Sir William Napier Shaw  (4 March 1854 – 23 March 1945) was a British meteorologist. He introduced the tephigram, a diagram for evaluating convective instability in the atmosphere. He also served as president of the International Meteorological Committee and Royal Meteorological Society.

Biography
Shaw was born at 84 Vyse Street in Birmingham the son of Charles Thomas Shaw, a goldsmith and jeweller, and his wife, Kezia Lauden. He was educated at King Edward's School, Birmingham.

He studied at Cambridge University graduating MA in 1876, then at the University of Berlin in Berlin.

Returning to Britain he began as a Demonstrator in Physics at the Cavendish Laboratory linked to Cambridge University in 1879. In 1887 he began lecturing in Experimental Physics. In 1898 he became Assistant Director of the Cavendish Laboratory.

In 1891, he was elected a Fellow of the Royal Society.

In 1900 he became Secretary of the Meteorological Council. From 1905 to 1907 he was Director of the Meteorological Office. In 1907  he became the first Professor of Meteorology at Imperial College, London.

In 1911 he served as President of the International Meteorological Committee, forerunner of the World Meteorological Organization. In 1915, he developed the tephigram. He was knighted by King George V later that year.

He was President of the Royal Meteorological Society 1918/19. In 1933 he was elected an honorary Fellow of the Royal Society of Edinburgh.

Shaw also studied air pollution, and was the first to study and discuss smog and look at its health problems. In 1925, he co-authored the book The Smoke Problem of Great Cities with John Switzer Owens.

Shaw retired in 1924 aged 70 and died in London aged 91.

Family

In 1885 he married Sarah Jane Dugdale Harland (d.1923). They had no children.

Publications

Practical Physics (1893)
Forecasting Weather (1911)
Articles on "Dew", "Fog","Squall" and "Sunshine" in the Encyclopaedia Britannica (1911)
The Smoke Problem of Great Cities (1925)
Manual of Meteorology (1926) plus several later editions

Honours and awards
1910: He was awarded the Symons Gold Medal of the Royal Meteorological Society
1923: He was awarded a Royal Medal by the Royal Society.
1924: He was an Invited Speaker of the ICM in Toronto.

References

External links

 Royal Society c.v.
 Royal Society certificate of election

1854 births
1945 deaths
English meteorologists
Fellows of the Royal Society
Knights Bachelor
People from Birmingham, West Midlands
Presidents of the Royal Meteorological Society
Recipients of the Buys Ballot Medal (Netherlands)
Royal Medal winners
Air pollution in the United Kingdom

Napier Shaw


Thea Andrews (born October 4, 1973) is a Canadian journalist and television personality in both sports and entertainment news, as well as hosting reality competition and morning shows. From October 2003 to November 2006, she served as co-host on several ESPN shows such as Cold Pizza (2003–2005), Breakfast at Churchill Downs (2004–2006), Breakfast at Pimlico (2004–2006), The ESPY Red Carpet Show (2005–2006), ESPN Hollywood (2005–2006) and Sports and Hollywood (2006). Andrews reported on horse racing, college basketball and college football for the network.

She used to host a Saturday night counter programming block against Hockey Night in Canada called Guys TV on TSN, and a Canadian cable show titled Cooking for Love. She was a correspondent and host on Entertainment Tonight from November 2006 to October 2009. Andrews hosted the first season of Top Chef Canada and Nigel Lythgoe's country music singing competition, CMT's Next Superstar. From January 2013 to July 2015, she co-hosted The Insider.

Early life and career
Andrews was born in Toronto, Ontario to a Canadian businesswoman and a Macedonian lawyer. She attended Bishop Strachan School and was originally a "jock" before opting for theater instead. A reporter for a local cable channel as a sophomore, Andrews starred in Prom Night IV: Deliver Us from Evil in 1992. After high school, she attended Queen's University and graduated with a degree in Spanish and Latin American studies. While at Queen's University Andrews co-hosted (with Cameron Dixon) Paradigm Shift a weekly half-hour series which highlighted the works of Queen's University's Film Department.

By 1999, Andrews was a producer at Fashion Television. The new millennium found her as host of the show Cooking for Love. Soon, she was hosting Guy's TV on TSN. Though both were canceled, Andrews continued to pursue her dreams. She became a reporter on the show etalk Daily and eventually the show's host.

Acting career
Andrews also has a list of theatre credits, including Cabaret in high school and The Vagina Monologues in 2001. She has also produced a number of shows in addition to writing internet columns for TSN. Andrews had a small role in the film Harold & Kumar Go to White Castle as the TV anchorwoman.

ESPN/ESPN2/ABC Sports
Before her part on Cold Pizza, Andrews was seen in the ESPN series Playmakers (2003), in which she played the role of Samantha Lovett, a television sports news reporter. The role was highly controversial and The Association for Women in Sports Media formally filed a complaint for the portrayal of Lovett. Andrews disagreed with this complaint in an interview with The Plain Dealer in 2004.

Andrews joined ESPN in October 2003 as the national correspondent for Cold Pizza (2003–2005), ESPN2's signature morning show as she made her debut on October 20, 2003. Andrews' primary role on the daily weekday program (7-9 a.m. ET) was to provide live reports from sports and non-sports events as well as to present unique lifestyle features. The show was originally hosted by Jay Crawford and Kit Hoover. Eventually, Andrews became co-host.

From 2004–2006, she co-hosted the Triple Crown morning shows on ESPN2 such as Breakfast at Churchill Downs (2004–2006) and Breakfast at Pimlico (2004–2006), a program of the morning the Kentucky Oaks, Kentucky Derby and Preakness Stakes (2004–2006). She also contributed to ESPN's long extensive coverage of the Triple Crown afternoon shows (2004–2006) including the Belmont Stakes.

She also covered other big horse racing events. She served as a reporter for the Breeders Cup Simulcast Show in 2004 and 2005.

After 17 months on Cold Pizza the show began cutting both the airtime of Andrews and Kit Hoover. In an attempt to become more sports-oriented rather than a blend of sports, pop culture, and entertainment, the show dropped Andrews and Hoover altogether in March 2005. They were replaced by Dana Jacobson. While Hoover left the network in late 2006, Andrews had already agreed several months prior to be transferred to Los Angeles to co-host ESPN2's new evening entertainment show, ESPN Hollywood.

