of St Paul's School, London
 Old Peterite, a former pupil of St Peter's School, York
 Orange Pekoe, a grade of black tea
 Organophosphate, the general name for esters of phosphoric acid
 Overall Position, the grade appointed to Queensland high-school graduates
 O.P. Anderson, a Swedish spirit of the aquavit type
 Opportunity point, a tennis term for an opportunity to potentially break serve when the score is 15–30

See also
 Op-amp, short for operational amplifier
 Op-ed, a newspaper opinion piece
 Operation (disambiguation)
 Operator (disambiguation)
 OPS (disambiguation)
 Ops (disambiguation)
 Op. cit., opere citato, or "in the work cited"
 0P (disambiguation) (zero p)

OP


Eric Ato Sackey (born 20 August 1987 in Accra) is a Ghanaian footballer who last played for MC Alger in the Algerian Ligue Professionnelle 1.

Career
Sackey started his career with Tema All Stars youth team, catching the attention of the head coach after scoring 3 goals in 7 games, leading to his promotion to the senior team for the following season. Sakey scored 7 goals in 18 games before signing on loan for FC Olimpia Bălţi of the Moldovan National Division, scoring 6 times in 14 games, helping them escape relegation and earning a permanent contract. Sakey was loaned back to Tema All stars during the 2008–09 season, during which he scored 6 goals in 18 appearances.

Prior to the start of the 2009–10 season, Sackey was sold by Olimpia Bălţi to league rivals FC Dacia Chișinău, for undisclosed fee. After half a season with Dacia, Sackey was loaned to Yangon United FC in the Myanmar National League for the remainder of the season. Sackey played for Dacia during the 2010–11 season, before going out on loan, to Sfîntul Gheorghe for the first half of the 2011–12 season. Whilst played for Sfântul Gheorghe Suruceni against Zimbru Chișinău in August 2011, Sakey was attacked by Zimbru fans. Sackey later joined Zimbru Chișinău on loan for the second half of the 2011–12 season. Sackey returned on loan to Zimbru Chișinău for the first half of the 2012–13 season, before returning to Dacia for the remainder of the season.

In July 2014, Sackey signed a two-year contract with MC Alger of the Algerian Ligue Professionnelle 1, after having impressed while on trial.

References

External links

1987 births
Living people
Ghanaian men's footballers
FC Sfîntul Gheorghe players
Ghanaian expatriate men's footballers
Legon Cities FC players
Expatriate men's footballers in Moldova
Tema Youth F.C. players
Expatriate men's footballers in Myanmar
FC Dacia Chișinău players
Ghanaian expatriate sportspeople in Moldova
CSF Bălți players
Men's association football forwards

Eric Sackey


The Poppleton manuscript is the name given to the fourteenth-century codex probably compiled by Robert of Poppleton, a Carmelite friar who was the Prior of Hulne, near Alnwick. The manuscript contains numerous works, such as a map of the world (with index), and works by Orosius, Geoffrey of Monmouth and Gerald of Wales. It is now in the Bibliothèque Nationale, Paris (Ms Latin 4126).

The manuscript is famous because it contains seven consecutive documents concerning medieval Scotland, some of which are unique to the manuscript, and regarded as important sources. The first six, at least, had probably been compiled previously in Scotland, in the early thirteenth century. They comprise:

 de Situ Albanie; which appears to be an introduction to the following five or six texts. The Poppleton MS preserves the only copy of this.
 Cronica de origine antiquorum Pictorum (i.e. Chronicle on the Origins of the Ancient Picts); part of the Pictish Chronicle, this is largely a pastiche of wider Latin learning regarding the Picts and Scots. It contains extracts from the Etymologiae of Isidore of Seville and Nennius's Historia Brittonum.
 A Pictish King List; part of the Pictish Chroncle, this is a largely un-Gaelicized list of Pictish Kings, containing an opening mythological section not present in many other Pictish king lists. Unlike related Pictish king-lists, it gets cut off at the accession of Cináed mac Ailpín. It reveals its origins at Abernethy by preserving a spurious foundation "charter" for the monastery there, reputedly granted by King Nechtan (fl. early seventh century), whom it calls Nectonius magnus filius Uuirp.
 Chronicle of the Kings of Alba; it is a short chronicle of the Kings of Alba, from the period of King Cináed mac Ailpín (d. 858) until the reign of King Cináed mac Maíl Coluim (r. d. 995). As for the de Situ Albanie, the Poppleton MS preserves the only copy.
 A List of Dál Riatan and Scottish monarchs; this joined pair of king-lists starts from the legendary Fergus Mór mac Eirc, and ends with William I.
 A genealogy of William I; this genealogy goes all the way back to Adam, via Gaidhel Glas. It is just a record or partial translation of a Gaelic genealogy, in which mac and meic have been replaced with filius and filii. Virtually all ancestors before David I have their names in the Middle Irish genitive form.
 A foundation legend of St Andrews; it may not have been compiled by the author of de Situ Albanie in the thirteenth century, simply because it does not fit in with the logic presented by documents one to six, and is unrelated to the legend or topic is mentioned in de Situ Albanie.

The value of the manuscript has been shown in the publications of William Forbes Skene, Alan Orr Anderson, and his wife Marjory Anderson. Dozens of articles have been written in the last half-century about various aspects of the Scottish content, although studies of the whole manuscript have been rarer.

Bibliography
 Anderson, Alan Orr, Early Sources of Scottish History: AD 500-1286, Vol. 1, (Edinburgh, 1923)
 Anderson, Marjorie O., Kings and Kingship in Early Scotland, (Edinburgh, 1973), pp. 235–60
 Broun, Dauvit, "The Seven Kingdoms in De Situ Albanie: A Record of Pictish political geography or imaginary Map of ancient Alba?" in E.J. Cowan & R. Andrew McDonald (eds.), Alba: Celtic Scotland in the Medieval Era, (Edinburgh, 2000, rev. 2005), pp. 24–42
 Skene, William F., Chronicles of the Picts and Scots: And Other Memorials of Scottish History, (Edinburgh, 1867)

External links
 Another summary of the Scottish contents

14th-century books
Medieval literature
Medieval documents of Scotland
Pictish culture
14th-century manuscripts
Bibliothèque nationale de France collections
Manuscripts about Scotland
Medieval documents of England
Manuscripts in Latin

Poppleton manuscript


Vlaamse Vervoersmaatschappij De Lijn (English: Flemish transport company De Lijn), usually known as De Lijn (, "The Line"), is a company run by the Flemish government in Belgium to provide public transportation with about 2240 buses and 399 trams. De Lijn was founded in 1991 after the public transportation companies of Antwerp and Ghent fused with the Flemish part of the NMVB (Nationale Maatschappij van Buurtspoorwegen, or the "National Company of Neighborhood Railways").

Socialist politician Steve Stevaert of Hasselt implemented a policy allowing registered residents in Flanders aged 65+ to ride anywhere in Flanders free. This has since been changed into allowing 65+ inhabitants to purchase cheap year passes which are valid throughout de Lijn. For around 52 euros, senior citizens can now travel freely as often as they wish. Other incentives exist for people under age 25. De Lijn is being viewed as an integral part to reduce heavily congested traffic, together with the NMBS (Belgium's national rail operator).