She also co-hosted The ESPY Red Carpet Show (2005–2006) with Stuart Scott in July 2005. She hosted it in July 2006 with Dana Jacobson.*  Andrews reported the sidelines for college football on ESPN and ABC

Beginning on August 15, 2005, Mario Lopez and Andrews began hosting ESPN Hollywood (2005–2006). ESPN Hollywood was a weeknight entertainment show à la Entertainment Tonight which focused more on Hollywood's relationship to the sports world. Andrews also was the producer for ESPN Hollywood.*  The show would end up cancelled in January 2006 after a management change at ESPN in which several ESPN shows were cancelled (Cheap Seats, Classic Now, etc.) and also due to poor initial ratings.

After ESPN Hollywood was cancelled, Andrews briefly hosted a segment of the latest news of the convergence between the sports and entertainment worlds called Sports and Hollywood (2006), a segment on Cold Pizza which began in April 2006. The tightened focus on sports news resulted in an end to that segment in November 2006; however, actors and other performers still stopped by the Cold Pizza studios from time to time to pitch their projects and share their love of sports.

Also after ESPN Hollywood, Andrews often reported the sidelines for College basketball for ABC Sports and ESPN and also covered Golf for ESPN. She was a contributor to ABC Sports' coverage of the 2006 Belmont Stakes. She also contributed to ESPN's coverage of the 2006 Breeders Cup.

Entertainment Tonight
On November 16, 2006, Andrews made her debut as a correspondent on Entertainment Tonight (ET) that is where she continued to work until October 2009. She was also a regular substitute host for the show as well. She also was the weekend host of ET.

Since joining Entertainment Tonight in November 2006, Andrews has interviewed many of the industry's most newsworthy celebrities, including Will Smith, Leonardo DiCaprio, Steve Carell, Hugh Jackman, Tom Cruise, Jim Carrey, Russell Crowe, Reese Witherspoon, Jennifer Aniston, Anne Hathaway, Kirk Douglas, Marie Osmond, and Ellen DeGeneres.

Andrews has also been featured as herself on the daytime drama The Young and the Restless and has played herself several times on HBO's True Blood.

On June 30, 2007, Thea and Jay Wolf were married at the Ojai Valley Inn in Ojai, California.  They have a son, Jack Aaron, born in April 2008.

TNT/After ET
On January 23, 2010, Andrews became co-host for the "16th Annual Screen Actors Guild Awards" Red Carpet Show for TNT with People deputy managing editor Peter Castro.. She was the host of the first season of Top Chef Canada, which premiered on April 11, 2011. She stepped down as host for the second season because she was nine months pregnant during taping and was replaced by actress Lisa Ray. However, she appeared as a judge on the second season in the third episode, when the chefs were challenged to create dishes for a baby shower in honor of her and fellow judge Shereen Arazm.

CMT's Next Superstar

Andrews is the host of CMT's Next Superstar, a reality competition series specializing in country music, which is produced by Nigel Lythgoe.

Hosting problems

Andrews hosted Top Chef Canada on a season where the contestants had to cook up horse meat dishes. This led to Facebook protests from various animal rights groups.

References

External links

 Thea Andrews' biography at ET Online

1973 births
Canadian television reporters and correspondents
Canadian infotainers
Canadian television hosts
National Autonomous University of Mexico alumni
Journalists from Toronto
Living people
Queen's University at Kingston alumni
Women sports announcers
College football announcers
College basketball announcers in the United States
American television sports announcers
National Hockey League broadcasters
Golf writers and broadcasters
Canadian horse racing announcers
Canadian women television journalists
Canadian people of Macedonian descent
American women television journalists
American women television presenters
Canadian women television hosts
21st-century American women

Thea Andrews


Roger Cecil (18 July 1942 – 22 February 2015) was a Welsh painter and mixed media artist. He was born in Abertillery, and studied at Newport College of Art and St Martin's School of Art.  In 1964 he won the David Murray Landscape Award from the Royal Academy.

He was known for both his figurative and largely abstract paintings, "rich in imagery, poetry and colour, which are drawn from his environment, the industrial valley towns and mountains."

In later years Cecil suffered from dementia. He was reported as missing from hospital on 21 February 2015, and was last seen in the early hours of 22 February. After a search, his body was found on 24 February in a field near Cwmbran. Gwent Police treated the death as unexplained. They referred themselves to the Independent Police Complaints Commission because a member of the public had spoken to a police officer about Cecil before his body was found.

References

1942 births
2015 deaths
British painters

Welsh people

Roger Cecil


Yuen-Ron Shen () is a Chinese physicist. He is a professor emeritus of physics at the University of California, Berkeley, known for his work on non-linear optics. He was born in Shanghai and graduated from National Taiwan University. He received his Ph.D. in Applied Physics from Harvard under physicist and Nobel Laureate Nicolaas Bloembergen in 1963, and joined the department of physics at Berkeley in 1964. In the early years, Shen was probably best known for his work on self-focusing and filament propagation of laser beams in materials. These fundamental studies enabled the creation of ultrafast supercontinuum light sources. In the 1970s and 1980s, he collaborated with Yuan T. Lee on the study of multiphoton dissociation of molecular clusters. The molecular-beam photofragmentation translational spectroscopy that they developed has clarified much of the initial confusion concerning the dynamics of infrared multiphoton dissociation processes. In the 1980s and 1990s, Shen developed various nonlinear optics methods for the study of material surfaces and interfaces. Among these techniques, second-harmonic generation and sum frequency generation spectroscopy are best known and now widely used by scientists from various fields. He has collaborated with Gabor Somorjai on the use of the technique of Sum Frequency Generation Spectroscopy to study catalyst surfaces. He is the author of the book The Principles of Nonlinear Optics. Shen belongs to the prolific J. J. Thomson academic lineage tree. Currently, Shen works in U. C. Berkeley and Fudan University in Shanghai.

Awards and honors
 American Academy of Arts and Sciences, member 1990
 National Academy of Sciences, member 1995
 Academia Sinica (Taiwan), member 1990
 Chinese Academy of Sciences, member 1996
 American Physical Society, fellow
 Optical Society of America, fellow
 American Association for the Advancement of Science, fellow
 Sloan Research Fellowship, 1966–68
 Guggenheim Fellow, 1972–73
 Miller Professor, 1975, 1981
 Alexander von Humboldt Award, 1984
 C. H. Townes Award, Optical Society of America, 1986
 Arthur L. Schawlow Prize in Laser Science, 1992
 Max Planck Research Prize, 1996
 Frank Isakson Prize for Optical Effects in Solids, 1998
 International Science and Technology Cooperation Award, China 2008
 DOE Award for Outstanding Scientific Accomplishments in Solid State Physics, 1983
 DOE Award for Sustained Outstanding Research in Solid State Physics, 1987
 DOE Award for Significant Implications for DOE-Related Technologies, 1997.

References

External links
 UC Berkeley Physics Dept. Faculty Page
 Shen Group website

Living people
Fellows of the American Association for the Advancement of Science
Foreign members of the Chinese Academy of Sciences
Academic staff of Fudan University
Nanyang Model High School alumni
Harvard John A. Paulson School of Engineering and Applied Sciences alumni
Members of Academia Sinica
Fellows of Optica (society)
Members of the United States National Academy of Sciences
National Taiwan University alumni
Physicists from Shanghai
Sloan Research Fellows
University of California, Berkeley faculty
Year of birth missing (living people)
Fellows of the American Physical Society

Yuen-Ron Shen


A noxious stimulus is a stimulus strong enough to threaten the body's integrity (i.e. cause damage to tissue). Noxious stimulation induces peripheral afferents responsible for transducing pain (including A-delta and C- nerve fibers, as well as free nerve endings) throughout the nervous system of an organism.

The ability to perceive noxious stimuli is a prerequisite for nociception, which itself is a prerequisite for nociceptive pain. A noxious stimulus has been seen to drive nocifensive behavioral responses, which are responses to noxious or painful stimuli. These include reflexive, escape behaviors, to avoid harm to an organism's body.

Because of rare genetic conditions that inhibit the ability to perceive physical pain, such as congenital insensitivity to pain and anhydrosis (CIPA),  noxious stimulation does not invariably lead to tissue damage.

Noxious stimuli can either be mechanical (e.g. pinching or other tissue deformation), chemical (e.g. exposure to acid or irritant), or thermal (e.g. high or low temperatures).

There are some types of tissue damage that are not detected by any sensory receptors, and thus cannot cause pain. Therefore, not all noxious stimuli are adequate stimuli of nociceptors. The adequate stimuli of nociceptors are termed nociceptive stimuli.

References

Pain
Nociception
Sensory systems

Noxious stimulus


The Weeping Woman (French: La Femme qui pleure) is a series of oil on canvas paintings by Pablo Picasso, the last of which was created in late 1937. The paintings depict Dora Maar, Picasso's mistress and muse. The Weeping Woman paintings were produced by Picasso in response to the bombing of Guernica in the Spanish Civil War and are closely associated with the iconography in his painting Guernica. Picasso was intrigued with the subject of the weeping woman, and revisited the theme numerous times that year. The last version, created on 26 October 1937, was the most elaborate of the series, and has been housed in the collection of the Tate Modern in London since 1987. Another Weeping Woman painting is housed at the National Gallery of Victoria and was involved in a high-profile political art theft.

Background
Picasso created The Weeping Woman during the Spanish Civil War, which broke out in July 1936, when General Franco revolted against the Republican government. It was part of a series of works in response to the bombing of Guernica in the Spanish Civil War on 26 April 1937. The bombing took place when Adolf Hitler ordered the German airforce to bomb the Basque town on behalf of Franco. The painting was a personal protest after seeing newspaper photographs of the event.

In January 1937, Picasso had been asked to produce a mural for the Spanish Pavilion at the Paris International Exhibition. While he was working on the commission, the bombing of Guernica occurred. Picasso was so shocked by the massacre that he stated in the Springfield Republican on 18 July 1937, "In the panel on which I am working, which I shall call Guernica, and in all my recent works of art, I clearly express my abhorrence of the military caste which has sunk Spain in an ocean of pain and death". The Weeping Woman series has been described as a postscript to Guernica.

Picasso's protest against the Franco regime began with his creation of two etchings in January 1937, titled The Dream and Lie of Franco. The work was accompanied by a prose poem, written by Picasso on 8 and 9 January 1937, which features imagery of women weeping and was a precursor to his visual representation of the weeping woman as a symbol for the suffering of Spain under Franco....cries of children cries of women cries of birds cries of flowers cries of timbers and of stones cries of bricks cries of furniture of beds and chairs of curtains of pots of cats and of papers cries of odors which claw at one another cries of smoke pricking the shoulder of the cries which strew in the cauldron and of the rain of birds which inundates the sea which gnaws the bone and breaks its teeth biting the cotton wool which the sun mops up from the plate which the purse and the pocket hide in the print which the foot leaves in the rock.

Development
During the creation of Guernica, Picasso made his first studies of a weeping woman on 24 May 1937, however, it was not to be included in the composition of Guernica. An image of the weeping woman was inserted in the lower right of the painting, but this was removed by Picasso, who considered that it would upstage the agonised expressions of the four women in the painting. Picasso's aim in producing Guernica was to portray the immediate shock and horror of the destruction, rather than the tears of mourning that would arise in the aftermath.

Following the completion of Guernica, Picasso continued with his obsession for the weeping woman. Judi Freeman remarked that, "The one motif he could not relinquish was that of the weeping woman. Her visage haunted him. He drew her frequently, almost obsessively, for the next several months. She was the metaphor for his private agonies". Between 8 June and 6 July 1937, Picasso produced a dozen drawings and four oil paintings depicting the weeping woman. After returning from a summer holiday in Mougins, he completed the last The Weeping Woman painting on 26 October 1937. In total, 36 works depicting the weeping woman have been identified, executed between May and the end of October 1937.

Relationship with Dora Maar
Picasso met Dora Maar in the winter of 1935. The poet Paul Éluard introduced Picasso to Maar while she was working as a photographer on Jean Renoir's film Le Crime de Monsieur Lange. Although he was 26 years older than Maar, they were drawn together by a shared connection of art and politics. Maar pursued a career as a photographer and became involved in the Surrealist movement. She was Picasso's mistress until their breakup in 1945. It was Maar who documented Picasso's painting of Guernica by taking photographs of its development. Dora Maar was politically aware, articulate and persuasive, and may have had influence on Picasso's own political views. She was responsible for arranging the use of the studio on 7 rue des Grands Augustins, where Picasso created Guernica and also contributed to its development. Picasso first drew her portrait on 11 September 1936. She became his main model between the autumn of 1936 and spring of 1937. Picasso portrayed her as a tranquil figure until his creation of the weeping women paintings, which displayed a noticeable change in his approach to her.