In 2016, it transported more than 518.8 million passengers in an area with a population of approximately 6.5 million.

De Lijn operates:
 Antwerp Tramway, with both street running and underground light rail (Antwerp Pre-metro).
 Ghent Tramway, mostly street running with some reserved track.
 Coast tram, an interurban line along the whole Belgian coast, between De Panne and Knokke.
 All urban, suburban and intercity buses in Flanders. Because of the dense rail network, intercity buses serve as local transport between big cities and smaller communities. Time to travel from one city to another by bus is most often longer than for the same journey on the train because bus lines are less straight, as they pass through many small towns that are not served by railway. The buses are  more city-style (no coach buses are used). In the Limburg province with few railways, buses are the main mode of intercity travel. There are also express intercity buses there.

The fares are the same on all modes.

De Lijn issues a smartcard called the Lijnkaart and a chain of shops called Lijnwinkel.

De Lijn also supports the Flemish Tram and Bus Museum, located in Antwerp and connected to the tracks of the Antwerp Tramway.

See also

TEC - equivalent company in Wallonia
MIVB-STIB - equivalent company in Brussels

References

External links

Official website (in Dutch)

Public transport operators
Companies based in Antwerp Province
Public transport in Belgium
Mechelen
1991 establishments in Belgium
Transport companies established in 1991
Government-owned companies of Belgium

De Lijn


Canadian import duties is the amount of tax or tariff paid while importing goods into Canada. The Canada Border Services Agency collects the tariff on all imported goods.

Personal
According to the North American Free Trade Agreement, there is no duty to be paid if the goods are for personal use and "the goods are marked as made in the United States, Canada or Mexico, or the goods are not marked or labelled to indicate that they were made anywhere other than in the United States, Canada or Mexico."

Canadians also have to pay the federal goods and services tax and in most provinces provincial sales tax on the imported goods.

Trade tariffs
Foreign trade is highly regulated in Canada, because it is a member of the WTO.

The CDCRMDP Agency collects an Import Levy "equal to the domestic check-off amount per head or equivalent, on beef cattle, beef and beef and beef products." Its activities are supervised by the Farm Products Council of Canada.

Further reading

References

Foreign trade of Canada
Taxation in Canada
Customs duties

Canadian import duties


The Brahms guitar, or cello-guitar, is an eight-string guitar with a conventional resonating body, but also an external, box-shaped resonator. Classical guitarist Paul Galbraith, in collaboration with  luthier David Rubio, invented the instrument in 1994. David Rubio's protégé, luthier Martin Woodhouse, innovated the design and continues to build Brahms guitars. Galbraith originally conceived it specifically to perform Johannes Brahms' Theme and Variations, Op. 21.

The instrument adds two strings to the standard six—a low A (a 5th below the standard low E), and a high A (a 4th above the standard high E), giving A E A D G B E A. The guitar's frets are fanned to allow for the different string lengths. The player holds the guitar like a cello, with a cello-like post from the bottom of the guitar to the box resonator.

Other adopters include Joseph Ehrenpreis, Everton Gloeden, Luiz Mantovani of the Brazilian Guitar Quartet, and Galbraith's former students Redmond O'Toole and Matthew Korbanic, and Alf Wilhelm Lundberg. The Dublin Guitar Quartet uses the instrument in their arrangements of  Philip Glass, Kevin Volans, and Arvo Part string quartets.

In November of 2020, Joseph Ehrenpreis released "New Music with Brahms Guitar, Vol. 1" funded by an IAS grant from the Illinois Arts Council. The project includes entirely new compositions from an international cast of composers, including Dai Fujikura, written specifically for the 8-string Brahms Guitar.

See also
Classical guitar making

References

Sources
 Paul Galbraith's website

Guitars
1994 introductions

Brahms guitar


Strzelin (historically also known as Strzelno and Strehlen) is a town in Poland, in the Lower Silesian Voivodeship, in the Strzelin County.

The city has a rich history and is historically situated in Lower Silesia. It has been known by various names in the past, such as Strzelno and Strehlen.

Strzelin is on the Oława River, on the border of the Strzelin Hills, which are part of the Sudeten Foreland, and the Silesian Lowlands. It is about 37 km south of Wrocław, the capital of the Lower Silesian Voivodeship.

Strzelin serves as the seat of the urban-rural municipality of Strzelin and the Strzelin County. Administratively, the city belonged to the Wrocław Voivodeship in the years 1975–1998.

Towns in Lower Silesian Voivodeship

Strzelin


Sulayman Hafez was an Egyptian lawyer and politician. Hafez drafted the abdication letter of King Farouk and negotiated his stepping down following the Egyptian Revolution of 1952.

In early 1953, following the revolution, Hafez was selected by the Revolutionary Command Council (RCC) to serve as both Deputy Prime Minister and Interior Minister in the government of Prime Minister Muhammad Naguib, the senior officer who took part in the overthrow of King Farouk. He handpicked all but two of the ministers in the cabinet and his relatively young appointees consisted of technocrats, members of the youth wing of the Nationalist Party of Fathi Radwan and two associates of the Muslim Brotherhood.

Hafez became one of the chief antagonist against the Wafd Party in Egypt following the revolution. He sought to have Mustafa el-Nahhas ousted as the party's president, penning a letter on behalf of the revolutionary officers that described el-Nahhas as a "tumour in the body politic." At the time, there were sharp internal divisions within the party, with the young guard seeking to show more flexibility towards the officers and viewing the old guard, represented by el-Nahhas, as being out of touch. El-Nahhas had refused to negotiate the party's renewal of license with President Naguib as long as party veteran Fouad Serageddin remained imprisoned. However, he eventually relented after significant defections from the party and submitted the application to Hafez's interior ministry.

Hafez, a major legal figure prior the revolution, was among the law-based civilian allies of Naguib, which also included Abd El-Razzak El-Sanhuri. Naguib's appointment of Hafez to the interior ministry, which was responsible for domestic security among other tasks, was seen by later historians as weakening his hand. Gamal Abdel Nasser, the officer who led the revolution, managed to take advantage of the appointment by easily managing to appoint himself to both of Hafez's positions in June 1953, amid the growing rivalry between Nasser and Naguib. Hafez then became the official legal adviser Naguib.
While Naguib drew on constitutional lawyers and the leaders of pre-revolutionary political parties, Nasser surrounded himself with his fellow officers. Hafez resigned from his advisory position on 27 March 1954 as tensions between Nasser and Naguib escalated.

References

Bibliography

20th-century Egyptian lawyers
Interior Ministers of Egypt

Sulayman Hafez


The Golden Ball Tavern is a historic tavern, now a museum, located in Weston, Massachusetts.  Built in 1768, it is one of the town's finest examples of Late Georgian architecture.  It also played a pivotal role in local activities during the American Revolution, due to its Loyalist tavern keeper.  The tavern was listed on the National Register of Historic Places in 1972, and was included in Weston's Boston Post Road Historic District in 1983.