Despite their shared interests, Picasso's relationship with Maar was abusive, with Maar being the victim of physical violence, which eventually contributed to her breakdown. Picasso portrayed Maar in numerous portraits during their time together, often depicting her in tears, a motif that would lead to her being primarily known as his "weeping woman", rather than as an artist in her own right. Maar disliked the portraits that Picasso created of her, stating, "All (Picasso's) portraits of me are lies. They're Picassos. Not one is Dora Maar".

Dora has been described as "Picasso's emblematic victim". Françoise Gilot related that Picasso had said, "For me she's the weeping woman. For years I've painted her in tortured forms, not through sadism, and not with pleasure, either; just obeying a vision that forced itself on me". John Richardson offered a more realistic interpretation of Dora's tears. "The source of Dora's tears was not Franco, but the artist's traumatic manipulation of her. Picasso's obsession with her had intensified [at that time], but to judge by the artist's portrayals of her, it precluded tenderness." Françoise Gilot described Maar as, "by nature nervous, anxious and tormented", who suffered from emotional vulnerability and frequent upsets in this period. Picasso explained that, "Dora m'a toujours fait peur" and portrayed her in this manner on numerous occasions from 1938. Maar later admitted that Picasso probably drew his inspiration from her sadness.

Versions
There are four oil painting versions of The Weeping Woman, all painted between September and October, 1937, as well as a range of drawings on the subject. The most famous painting is held in the Tate Gallery in London. A second version, said by some to be the next best, is held by the National Gallery of Victoria. Another version is held at the LA County Museum of Art and the fourth version is held at Musee Picasso.

Tate held version
The final version of Picasso's 1937 The Weeping Woman is an abstract portrait of a grief-stricken woman. It is an oil painting on canvas measuring 61 x 50 cm and is signed 'Picasso 37' near the centre on the right edge. It is one of a series of artworks based on the theme of a woman weeping, which Picasso created while producing Guernica. The composition of this painting is highly stylised. Picasso used bright colours and bold lines to convey the figure in a complex series of angular shapes and planes. Despite its abstract nature, the model for this portrait can be identified as Dora Maar, Picasso's lover.

Roland Penrose commented on the use of colour in the painting in his biography of Picasso: "The result of using colour in a manner so totally unassociated with grief, for a face in which sorrow is evident in every line, is highly disconcerting. As though the tragedy had arrived without warning."

The face of the weeping woman can be traced directly to the tortured figures depicted in Guernica. In particular, the weeping woman continues the theme of mourning that can be seen in the image of the screaming woman holding a dead baby in Guernica. Picasso created various versions of the woman's face throughout his series of paintings, with the woman depicted in endless tears and sometimes twisted beyond recognition.

The Weeping Woman has been described as the most complex, most fragmented and most highly coloured of all the weeping women artworks. In addition to the confused mass of hands, mouth, teeth, handkerchief and tears in the centre of the painting, Picasso also depicted the eyes with great analytical attention. The Tate draws particular attention to the childlike but striking rendition of the eyes, which have been depicted like boats or overflowing saucers and have been placed on the peaks of the handkerchief to provide an intense exploration of physical and emotional distress. This element was expressed in earlier works that Picasso produced in the same year, which was most intense between 12 and 18 October 1937. The earlier paintings also featured the symbol of the handkerchief within the composition.

The architecture of the weeping woman's face is very distinctive and shares many design elements with the four female figures depicted in Guernica. The face is portrayed from mixed viewpoints, with the nose in profile, the mouth shown in three-quarters view and the eyes viewed from the front. This treatment of the face is echoed in the faces of the Guernica women. However, The Weeping Woman is distinct from these figures in the way that Picasso used cubist forms of fragmentation to depict the face in a series of angular planes, rather than the flat, curvilinear images in Guernica.

Symbolism and interpretations
The image of Picasso's weeping woman has been interpreted in a variety of ways. The symbolism of women suffering has been directly associated with the suffering of Spain that prevails in the iconography of Guernica. For Picasso, the image of the woman with the dead child represented the reality of the civil war, which had been covered in the French media with images of mothers and children in distress. In addition, the French Popular Front had used such photographs to protest against the conflict in 1936.

A further interpretation of the painting is that the woman illustrates the Christian motif of the Virgin Mary mourning her dead son, Jesus Christ. This was a particularly prominent theme in Baroque Spanish religious art. Although Picasso was an atheist, John Richardson considered that his art made references to religious themes. Marilyn McCully opined that the weeping woman works are related to the Mater Dolorosa, Our Lady of Sorrows stating, "In their essence as images of art, their emotional power lies in their origins among the painted wood, life-sized statues of the Madonna carried in Spain in religious processions, whose tears are jewels that sparkle as they run down their cheeks, and whose garments are real lace, velvets and silver - at once real and other worldly".

Christie's describes the weeping woman as a more generic victim and witness to the destruction.She is moreover a universal figure not attached to any single event nor even to her cataclysmic century as a whole - she is the timelessly universal messenger of unfathomable and inconsolable human sorrow, the bearer of an elemental emotion that is as miraculously and beautifully human to contemplate as it is disturbing to behold.Jonathan Jones for The Guardian noted that the painting demonstrates both hope and fury. Picasso's biographer, Roland Penrose, who was the previous owner, considered it to be an illustration of optimism, perhaps depicting the healing power of mourning. In evidence of this, Jones pointed to elements of the painting, such as the flower in the woman's hat, the river of her flowing hair and the transformation of her right ear into a bird sipping her tear, a possible representation of new life.

Provenance
Picasso sold the painting to Roland Penrose on 9 or 10 November 1937. Penrose then gave the painting to Antony Penrose in 1963. The artwork was stolen in 1969 but recovered. It was then placed on long-term loan at the Tate. It was subsequently accepted by the Commissioners of Inland Revenue in lieu of tax in 1987. It is now part of Tate Liverpool's permanent collection.

Theft
On 7 April 1969, The Weeping Woman, alongside 25 other paintings, was stolen from the Penrose home at Hornton Street, London. The theft received a great deal of publicity and was discussed by Roland Penrose on BBC's 24 Hours programme on 8 April 1969. Penrose was quoted in the Daily Mirror stating, "My most prized picture was a Picasso called "A Woman Weeping" which I bought just after he painted it. It must be worth between £60,000 and £80,000. It was my most treasured possession. I bought it when the paint was still wet." He informed Picasso of the theft on 9 April by writing, describing the theft as an "appalling disaster". The paintings were eventually recovered by labourers at a house that was due to be demolished in Ealing, London, in July. When Penrose was reunited with the paintings at Chelsea Police Station he almost wept. The theft caused the family to rethink their security arrangements and this led to the painting being offered on loan to the Tate.

Significance and legacy
The Weeping Woman has been described as "an iconic work within the history of British Surrealism". It was displayed at the Whitechapel Gallery in a major exhibition of Surrealist artworks in 1937. Later, in 1939, it was displayed alongside Guernica in London and Brighton.  Frances Morris, Head of Collections at Tate Modern has described it as "a highlight of Surrealism" and "an amazing depiction of female grief and a metaphor for the tragedy of Spain. It was painted during the Spanish Civil War as one of a series made in response to the tragedy of Guernica. It powerfully captures an immense moment of sadness."

National Gallery of Victoria version

Another version of the Weeping Woman, created on 18 October 1937, is held by the National Gallery of Victoria (NGV). It measures 55.2 × 46.2 cm and was purchased by the gallery in 1986  for , the most expensive painting purchased by any gallery in Australia, the previous record held by Blue Poles, which cost the Australian National Gallery  in 1974.

The purchase was controversial because of its very high price tag, with some local artists complaining that the money could have been spent more productively on Australian art. The small size of the painting added to the controversy, seemingly highlighting the large expenditure. At the time, the painting was compared to "Blue Poles", but that was a large painting, so it highlighted the high cost of The Weeping Woman, which was a relatively small piece. In 2016, the NGV version of the Weeping Woman was valued by Sotheby's at $100 million.

Theft

This version was the subject of a high-profile art heist in August 1986, being stolen from the NGV specifically to make a political statement about the funding of art purchases in Australia. The theft made Australian and international news. The thieves left a note listing their demands, which included an increase in the funding of the arts. There was an extensive police hunt, which failed to find the painting. Later the same month, it was retrieved from a railway station locker in Melbourne. The thieves were never discovered, though various theories have persisted over the years about who it might have been, and as to whether it was an inside job.

Third version
A third version of the painting is held in the Musée Picasso in Paris.

See also

 Portrait of Dora Maar
 Dora Maar au Chat
 List of Picasso artworks 1931–1940

References

External links
 The Weeping Woman at the Tate Gallery

Paintings by Pablo Picasso
1937 paintings
Collection of the Tate galleries
Portraits of women
20th-century portraits
Surrealist paintings
Anti-war paintings
Bombing of Guernica
War paintings
Paintings about death
Spanish Civil War in popular culture
Political art
Cubist paintings
Recovered works of art

The Weeping Woman


Asia Molly Vieira (born May 18, 1982) is a Canadian actress best known for her early role in the 1991 made-for-television Omen IV: The Awakening and playing as Christine Harrison in the Disney Channel original series, Flash Forward.

Early life and education
Born in Toronto, Ontario, Canada, she began her career as a child model at the age of four, later gaining her first major role in 1988 alongside Diane Keaton and Liam Neeson in The Good Mother. She is an accomplished gymnast and graduated from the Etobicoke School of the Arts as a Music Theatre Major. She was also a student at the University of Toronto, studying both drama and history.

Career
Vieira has starred in numerous made-for-TV movies and popular television shows, but she is probably best known for playing the roles of Jewel Staite's best friend Christine Harrison in the TV series Flash Forward, Sally in The Adventures of Dudley the Dragon and Delia York, daughter of Damien Thorn, in Omen IV: The Awakening. She has recently been recording for both radio and cartoons, along with appearing in a number of made-for-TV movies and short films including I Am an Apartment Building which won Best Canadian short at the Edmonton Short Film Festival.

Filmography

Film

Television

References

External links

1982 births
Canadian child actresses
Canadian film actresses
Canadian television actresses
Actresses from Toronto
Living people
Etobicoke School of the Arts alumni

Asia Vieira


The candlestick telephone (or pole telephone) is a style of telephone that was common from the late 1890s to the 1940s. A candlestick telephone is also often referred to as a  desk stand, an upright, or a  stick phone. Candlestick telephones featured a mouthpiece (transmitter) mounted at the top of the stand, and a receiver (earphone) that was held by the user to the ear during a call. When the telephone was not in use, the receiver rested in the fork of the switch hook protruding to the side of the stand, thereby disconnecting the audio circuit from the telephone network.

Design and features
Candlestick telephones were designed with varying features. Most recognizable, candlesticks featured a base with a vertical cylindrical neck extending upright for up to  in length. At the top of the stand was mounted a  carbon microphone (transmitter) to speak into, and a switch hook extending sideways upon which an earpiece (receiver) was hung. To make or answer a telephone call, the user lifted the receiver off the switch hook, activating an internal switch connecting the telephone to the telephone line. Candlestick telephones required the nearby installation of a subscriber set (subset, ringer box), which housed the ringer to announce incoming calls and the electric circuitry (capacitor, induction coil, signaling generator, connection terminals) to connect the set to the telephone network. When automatic telephone exchanges were introduced, the base of a candlestick also featured a rotary dial, used for signaling the telephone number of the call recipient.

Production
Candlestick telephone models were produced by many manufacturers. The main producers of these telephones were Western Electric (a unit of AT&T), Automatic Electric Co. (later acquired by GTE), Kellogg Switchboard & Supply Company and Stromberg-Carlson. The first tube shaft candlestick telephone was the Western Electric #20B Desk Phone patented in 1904. In the 1920s and 1930s, telephone technology shifted to the design of more efficient desktop telephones that featured a handset with receiver and transmitter elements in one unit, making the use of a telephone more convenient. Despite ceasing new production, many candlestick telephones remained in operation, maintained by the telephone companies in the 1940s and into the 1950s. Many retro-style versions of the candlestick telephone were made, long after the original phones were obsolete, by companies such as  Radio Shack and the Crosley Radio company.