Description
The Golden Ball Tavern stands on the south side of Boston Post Road, near the center of Weston, just east of its junction with Golden Ball Lane.  It is a two-story wood frame structure, its main section covered by a hip roof and finished in wooden clapboards.  A two-story ell, likely an older house, extends to one side, and a single-story ell to the other.  The main entrance is at the center of a five-bay facade, flanked by simple pilasters and topped by a modillioned cornice.  The property also has a barn that is believed to date to the main house's construction.

History
The tavern was built in 1768 by Captain Isaac Jones, a local shopkeeper.  Jones, a Loyalist, gave shelter to British soldiers performing reconnaissance on rebellious activities in 1774.  After the Boston Tea Party in December 1773, the tavern was raided by local Patriots, who believed Jones to be serving tea on which hated taxes had been collected.  Known locally as the Weston Tea Party, the event consisted of little more than a ransacking of the premises (which had no taxed tea).  Later in the Revolution, Jones apparently joined the cause of independence, and regained a position of prominence in the community.  His tavern flourished until the early 19th century, when the opening of the Worcester Turnpike siphoned traffic away from the Post Road.  The tavern closed about 1805, and was then occupied as a residence by six generations of the Jones family.  It then underwent restoration, and has since been opened as a museum.

See also
National Register of Historic Places listings in Weston, Massachusetts

References

External links

Museum web site

Drinking establishments on the National Register of Historic Places in Massachusetts
Buildings and structures in Weston, Massachusetts
National Register of Historic Places in Middlesex County, Massachusetts
Museums in Middlesex County, Massachusetts
Historic district contributing properties in Massachusetts

Golden Ball Tavern


Deadline(s) or The Deadline(s) may refer to:

 Time limit, a narrow field of time by which an objective must be accomplished

Arts, entertainment, and media

Comics

 Deadline (DC Comics), a fictional villain
 Deadline (magazine), a British comics magazine
 Deadline (Marvel Comics), a 2002 limited series

Films
 The Dead Line (1920 film), an American silent drama film
 The Dead Line (1926 film), an American silent western film
 The Deadline (film), a 1931 American western directed by Lambert Hillyer
 Deadline (1948 film), an American western starring Sunset Carson
 Deadline (1971 film), a Swedish/Danish film directed by Stellan Olsson
 Deadline (1980 film), a Canadian horror film starring Stephen Young
 Deadline (1982 film), an Australian film starring Barry Newman
 Deadline (1987 film), a war drama film starring Christopher Walken
 Deadline (1988 film), a British television drama film starring John Hurt and Imogen Stubbs
 Deadline (2001 film), a Swedish thriller film
 Deadline (2004 film), a film shot in Pittsburgh
 Deadline (2005 film), a Bengali film directed by Atanu Ghosh
 Deadline (2009 film), an American horror film starring Brittany Murphy
 Deadline (2012 film), an American mystery drama film starring Eric Roberts
 Deadline: Sirf 24 Ghante, a 2006 Bollywood film
 Deadline – U.S.A., also known as Deadline, a 1952 American newspaper drama starring Humphrey Bogart
 Deadlines (film), a 2004 film starring Anne Parillaud

Games
 Deadline (1982 video game), a text adventure
 Deadline (1996 video game), a computer game by Millennium Interactive
 Deadline Games, a defunct Danish video-game developer

Literature
 Deadline (Crutcher novel), a 2007 novel by Chris Crutcher
 Deadline (Grant novel), a 2011 novel by Mira Grant
 "Deadline" (science fiction story), a 1944 story by Cleve Cartmill
 Deadline, a 2000 novel by Campbell Armstrong
 Deadline, a 1988 novel by Tom Stacey
 The Deadline: A Novel About Project Management, a 1997 book by Tom DeMarco

Music

Groups
 Deadline (band), a rock/fusion project by Bill Laswell featuring, among many others, Jonas Hellborg
 The Deadlines, an American rock band
 Deadline, an American punk band that featured future Fugazi member Brendan Canty

Albums
 Deadline (Leftöver Crack and Citizen Fish album), 2007
 Deadline (S7N album), 2016
 The Deadline (EP), by Supastition, 2004
 Deadlines (Arkells album), 2007
 Deadlines (Strawbs album), 1977
 Dead Line, a 1986 album by Dead End

Songs
 "Deadline", by Blue Öyster Cult from Cultösaurus Erectus
 "Deadline", by Krokus from Pain Killer
 "Deadline", by Robert Palmer from Pride

Radio
 Deadline (audio drama), a 2003 audio drama based on the TV series Doctor Who
 The Dead Line (radio drama), a 2009 Torchwood radio drama

Television

Programs
 Deadline (1959 TV series), an American series
 Deadline (1995 TV series), a British fly-on-the-wall documentary series about local newsgathering
 Deadline (2000 TV series), a 2000–2001 American drama series about a newspaper
 Deadline (2007 TV series), a British celebrity reality series
 Deadline (2022 TV series), a British crime mystery mini-series

Episodes
 "Dead Line" (Inside No. 9), a 2018 episode of British anthology series Inside No. 9
 "Deadline" (The Agency)
 "Deadline" (Bat Masterson)
 "Deadline" (Beverly Hills, 90210)
 "Deadline" (The Bill)
 "Deadline" (CSI: Miami)
 "Deadline" (Danger Man)
 "Deadline" (Deadliest Catch)
 "Deadline" (Early Edition)
 "Deadline" (Freddy's Nightmares)
 "Deadline" (NCIS: Los Angeles)
 "Deadline" (Relic Hunter)
 "Deadline" (The Streets of San Francisco)
 "Deadline" (Tales from the Crypt)
 "Deadline" (TekWar)
 "Deadline" (Walker, Texas Ranger)
 "Deadline" (White Collar)
 "The Deadline" (Life on Mars)

Other uses in arts, entertainment, and media

 Deadline Hollywood, an online entertainment news magazine, and its website Deadline.com
 Deadline Music, an imprint of Cleopatra Records

Other uses
 Dead line, Canadian football for the line marking the end of the end zone

See also

 Due date (disambiguation)

Deadline


Unionization is the creation and growth of modern trade unions. Trade unions were often seen as a left-wing, socialist concept, whose popularity has increased during the 19th century when a rise in industrial capitalism saw a decrease in motives for up-keeping workers' rights.

Workers usually create unions when they face a certain struggle within their industry. They tend to organize themselves by sector of employment and may join a general union to represent employees in all sectors for increased media attention. Different unions belonging to different sectors may vary in how much emphasis is placed on participation, union leadership, aims, and techniques, depending on the impact of their action.

On average, blue-collar workers are more unionized than white-collar workers due to their differences in working nature.

Motives for unionization
Modern trade unions form due to many different reasons, mainly due to changes in a country's economy or decreasing demand for labour in a specific industry. Workers usually form unions when they feel that the fact that they do not have a say in the workplace threatens their job security, which in turn affects their economical position.

Bureaucratization
Members are more likely to unionize when they collectively have problems with their workplace, however this leaves out workers who do not have much of a high standing in the environment.

Different workers may have different goals, which may include either promotions or a higher pay.  Unions attracted disadvantaged workers to enable collective bargaining power between them with employers to negotiate better wages, benefits, and employment terms.

There have been some studies suggesting workers join unions due to social pressures, however there have also been studies that suggest the opposite. As such, the likelihood of social pressures effecting workers joining a union likely varies from environment to environment.