Successor telephones
When Western Electric had sufficiently developed modern handset design in the 1920s, the Western Electric candlesticks were superseded by a series of new desktop models of hand telephone sets, starting with the Type A handset mounting in 1927. This was essentially a candlestick telephone that had its vertical tube-shaft shortened to about  in height above the round base, and had a cradle on top of it, designed to hold a combined handset with both the receiver and the transmitter in the same unit. The cradle contained a plunger that operated the hookswitch in the base below. The A1 was only distributed for a short time until the B-type telephone mount was completed the same year, a streamlined design that replaced the tube shaft with a sculpted cone shape. By 1930 this round base was redesigned into the elliptical-footprint D handset mounting to avoid instability of the unit when dialing. In the same period, the electric circuitry was upgraded to produce the model 202 telephone, which reduced the strong sidetone characteristic of earlier designs.

Accessories
The Hush-A-Phone was like a mini megaphone created in 1920 for slipping over the candlestick phone.

See also

References

External links

 History and Photos of Antique Phones
 Website supporting the Ericofon

Telephony equipment
Western Electric telephones

Candlestick telephone


Surf art is visual art about or related to the sport of surfing, waves, and the culture that surrounds beaches.
There is a strong connection between art and surf culture, which reaches back 3,000 years to Peru, where some of the world's first historians carved bas-reliefs of surfers. The intersection of surf and art realms today, however, extends far beyond art documenting life.  Both have stretched to encompass each other and the areas of popular culture and commercialism. Art today incorporates graffiti, advertisements and everyday items, and surfing is as much about clothes, attitude and punk music as it is hitting the waves.

Photography is a popular and influential medium of surf art. Imagery documents life, and in surfing terms, it encapsulates a passion, a sport, and a lifestyle. The main objective of surf photography is to not only enlighten the viewer of the pleasures of surfing, but also to demonstrate other facets of the life of a surfer.

While many artists within the field of 'surf art' do not attach themselves to the specific moniker as creators of only surf related art. Other terms often used are 'ocean art', 'wave art', and 'art of the sea' among others.

Variations of surf art as a subject matter can fall within other art styles such as impressionism, surrealism, abstract or realism.

Among coastal communities around the world, surf art in any form is growing in popularity and price. In 2011, contemporary artist Raymond Pettibon's work 'No Title (But the sand)' sold at Christie's for USD $820,000.

Surf art has manifested as cave drawings by old native Hawaiians along with painters, surrealists, graphic designers, sculptures and installation artists. Many are surfers themselves. Surf art has spread from coastal areas to urban cities, such as New York, where surf culture and art exhibitions can now be found.

Notable surf artists include Rick Griffin, Raymond Pettibon, Leroy Grannis, John Van Hamersveld, Kevin A Short, Drew Brophy, Ithaka Darin Pappas, Sean Davey, Zak Noyle, Jay Alders, and Aaron Chang.

Surf Graphics
The term "Surf Graphics" is used to describe the style of artwork associated with the subculture of surfing when applied to posters, flyers, T-shirts and logos. It is heavily influenced by skate art, Kustom Kulture and tiki culture.

Around the world

Australia
Surf art is popular in Australian culture, with fashion brands like Mambo and artists like Reg Mombassa playing key roles in popularising the genre. In South Australia, the annual Onkaparinga Surf Art Exhibition shows for two months during Port Noarlunga's peak tourist season, and offers contributing artists a prize pool of AUD$2500 and the opportunity to sell their work.

Brazil
In Brazil, an artist and curator named Fernando Bari, who created in 2004 a unique website gathering surf artists around the world, have been searching for Brazilian artist who represents the beach culture. The meaning of the community is to share knowledge, mediums and spread the surf art in Brazil. The site also keeps and promotes art exhibitions, uniting artists and keep the community alive.

See also
Seascape

References

External links
Club of the Waves

Surf culture

Surf art


Blooming Grove is a town in western Navarro County, Texas, United States. As of the 2010 census, the town population was 821.

Geography

Blooming Grove is located at  (32.092084, –96.717088).

According to the United States Census Bureau, the town has a total area of , all  land.

According to History of Navarro County, Blooming Grove was a portmanteau of Dr. James Davis' son's name, Blooming Davis, and a grove of trees near Gradyville, the previous name. The name change took place just after the Civil War.

Demographics

At the 2000 census there were 833 people, 342 households, and 233 families in the town. The population density was . There were 373 housing units at an average density of .  The racial makeup of the town was 91.24% White, 5.28% African American, 0.36% Native American, 1.32% from other races, and 1.80% from two or more races. Hispanic or Latino of any race were 4.32%.

Of the 342 households 31.9% had children under the age of 18 living with them, 54.1% were married couples living together, 11.1% had a female householder with no husband present, and 31.6% were non-families. 29.2% of households were one person and 16.1% were one person aged 65 or older. The average household size was 2.44 and the average family size was 3.00.

The age distribution was 26.4% under the age of 18, 5.6% from 18 to 24, 29.8% from 25 to 44, 18.6% from 45 to 64, and 19.6% 65 or older. The median age was 38 years. For every 100 females, there were 83.1 males. For every 100 females age 18 and over, there were 81.4 males.

The median household income was $32,375 and the median family income  was $46,364. Males had a median income of $35,000 versus $22,059 for females. The per capita income for the town was $17,747. About 12.7% of families and 17.7% of the population were below the poverty line, including 17.6% of those under age 18 and 16.7% of those age 65 or over.

Education

The Town of Blooming Grove is served by the Blooming Grove Independent School District and home to the Blooming Grove High School Lions.

See also

 List of towns in Texas

References

External links

Towns in Navarro County, Texas
Towns in Texas

Blooming Grove, Texas


Critical process parameters (CPP) in pharmaceutical manufacturing are key variables affecting the production process. CPPs are attributes that are monitored to detect deviations in standardized production operations and product output quality or changes in critical quality attributes. Those attributes with a higher impact on CQAs should be prioritized and held in a stricter state of control. The manufacturer should conduct tests to set acceptable range limits of the determined CPPs and define acceptable process variable variability. Operational conditions within this range are considered acceptable operational standards. Any deviation from the acceptable range will be indicative of issues within the process and the subsequent production of substandard products. Data relating to CPP should be recorded, stored, and analyzed by the manufacturer. CPP variables and ranges should be reevaluated after careful analysis of historical CPP data. Identifying CPPs is done in stage one of process validation: process design are an essential part of a manufacturing control strategy.

One method of defining CPPs is to look at the effect of certain production processes on critical quality attributes. Those production parameters which have a measurable effect on those quality attributes that have been identified as critical can be considered CPPs and must always be in a state of control.

References

Formal methods
Enterprise modelling
Quality management
Business process
Pharmaceutical industry

Critical process parameters


Timothy William Sharp (born 9 May 1988) is an Australian artist who has been diagnosed as autistic and is most famous for his creation of the colourful super hero Laser Beak Man.
In 2010, Sharp's work garnered international attention when Laser Beak Man was turned into an eight episode animated television series screening in Australia on ABC3 TV and it was then sold to Cartoon Network Australia, New Zealand and Asia – a world first for a young man with autism to achieve.

Early life and education

Sharp was born in Brisbane, Queensland, Australia in 1988.  Following concerns about his lack of language development – he only used one or two words occasionally and exhibited some unusual behaviours and was constantly upset – he was diagnosed as autistic at the age of three.  The specialist's opinion was that the difficulties were so extensive that Tim would never learn anything and that the best thing that could be done would be to put him away and forget about him.

His mother introduced drawing as a means of communicating with her son. After some time of watching his mother draw stick figures to explain a situation Sharp picked up a pencil at age four and began drawing. His mother remembers that his very first drawing displayed his quirky individual style.

Quickly, Sharp began to develop speech and went to using 10 words within a month, increasing to 100 words three months later, from which point his speech continued to develop.

Following a lifelong passion and interest in superheroes, at age 11 Sharp created his own superhero from his imagination called Laser Beak Man.

At age 16, in 2004, Sharp was the only Australian selected by jury for the world's largest arts festival for people with disabilities, VSA (Very Special Arts) that was founded by Jean Kennedy Smith, sister of President John F. Kennedy. Sharp travelled to Washington, D.C. for the festival and carried the Australian flag into the opening ceremony at the John F Kennedy performing arts centre.  The ABC's Australian Story, made a documentary about Sharp's trip to Washington DC which screened in September 2005.

Career

Sharp is most famous for his bold and colourful artworks completed in crayon that all feature his superhero Laser Beak Man. Many of them are interpretations of pop culture icons or current topics of interest. Others are representations of Sharp's literal understanding of language, a common trait of autism. Most of them reflect Sharp's unique sense of humour and his often irreverent opinion of people and situations.

Sharp's art is in demand from collectors from around the world. Preferring to exhibit in his home country of Australia, his exhibitions are sellout successes, attracting the attention of many prominent Australians and art collectors from both Australia and around the world.

The National Museum of Australia in Canberra holds an exhibition of Sharp's story and his art in its Eternity gallery. His art has been exhibited in the Sydney Opera House.

In 2010 during an exhibition of his art at the Brisbane Powerhouse, Sharp met visitors to the exhibition Sheldon Liebermann and his animator Igor Coric from BigfishTV in Brisbane who suggested animating the art and produced the series for the Australian Broadcasting Commission.

In 2012, a film about Sharp produced by Arts Queensland was screened at the Metropolitan Museum of Art New York City as part of the Sprout Film Festival. Also, in 2012, The Ghost Ballerinas, a rock band from Nashville, Tennessee, asked Sharp to create the artwork for their album "Play Me on the Radio". Together Sharp and the band members wrote the song "Laser Beak Man" which was included on the album and made available on iTunes. The band members were so inspired by Sharp, they wanted to help others who are autistic and raise autism awarenessAutism Acceptance so they put on a music festival in Tennessee called the I Am What I Am music festival. Sharp travelled to Tennessee for the festival.

Sharp's 2014 TEDx Sydney talk received a standing ovation in the Concert Hall of the Sydney Opera House.

The best selling memoir of Sharp's life A Double Shot of Happiness was published in 2015.

A Theater production of Laser Beak Man is currently in development in conjunction with Dead Puppet Society and the New Victory Theatre at 42nd Street Studios in New York City.

References

External links
Laser Beak Man website
Laser Beak Man - QPAC
Tim & Judy Sharp in The Studio, TEDxSydney, 26 Apr 2014

1988 births
Australian artists
Living people
Artists from Brisbane
Artists with autism
Australian artists with disabilities

Tim Sharp


Adjutants of Love (, Adyutanti lyubvi) is a 2005 Russian telenovela. It is the second successful historical telenovela from Amedia Productions, after Poor Nastya (2003).

Plot
Pyotr Cherkasov and Olga Lopuhina grew up together in the country. They fall in love and decide to get married. But Pyotr's mother doesn't want the two of them together, so she finds "a good opportunity for Olga": Count Roman Mongo-Stolipin, a rich politician from Saint Petersburg. Olga decides to marry the Count.

Pyotr is hurt. He goes to Saint Petersburg to become an adjutant of Tsar Paul. Paul is murdered and is succeeded by his young son Alexander. Pyotr becomes a very good friend of Alexander, who sends him to Paris to spy on Napoleon Bonaparte. Though still in love with Olga, Pyotr becomes part of the politician drama in Europe.