Opposition
Company management usually disprove of unions due to collective action by workers cutting into a company's profit shares. Although, in the United States, it is illegal for an employer to interfere with workers' right to unionize,  workers may sometimes feel agitated about joining a union if disapproval is expected from employers, as there may be an underlying belief that an employee's social standing with an employer may be tarnished.

Employers who take part in actively combating the process of unionization or the efforts of the union are  engaging in union busting.

Forms of organization
Union membership tend to be organized by either their industry, ultimate goal, or employer.

Craft unionism

In craft unionism, workers are organized by their job or profession. Unions that belong to this group tend to focus on improving the conditions of a particular industry, for example when the Writers Guild of America striked on behalf of its writers.

Industrial unionism

In industrial unionism, workers are organized together regardless of their job or profession, where a higher membership count gives a union more influence across many different industries.

Solidarity unionism

In solidarity unionism, workers who wish to directly attempt to take action without any form of mediation are organized together.

Types of unionization models
Different unionization models are used to guide a union's efforts to reach its goals.

Servicing model

The service model is where union organizers use legal and other types of resources that are not affiliated with the employer or workforce.

Organizing model

The organizing model is a model developed in the United States that re thinks union organizers as being teachers and mentors that encourage and instruct union members in carrying out their own activism. This is in contrast to the Service Model of Organizing, where the union is charged with settling disputes and solving problems. The goal with the organizing model is to encourage union members to be more active and engaged in their union.

Effects of unionization

In relation to gender
According to a study conducted in 1992, conventional unionization organization strategies were most applicable towards men working in the manufacturing sector, forcing those who were not affiliated with such to initiate contact with a union. Women were more likely than men to desire a form of unionization, however they were recorded as least likely to join a union.

In relation to productivity
Early industrial relations researchers believed unionization might safeguard employment by fighting technological and mechanical advances. Recent researchers developed dynamic union-firm bargaining approaches. Monopoly unions can boost salaries and appropriate quasi-rents from employers' capital, but others predict that firms would decrease capital investment to prevent appropriation, lowering productivity.

Unionization has been demonstrated to be associated with greater employee retention, even when unionized employees experience greater amounts of dissatisfaction in the workplace. This is associated with the fact that employees experiencing dissatisfaction will be able to voice their concerns more effectively through the use of the union.

Rate of unionization by country

The rate of unionization in a country is measured through both the amount of workers represented by a union as well as the share of workers represented by unions in a country. This is due to that although more workers may be joining unions, industries represented by unions are increasing at a faster rate.

Canada
The rate of members represented by unions in Canada has fallen significantly in the past four decades, dropping from 37.6% in 1981 to slightly less than 29% by 2014. The union movement in Canada has become increasingly concentrated in the public sector. Most workers in Canada have the right to unionize their workplace, but certain categories of workers are ineligible to unionize, such as independent contractors.

India
The Indian National Trade Union Congress was formed in 1947 after Indian independence in the same year, and is the oldest trade union federation in India. Unions are known to have political connections, and are sometimes used to project political influence on both workers and political parties.

Russia and the Soviet Union
Soviet trade unions, administered by the All-Union Central Council of Trade Unions, date back to the Russian Revolution of 1905, fifteen years before the establishment of the Soviet Union. Their relationships with industrial management, the Communist Party, and the Soviet government were complex due to a requirement in labour.

The Federation of Independent Trade Unions of Russia (FNPR) is Russia's largest post-Soviet national trade union center, with 28-31.5 million members and is widely recognized as the successor to the Soviet era system.

United States
The earliest recorded workers' strike through a newly-formed solidarity union was recorded in 1768 when New York journeymen tailors protested against a wage reduction. Local craft unions formed and demanded shorter workdays and job-conscious orientation. Trade unionism emerged in the 19th century, primarily involving skilled workers.

Although the annual rate of unionization in the United States is increasing, it has one of the lowest unionization rates in the developed world. The effects of unionization are not heavily researched, drastically reducing the known effects of unionization and therefore reducing the amount of workers that know about unionization.

Notes

References

See also
 Amazon worker organization
 Google worker organization
 Starbucks unions
 Unionization in the tech sector

Labour movement in Canada
Labour movement in India
Labor movement in the United States
Trade unions

Unionization


The Lizard is a Marvel Comics supervillain created by Stan Lee. He is an enemy of Spider-Man. His real name is Dr. Curtis Connors, and is a scientist who was using lizard DNA to try and regrow lost limbs. He tested it on himself and turned into a lizard monster.

Portrayals
 Rhys Ifans played The Lizard in The Amazing Spider-Man (2012). He also played The Lizard in Spider-Man: No Way Home (2021).

Characters created by Stan Lee
Marvel Comics mutates
Marvel Comics supervillains
Spider-Man

Lizard (character)


ArteCombo is a wind quintet formed in 2007. Its members are: Mayu Sato (flute), Baptiste Gibier (oboe), Annelise Clément (clarinet), Cyril Normand (french horn), and Frank Sibold (bassoon).

Beside the traditional wind quintet repertoire (Ligeti, Hindemith, Françaix, etc.), ArteCombo plays its own arrangements (written by Frank Sibold) of pieces such as Gershwin's An American in Paris. Composer Jean-Philippe Calvin wrote the wind quintet "Kleztet" for Artecombo. ArteCombo also commissioned and performed the musical children story "Caravane Gazelle", composed by Olivier Calmel.

ArteCombo won the second prize at the Henri Tomasi International Woodwind Quintet Competition in Marseille in 2011. Until now, ArteCombo has played mostly in France and Japan.

Discography
 2010: Caravane Gazelle, Hybrid'Music, with Julie Martigny (voc)
 2011:  Carnet de route, Hybrid'Music

References

External links
 Official website

Wind quintets
Musical groups established in 2007

Artecombo


Thomas Chilcot (1707?1766), was an English organist and composer.

Life
Thomas Chilcot of Bath, Somerset was born in the West of England (probably Bath) in or about 1707. He was the son of John Chilcot and Elizabeth Powell. Records of his birth, like most other records from his life, are now lost. Chilcot was educated at Bath Charity School, whose headmaster, Henry Dixon, had a strong interest in church music. On 6 July 1721 Chilcot (presumably aged 14) was apprenticed to Josiah Priest, the organist of Bath Abbey since 1714 - seemingly the only occasion on which the school allowed a pupil to be apprenticed to a musician. On Priest's death, just four years later, Chilcot was made Abbey organist on a probationary basis. At what should have been the conclusion of Chilcot's apprenticeship, in 1728, the appointment was made permanent. As City musician in fashionable Bath, Chilcot rapidly established a remarkable relationship with many noble families, attracting their patronage and subscriptions to his publications. He became a member and subsequently Grand Master of the Royal Cumberland Lodge of Freemasons. He was also amongst the original members of the Royal Society of Musicians, founded in 1738/1739.

As well as his work at the Abbey, Chilcot organised and directed some ambitious choral concerts (at which he played his own concertos) and appears also to have run a small instrument hire business.

He married Elizabeth Mills of Bath in 1729 and had seven children, of whom four survived. Following Elizabeth's death, he married Anne Wrey, a member of a prominent West Country family (the Wrey baronets), in 1749.

Chilcot died suddenly on 24 November 1766, after occupying a highly influential role in Bath for forty years. Almost no public notice was taken of his death and a complicated disagreement over Chilcot's estate meant that none of the elaborate arrangements that the composer had made for his own funeral procession, monument and memorial trusts, was ever carried out.

Works
Chilcot's unpublished music, including at least four anthems, a Jubilate, an oratorio called Elfrida and what a posthumous auction catalogue describes as "his finest pieces of Music ... never Printed or Sold", has not survived.

His published music consists of:
 Six Suites of Lessons for the Harpsicord or Spinet (London, Wm Smith, 1734).  Modern edition by Le Pupitre (Paris, Heugel & cie, 1981)
 Twelve English Songs with their symphonies. The words by Shakespeare and other Celebrated Poets. (William Shakespeare, Christopher Marlowe, Anacreon, and Euripides) (London, John Johnson, [1744])
 Six Concertos, for the Harpsichord (London, John Johnson, 1756) (dedicated to Lady Elizabeth Bathurst)
 Six Concertos, for the Harpsichord (Bath, privately, 1765/1766)

References

Bibliography

B.J. Maslen: 'Thomas Chilcot: a Forgotten Composer', Musical Quarterly, lxvi (1943), 294–5

David Falconer: Bath Abbey: its Choirs & its Music (Bath, 1984)

Tim Rishton: Thomas Chilcot and his Concertos (PhD thesis, U. of Wales, Bangor, 1991)

Tim Rishton: 'The Eighteenth-Century British Keyboard Concerto after Handel', Aspects of Keyboard Music: Essays in Honour of Susi Jeans, ed. R. Judd (Oxford, 1992), 121–39

Tim Rishton:  'Chilcot, Thomas', article in New Grove Dictionary of Music and Musicians

Seraphic Lays': Thomas Chilcot 1707-1766', Hexachord: The Journal of Early Music Wales vol II no. 2 (February 2000), 4-13

Tim Rishton: 'The twelve harpsichord concertos of Thomas Chilcot', Early Keyboard Journal'' Vol 23 (2005), 33-66

External links

1700s births
1766 deaths
Year of birth uncertain
English Baroque composers
English classical composers
English organists
British male organists
18th-century English people
18th-century classical composers
18th-century British male musicians
18th-century keyboardists
English male classical composers

Thomas Chilcot


Cabo Negro, also known as Golf Beach Cabo Negro or Cabo Negro Beach and Golf Resort is a beach resort in northern Morocco, to the north of Tetouan, southeast of M'Diq, just north of Martil. The club originally had 9 holes, designed in 1978 by M. Cabell and B. Robinson, but has since been expanded into a full golf course. The resort of Cabo Negro is described by Baedeker as "the most modern and exclusive of the three towns [in the Tetouan area], with two large beaches of fine-grained sand. Along with restaurants, hotels and holiday houses, there are also nightclubs, tennis courts, horse-riding facilities and a 9-hole golf course."

References

Resorts in Morocco
Golf clubs and courses in Morocco
Buildings and structures in Tanger-Tetouan-Al Hoceima

Cabo Negro


Shree Samarth Vyayam Mandir, a pioneer physical education institution located in Shivaji Park, in the heart of Mumbai, has worked in this field for the last 73 years. About 1200 children engage in activities each evening.

The institution concentrates on indigenous games as well as contemporary sports disciplines like Mallakhamb, Kho kho, Kabaddi, Yoga, Gymnastics, Wrestling, Bodybuilding, Weight lifting, Athletics, Basketball, Volleyball, Judo, Karate and exercises like Lezim, Dand-Baithak, Lathi, Lakdi and so forth.

A unique feature of this training setup is that most of the teachers render their services in an absolutely honorary capacity. The coaches, basically the past students of the Institution, are engaged in producing not only the champions but also the future teachers who will in turn carry on the tradition and keep the motto "for the cause of sports" alive.

The institution has so far produced more than 1000 National champions in different sport disciplines and about 20 of them have been conferred  'Shree Shiv Chhatrapati State Sports Award' by the government of India. Over 30 students of the institution have represented the country in different International sports event.

The institute conducts two Yoga Centres for adult men and women, runs a Govt.recognised D.Ed.course as well as a part-time unaided Certificate Course in Physical Education-D.P.E. A library on sports and allied publications is also a salient feature of this institute.

References

External links
 ShivajiPark.com - Samarth Vyayam Mandir
 http://www26.brinkster.com/shreesamartha/

Sports venues in Mumbai
Year of establishment missing

Samarth Vyayam Mandir


Deep Red (), also known as The Hatchet Murders, is a 1975 Italian giallo film directed by Dario Argento and co-written by Argento and Bernardino Zapponi. It stars David Hemmings as a musician who investigates a series of murders performed by a mysterious figure wearing black leather gloves. The cast also stars Daria Nicolodi, Gabriele Lavia, Macha Méril, and Clara Calamai. The film's score was composed and performed by Goblin, the first in a long-running collaboration with Argento.

The film was released during the height of the "giallo craze" of Italian popular cinema, and was a critical and commercial success. Retrospective reviews have been equally positive, and the film is considered one of the genre's definitive entries, as well as one of Argento's best works.

Plot
During Christmas at a family home, one figure stabs another to death. A bloody knife falls to the floor at a child's feet.

Twenty years later in Turin, Professor Giordani chairs a parapsychology conference featuring psychic medium Helga Ulmann. Helga is suddenly overwhelmed by the "twisted, perverted, murderous" thoughts of someone in the audience. Speaking later with Giordani, Helga says she believes she can identify this person, unaware that someone is listening from the shadows.

Later that night, a black-gloved figure invades Helga's apartment and kills her with a meat cleaver. English Jazz musician and bandleader Marcus Daly sees the murder from the window as he passes by and rushes to her apartment, finding her mutilated corpse. After the police arrive, Marcus thinks one of the apartment's paintings has disappeared, but he cannot pinpoint what exactly is missing.

The media identifies Marcus as the eyewitness and shows reporter Gianna Brezzi's photo of him. The next morning, Marcus visits the home of his heavy-drinking friend, Carlo, but only finds Carlo's eccentric mother Martha, who seems interested in Marcus. That night, the killer plays a recording of a child's song outside Marcus's door; he manages to lock the door before the person can enter, but he hears the gruff whisper, "I'll kill you sooner or later." Feeling guilty for endangering him by taking his photo, Gianna begins helping Marcus investigate.

Marcus tells Giordani, whom he met at Helga's funeral, about the encounter. Giordani, noting that Helga also mentioned hearing child's song during her vision, recalls a book of modern folklore describing a local haunted house where a child's song is sometimes heard.  Marcus finds the folklore book at the library. He rips out a picture of the house and plans to learn more by visiting the book's author. However, the killer, who has been watching Marcus, attacks the author and drowns her in scalding water before Marcus arrives.

Marcus uses the photo from the book to find the huge, abandoned house. Under sheetrock he uncovers a disturbing mural: a child holding a bloody knife over a dead body. After he leaves, a loose chunk of sheetrock falls away, revealing another figure in the drawing. Meanwhile, Giordani, who has been assisting Marcus' investigation, is murdered by the killer after being distracted by a large mechanized doll.

Continuing his search of the abandoned house, Marcus finds a walled-off room. In the middle of the dusty floor sits a desiccated corpse. Someone knocks Marcus unconscious as he backs away in horror. He awakens outside the house, which is burning. Gianna appears, explaining that she got his message about investigating the house and arrived in time to save him. As Marcus and Gianna wait at the caretaker's house for the police, Marcus notices that the caretaker's daughter has drawn a picture identical to the hidden mural he found in the house. She tells him she saw the picture in the archives of the local school.

Marcus and Gianna immediately go to the school. Marcus finds the drawing in a schoolboy's record. When Gianna leaves to call the police, someone stabs her. Marcus corners the attacker; it is his friend Carlo, who as a child drew the disturbing pictures. The police arrive, and Carlo flees into the dark street where a garbage truck hits him and drags him. When the truck stops, an oncoming car runs over Carlo's head.

At the hospital, Marcus learns that Gianna has survived. Marcus remembers that on the night of Helga's murder he met an utterly intoxicated Carlo coming from a different direction than the killing, meaning that Carlo couldn't have been the killer. Marcus reinvestigates Helga's apartment. There, he has an epiphany: the night of Helga's murder it was not a missing painting he saw when he entered the apartment, but rather a reflection of the killer, framed in a mirror. As Marcus realizes he saw Martha, Carlo's mother, she appears behind him with a meat cleaver. Martha explains that after her husband said he would re-commit her to  an insane asylum, she murdered him in front of the young Carlo. She walled off the room containing his body. Carlo, scarred psychologically, compulsively drew the scene as a youth and as an adult tried to repress the memory of the homicide with alcohol: he attacked Marcus and Gianna to protect his murderous mother from their investigation.

Martha attacks Marcus and wounds him with the cleaver. After Martha's necklace tangles in the bars of the building's elevator, Marcus sends the elevator down, decapitating her.

Cast

Background

Deep Red represented Argento's return to the horror genre after an attempted breakaway with the historical dramedy The Five Days (1974). It was his last giallo film before Tenebre (1982), which was produced years after the genre's heyday.

The film was also his first collaboration with actress Daria Nicolodi, with whom he would begin a relationship during this film, and progressive rock band Goblin, who composed and performed the film score. Argento would collaborate with Nicolodi five more times, and Goblin or its frontman Claudio Simonetti ten more times. Nicolodi would also co-write the screenplay for Suspiria.

Production

The film was shot mainly on-location in Turin in sixteen weeks. Additional scenes were shot in Rome and Perugia. Argento chose Turin because at the time there were more practising Satanists there than in any other European city, excluding Lyon. He had previously shot parts of The Cat o' Nine Tails (1971) in the city. Filming locations included Santa Costanza Church and Teatro Carignano. Argento would later revisit Carignano 25 years later in Sleepless (2001). The "House of the Screaming Child" was Villa Scott, a historical villa owned at the time by a convent of nuns and operated as a boarding school.

Argento's original working title for the film was La Tigre dei Denti a Sciabola (The Sabre-Toothed Tiger), matching the "animal" motif of his previous gialli.

Co-writer Bernardino Zapponi said the inspiration for the murder scenes came from him and Argento thinking of painful injuries to which the audience could relate, as the pain of being stabbed or shot is outside the experience of most viewers. Their original screenplay ran approximately 500 pages, but after it was deemed unfilmable, Argento shortened it to 321. The use of a psychic medium originated from an early draft of Four Flies on Grey Velvet (1971).

The close-up shots of the killer's hands, clad in black leather gloves, were performed by director Dario Argento himself. Argento was convinced that having all the killing scenes performed by himself would be quicker and easier than teaching the moves to an actor, who would require endless re-takes to perform everything to the director's satisfaction. The film's special effects, which include several mechanically operated heads and body parts, were created and executed by Carlo Rambaldi.

As was common in Italian filmmaking at the time, Deep Red was shot without sync sound, and all dialogue was dubbed in post-production. The screenplay was written in both Italian and English, all actors except for Clara Calamai spoke in English. The Italian dub cast included Isa Bellini (Calamai), Wanda Tettoni (Del Balzo), and Corrado Gaipa (Meniconi). The English dub cast included Cyril Cusack, Ted Rusoff, Carolyn De Fonseca, Geoffrey Copleston, Michael Forest, and Edward Mannix. David Hemmings dubbed himself.

Release
Deep Red was released in Milan and Rome in Italy on 7 March 1975.
In the United States, the film first premiered in New York City on 9 June 1976 and saw a wide theatrical release
on 11 June 1976 by the defunct US independent film distributor Howard Mahler Films. The film was once again re-released
and re-titled in the US on 18 January 1980, as The Hatchet Murders, and again in 1982 as The Phantom of Terror. Unlike Argento's previous features, the film did not have a wide cinema release in the UK. The 1982 video release on Fletcher Video was uncertificated. The first formal submission to the BBFC for classification was made by Redemption Films for their VHS release in 1993. It was passed 18 with 11s of cuts (to 'fighting' dogs), and reframing (of a lizard apparently impaled alive on a blade) on 03/12/1993 (all cuts were subsequently waived, see below).

Critical reception
The film holds a 93% approval rating on review aggregation website Rotten Tomatoes, based on 29 reviews with an average rating of 8.1/10. The site's consensus reads: "The kinetic camerawork and brutal over-the-top gore that made Dario Argento famous is on full display, but the addition of a compelling, complex story makes Deep Red a masterpiece." On Metacritic, the film has a weighted average score of 89 out of 100 based on 7 critic reviews, indicating "universal acclaim". One negative review upon the film's original American release came from Vincent Canby in The New York Times, who referred to the film as a "bucket of ax-murder-movie cliches" and called Dario Argento "a director of incomparable incompetence."

From retrospective reviews, Kim Newman wrote in the Monthly Film Bulletin that Deep Red was a transitional work for Argento between his earlier whodunit plots and the more supernatural themed films. Newman concluded that Deep Red is "nothing if not an elaborate mechanism, with the camera crawling among objets trouvés" and "what sets Argento apart from imitators like Lucio Fulci is his combination of genuine pain (the murders are as nasty as one could wish, but the camera flinches where Fulci's would linger) and self-mocking humour" Total Film gave the film four stars out of five, noting that Argento's films "can be an acquired taste; it's necessary to attune yourself with the horror director's style in order to get the most from his movies." The review stated that the film "presents some striking visual compositions that raise it above the level of the usual subgenre offerings." and that the film was "A great introduction to Dario Argento's evolving style of horror". The A.V. Club wrote, "Operating under the principle that a moving camera is always better than a static one – and not above throwing in a terrifying evil doll – Deep Red showcases the technical bravado and loopy shock tactics that made Argento famous." AllMovie compared the film to other in Argento's work, noting that the film script was "significantly stronger and the actors much better" AllMovie noted that "Each of the murders is perfectly choreographed with particular praise going to Glauco Mauri's killing" and that "The final reel wraps the film up in a thrilling manner and features two extremely graphic deaths that leave the viewer stunned as the credits roll"

Quentin Tarantino described being "rattled" by the movie as a teenager, and picked it as one of his favorite horror movies.

Home media
Multiple versions of the film exist on DVD and VHS, in large part due to the fact that Argento removed twenty-six minutes (largely scenes between Nicolodi and Hemmings) from the film, footage that was never dubbed in English. For years, it was assumed that the film's American distributors were responsible for removing said scenes, but the recent Blu-ray release confirmed that Argento oversaw and approved the edits to the film.

Eleven seconds of animal cruelty cuts made to the film by the BBFC in 1993 were waived when the film was re-submitted in 2010. Upon consideration, examiners concluded that the 'fighting' dogs were actually playing, and a letter sent from the production company stated that the lizard on a knife was a 'visual effect'.

In 1999, Anchor Bay acquired the rights to release the film uncut on both DVD and VHS. Their version restored the missing footage but kept the American end credit scene (a freeze-frame shot of Hemmings looking down into a pool of blood). As there were no dubbed versions of the missing scenes, the scenes (and additional dialogue omitted in the dubbed version) were featured in their original Italian language. The DVD offered both English and Italian audio tracks as well.

Blue Underground obtained the rights to the film in 2008 and released it as a standard DVD. Their Blu-ray release, released in 2011, contains the US version of the film (which is referred to as "The Director's Cut") and the original edit (referred to as "Uncut" and contains option to watch it in either language).

Arrow Films, a distributor of the United Kingdom, acquired the rights to the film and released it on January 3, 2011. The 2-disc set was released uncut as part of the now out-of-print window slip cover sets which released a number of films by Argento and other directors; it contained several special features including interviews, a documentary, trailers, audio commentary, four cover artwork designs, an exclusive collector's booklet written by Alan Jones on the film, and a double-sided poster. Both the director's cut and the theatrical cut are available on the set with an English and Italian audio track, and English subtitles. On January 25, 2016, Arrow Films released Deep Red in a 3-disc Limited Edition set of 3000 copies. The edition is available in new 4K restoration, with new commissioned artwork exclusive from Arrow Films. The original version of the film, as well as US cut are available, with new special features including a soundtrack CD featuring 28 tracks, 6 lobby cards, double-sided poster, reversible sleeve, and a limited edition booklet written by Mikel J. Koven. Bonus features from the previous edition are also included. A standard version of the Limited Edition was released on May 30, 2016 in a single-disc set and contains only the director's cut/original version. Special features from the edition are available.

On November 6, 2013, Australian distributor, Umbrella Entertainment made the film available with both the director's cut and the theatrical cut included.

Soundtrack

Argento originally contacted jazz pianist and composer Giorgio Gaslini to score the film; however, he was unhappy with Gaslini's output. After failing to get Pink Floyd to replace Gaslini, Argento turned back to Italy and found Goblin, a  local progressive rock band. Their leader Claudio Simonetti impressed Argento by producing two compositions within just one night. Argento signed them immediately, and they ended up composing most of the film's musical score (three Gaslini compositions were retained in the final version). Subsequently, Goblin composed music for several other films by Dario Argento.

The soundtrack was made available for the first time ever on vinyl after Waxwork Records released the complete score by Goblin on a triple LP. In addition to Goblin's music, the LP also included instrumental and alternate tracks by Gaslini.

Legacy
Two key sequences in this film influenced directors of later horror movies: the lead-up to the famous exploding head scene in David Cronenberg's Scanners is modeled after the parapsychology discussion at the beginning of Deep Red, and Rick Rosenthal's Halloween II contains a scalding water death inspired by the death of Giuliana Calandra's character Amanda Righetti here.

Director James Wan has cited the works of Dario Argento as an influence for the Saw horror series, and Billy the Puppet, the avatar of the series' villain, is visually similar to the mechanical doll that menaces Giordani in Deep Red.

The film's title, Profondo Rosso, is the name of a Rome horror memorabilia store owned and operated by Argento and Luigi Cozzi.

Unproduced remake
In 2010, George A. Romero was contacted by Claudio Argento to direct a 3D remake of Deep Red, which Claudio said would also involve Dario. Romero showed some interest in the film; however, after contacting Dario – who said he knew nothing about the remake – Romero declined Claudio's offer.

Stage adaptation
In 2007, Argento directed a musical theatre adaptation of Deep Red with music by Claudio Simonetti. The role of Marcus was played by Michel Altieri.

Alternate versions
 The original Italian version is 126 minutes long. Most US versions remove 22 minutes' worth of footage, including the most graphic violence, all humorous scenes, almost all of the romantic scenes between David Hemmings and Daria Nicolodi, and part of the subplot regarding the house of the screaming child.
 The US video release by Anchor Bay Entertainment is mostly restored, reinstating gore shots and scenes with dialogue that were cut from the initial US release. It was likely that these scenes were cut before the English dub was prepared, so they now only exist with an Italian dub (English subtitles are provided for these scenes). In the original theatrical version, the end credits are displayed over a shot of Marcus' reflection in a pool of blood. The image is moving (blood drips into the pool, Hemmings' face changes expression, etc.) while the credits are displayed. Anchor Bay's release features the credits over a freeze-frame of the original shot. Other than this change, the Anchor Bay VHS/DVD is the full, uncut version of the film.
 The later DVD release from Blue Underground is the exact version mentioned above. Also, Blue Underground released an "Uncensored English Version" on DVD on 17 May 2011. This cut of the film runs no more than 105 minutes, with the gore from the original Italian version intact but the other cuts from the edited English version again excised.
 The film had no UK theatrical release. The 1993 Redemption video was cut by 11 seconds to remove a brief scene of two dogs fighting and shots of a live lizard impaled with a pin. The 2005 Platinum DVD issue was pre-cut (to exclude the shot of the lizard) and restored the dog sequence (as it was evident that they were playing rather than fighting). It was finally passed uncut for the 2010 Arrow DVD release.
 The full-length Italian version (with English subtitles and one small cut by UK censors) is available on video in the UK in pan and scan format from Redemption Films. The only known widescreen print of this version can be found in Australia on both SBS TV and its pay-TV channel World Movies, completely uncut. (Note that the widescreen laserdisc release is in English language and was cut by director Argento himself by about 12 minutes).
 Some releases of the film incorporate a still from the film, revealing the murderer.

See also
 Profondo Rosso (store)

References

External links

  – 98 minute edited U.S. theatrical version (101 minutes with credits) in pan-and-scan format
 Commentary by DVD Talk critic Michael Mackenzie

1975 LGBT-related films
1970s horror thriller films
1975 films
Films scored by Goblin (band)
Films directed by Dario Argento
Giallo films
Italian LGBT-related films
Italian horror thriller films
1970s Italian-language films
Home invasions in film
LGBT-related horror films
Paranormal films
Films with screenplays by Dario Argento
Italian serial killer films
Films set in country houses
Films set in Turin
Films shot in Turin
Films shot in Rome
1970s Christmas horror films
Italian exploitation films
1970s Italian films

Deep Red


John Thompson (17 Mar 1938 – 26 Apr 1976) was an English-born, Canadian poet, translator and university professor. He is noted for his mastery of poetic forms, which he  used to express the intensity and power of images in spare and precise language evoking beauty and wonder, anguish and despair. Thompson's second and best-known book, Stilt Jack, a collection of 38 ghazals published after his death, records his poetic journeys through darkness in an uncertain quest for the light. His first collection, At the Edge of the Chopping there are no Secrets published in 1973, conveys vivid images of natural cycles of death and rebirth in the wooded and marshy landscapes of southeastern New Brunswick where an apple tree in late summer is seen as a cauldron of leaves, a charred dancer and a head of burnt hair. Thompson has been described as one of 20th century Canada's most influential poets.

Periodically throughout his short life, Thompson suffered from severe mental disorders including depression, mania and paranoia. He also struggled with the alcoholism that contributed to his early death. Other poets who influenced him, such as Dylan Thomas, Theodore Roethke and John Berryman, were afflicted in similar ways. Thompson's erratic behaviour combined with his frequent hostility to others he considered literary philistines hampered his academic career and blighted his closest personal relationships. One critic complained that some of his poems read less like "stunning epiphanies" than "crossword puzzles" because Thompson composed them while he was drinking, but others praised him for his disciplined and meticulous dedication to his poetic art.

In his introduction to Stilt Jack in which he writes briefly about ghazals (or "guzzles" as he called them), Thompson could have been describing the essential elements of his own poetry when he asserted that the form allows the imagination to move in its own natural ways: "discovering an alien design, illogical and without sense — a chart of the disorderly, against false reason and the tacking together of poor narratives. It is the poem of contrasts, dreams, astonishing leaps. The ghazal has been called 'drunken and amatory' and I think it is."

Life

John Thompson was born in Timperley, England in 1938. Following the death of his father and abandonment by his mother, he was educated at various boarding schools and the Manchester Grammar School. He received his B.A. in honours psychology from the University of Sheffield in 1958. Following two years service in the British Army intelligence corps, he studied comparative literature at Michigan State University and received his Ph.D. He studied under A. J. M. Smith and his thesis entailed the translation of poems by the French poet René Char. In 1966 he moved to Canada and taught English literature at Mount Allison University in New Brunswick. His first collection of poetry, At the Edge of the Chopping there are no Secrets (1973), received mixed reviews. This was followed by a divorce and a fire that consumed his home and most of his manuscripts. He wrote the 38 poems in his second - and last - collection, Stilt Jack, while in Toronto on a sabbatical.

The cause of his death at the age of 38, immediately after Stilt Jack was completed, remains the subject of debate. In the fall of 1975, Thompson wrote his will. At Christmas, he broke down and ended up in the hospital. On his release three months later, instead of abiding by the doctor's orders not to mix drugs and alcohol, he continued to drink steadily. He finished Stilt Jack in April. On April 24, Thompson gave the manuscript to his friend and fellow poet, Douglas Lochhead. After he had returned home, the tenants in the apartment below heard muffled choking and cries. He was discovered comatose and pronounced dead on arrival at the hospital. James Polk describes the cause of death as "a brutal mix of barbiturates and liquor." The autopsy did not provide conclusive evidence that Thompson killed himself.

Thompson's poems, published and unpublished, including his translations of French and Québécois poets, John Thompson: Collected Poems and Translations, and a biographical essay by the editor, Peter Sanger, were published by Goose Lane Editions (Fredericton) in 1995.

In 2000, in The Danforth Review, Dan Reve wrote, "[The ghazal] is a rarefied, peculiar and therefore powerful form... John Thompson is to be credited with the introduction and dissemination of the ghazal in Canada. His Stilt Jack is one of literature's odd, incommensurable works of genius."

Bibliography
At the Edge of the Chopping there are No Secrets (1973)
Stilt Jack (1978)
I Dream Myself Into Being: Collected Poems, foreword by James Polk (Anansi, 1991, reissued in 2006)
John Thompson: Collected Poems and Translations, edited by Peter Sanger (Goose Lane Editions, 1995)

References

External links
 Text and criticism of his translation (from the Persian) of "Ghazal XXI".
 John Thompson entry in Dictionary of Literary Biography
 Archives of John Thompson (John Thompson fonds, R11819) are held at Library and Archives Canada

1938 births
1976 deaths
Alumni of the University of Sheffield
Drug-related deaths in Canada
Barbiturates-related deaths
Accidental deaths in New Brunswick
20th-century Canadian translators
20th-century Canadian poets
Canadian male poets
People from Sackville, New Brunswick
20th-century Canadian male writers
Canadian male non-fiction writers

John Thompson (Canadian poet)


Vlassis Bonatsos () (30 November 1949 – 14 October 2004) was a popular Greek entertainer and singer.

Biography
His father was a judicial officer and his mother was a piano teacher. Vlassis started his music career by creating a group named "PELOMA BOKIOU" ("ΠΕΛΟΜΑ ΜΠΟΚΙΟΥ") in the early 1970s. The band members came up with the name after combining syllables of their last names: DaPEris, LOgothetis, MArinakis, BOnatsos and KIOUrktsoglou. In the early 1980s he costarred in the legendary theatrical play "Evita" starring Aliki Vougiouklaki (Αλίκη Βουγιουκλάκη) and him as Che. He maintained a relationship with Vougiouklaki for several years. Then he took up acting and starred in Greek movies, but his fame reached its peak in the 1990s when he started participating in popular TV series such as "Aparadektoi" (1991). He is also remembered as a presenter of iconic TV shows and gameshows on Greek TV including the Greek version of Family Feud (named in Greek: Kontres). In Kontres his memorable catchphrase was "Tora!!!!!" (Now!!!) with a characteristic sudden raise in his voice (almost yelling). On the morning of Thursday, October 14, 2004, Vlassis, while making chamomile for himself and his wife, felt something in his throat. He told his wife to look into his mouth with a flashlight, and she told him to go to hospital. He suddenly became unable to breathe and eventually fainted. They called an ambulance which arrived after half an hour, but it was too late for Vlassis. He arrived at hospital dead. According to the press the cause of death was asphyxiation, due to obstructive laryngitis.

Music
 Epikindini isoropia (1976)
 Genika (1981)
 Auta ta vradia (1983), LP
 Paralirima (1991)
 Xairete (1996)

Television
Me to kleidi sto heri (TV game)
Oi Aparadektoi - as Vlassis
Ekeines Kai Ego - guest star
Family Feud, the Greek version with the same board but with similar colors, theme song, Greek title and several characteristics but the same attitude as Family Feud, it was known as Kontres or Kondres in Greek and was broadcast at 6:30 EET (5:30 CET) on Mega Channel in the mid-1990s and on Mega Cosmos in the early-2000s in the afternoons.

Selected filmography
I arhontissa kai o alitis (1968)
O Drakos, to prosopo tis imeras (1983)
Ela tora... pou leipei o andras mou (1986)
Tile-kannivaloi (1987)
Patris, listeia, oikogeneia (1987)
O Agapitikos tis... Dimitroulas (1989)
O Diavolos kai to kerato tou (1989)
O Drapetis (1991)
Gynaikes dilitirio (1993)
Vitsia gynaikon (2000)

References

External links

1949 births
2004 deaths
20th-century Greek male actors
20th-century Greek male singers
Greek male film actors
Greek male television actors
Greek television presenters
Thessaloniki Song Festival entrants
Respiratory disease deaths in Greece
People from Xylokastro

Vlassis Bonatsos