Cast

Main roles
 Nikita Panfilov as Pyotr Cherkasov
 Karina Razumovskaya as Olga Mongo-Stolipina
 Andrey Ilin as Roman Mongo-Stolipin
 Pavel Barshak as Mikhael Lugin
 Aleksandr Ustyugov as Platon Tolstoi
Natalia Ivanova-Fenkina /  Maria Kozlova as Varvara Lanskaya

Supporting roles
 Aleksandr Arsentyev as D'Arni
 Aleksandr Efimov as Alexander I of Russia
 Kristina Kuzmina as Empress Elizabeth
 Aleksei Zavyalov as Adam Czartoryski
 Vitaliy Kovalenko as Napoleon I of France
 Irina Nizina as Josephine de Beauharnais
 Ilya Blednyy as Louis Antoine, Duke of Enghien
 Yulia Zhigalina as Ksenya Von Zak
 Aleksandr Abdulov as  Horatio Nelson
 Armen Dzhigarkhanyan as Head of the Order of the Illuminati
 Valeri Zolotukhin as Alexander Suvorov
 Marina Zudina as Aglaia Lanskaya
 Alla Kazanskaya as Anna Lopuchina, grandmother Olga Lopukhina
 Avangard Leontiev as  Paul I of Russia
 Elena Podkaminskaya as Pauline Bonaparte
 Andrey Smolyakov as Charles Maurice de Talleyrand-Périgord
 Alexander Smirnov as William Pitt the Younger
 Galina Polskikh as Madlen
 Aleksandr Filippenko as Boris Kuragin, godfather Pyotr Cherkasov
 Igor Yasulovich as Peter Ludwig von der Pahlen
 Yevgeny Kindinov as Rene, a monk templar
 Yulia Mayboroda as  Hortense de Beauharnais

External links
Adyutanty lyubvi on IMDb
Amedia Productions website

2005 Russian television series debuts
2006 Russian television series endings
2000s Russian television series
Russian telenovelas
2005 telenovelas
Russian television miniseries
Channel One Russia original programming
Cultural depictions of Joséphine de Beauharnais
Cultural depictions of Napoleon

Adjutants of Love


Henry Perry (or Henry Parry) (1560/61–1617) was a Welsh Anglican priest and linguistic scholar.

Life
Perry was born in Flintshire, Wales, and was a descendant of Llywelyn ap Gruffudd (the last Welsh Prince of Wales).  He was educated at the University of Oxford, initially as a member of Balliol College before moving to Gloucester Hall (which would later become Worcester College) to take his BA degree then Jesus College, Oxford for his MA and BTh degrees.  In between obtaining his MA (1583) and his BTh (1597), he travelled overseas and got married, before returning to north Wales as the chaplain to Sir Richard Bulkeley, a prominent landowner from near Beaumaris, Anglesey.  He then obtained various parish positions on Anglesey, in Rhoscolyn, Trefdraeth and Llanfachraeth, also becoming a canon and prebendary of Bangor Cathedral.  His date of death is unknown, but was before 30 December 1617 when his prebendary successor was appointed.  One of his grandchildren was Henry Maurice, who became Lady Margaret Professor of Divinity at Oxford.

In addition to his parish work, Perry was a skilled linguist; he was highly regarded by the lexicographer John Davies.  He was said by Davies to have worked on the compilation of a Welsh language dictionary, although his sole publication was a book on rhetoric  ("The elucidator of eloquence", 1595).  It was the first book of its kind in Welsh, and drew upon the works of contemporary writers in English.  A further edition of the work was published in 1807 and the original edition, with critical assessment of Perry's scholarship, was reprinted in 1930.

Publications
 (1595) , Ioan Danter, Lhundain.

References

1560s births
1617 deaths
Welsh scholars and academics
Linguists from Wales
Alumni of Balliol College, Oxford
Alumni of Jesus College, Oxford
Alumni of Gloucester Hall, Oxford
16th-century Welsh writers
16th-century male writers
17th-century Welsh Anglican priests

Henry Perry (writer)


The Kashgar (or Kaxgar, in its upper course Kyzylsuu, ; ) is a river in the Xinjiang province of the People's Republic of China. It has its sources in the eastern parts of the Pamir Mountains, notably the Alay Valley, in the border area between China and Kyrgyzstan, and then flows eastwards, through the Erkeshtam pass passing through the city of Kashgar, which gets its name from the river. The river then flows into the northwestern parts of the Taklamakan desert, to its confluence with the Yarkand River.  One of the tributaries of the Kashgar is the Ma'erkansu River.

Rivers of Xinjiang
Tarim basin
Tributaries of the Tarim

Kashgar River


Miss Julie is an opera by Ned Rorem to an English libretto by Kenward Elmslie, based on the play, Miss Julie (1888), by Swedish playwright August Strindberg. It explores the subject of the intersection of social class and illicit sexual relations in late 19th-century Sweden.

Performance history

The opera was commissioned by the New York City Opera, and had its first performance there on 4 November 1965, in its original two-hour, two-act version. The production was conducted by Robert Zeller and directed by Nikos Psacharopoulos, with scenic and lighting design by Will Steven Armstrong, costume design by Patton Campbell, and choreography by Thomas Andrew. The opera was not a critical success.

Rorem revised the score and shortened it to a single act in 1978; this version lasts 90 minutes and was first performed that same year by the New York Lyric Opera. The one-act version underwent further slight revisions and was produced again in 1994 by the Manhattan School of Music Opera Theatre. This version was praised by James Oestreich, music critic of The New York Times, as "taut and persuasive musical drama". It was recorded and released on the Newport Classic label. Another recording, of a production on 7 November 2003 by the Curtis Opera Theatre, has been released on Albany Records.

Roles

Instrumentation
The orchestra consists of: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 3 horns, 2 trumpets, 2 trombones, timpani, 2 additional percussion players (xylophone, slapstick, gong, triangle, vibraphone, tambourine, cymbals, tenor drum, glockenspiel, castanets, chimes, suspended cymbal, bongos), guitar, harp, strings.

Synopsis
Place: the servants' quarters of a country estate in Sweden.
Time: a Midsummer Eve celebration in the 1880s.

Miss Julie, the jaded daughter of the Count, orders her fiancé Niels to kiss her boot. He breaks off their engagement in disgust. Later that evening John, the valet, and his fiancée Christine, the cook, sit with Miss Julie. She flirts with John, who eventually admits he has loved her since boyhood. On the following day John and Miss Julie discuss how they will spend their lives together, and John expresses his desire to go to Lake Como to make his living running a hotel. When Miss Julie admits she has no money of her own to finance such an undertaking, John demands she somehow find some, so Miss Julie steals money from the Count. Meanwhile, Christine discovers John's intentions and threatens to quit her job with the Count. The lovers prepare to escape, but Miss Julie demands to take her canary with her. Angered, John kills the bird. She grabs his razor and threatens to slit her wrists, and he suggests she go ahead and do it. The Count rings for John, and he leaves, as Julie goes slowly into the garden and follows his suggestion.

References

External links
 Scoring, synopsis and audio sample: Boosey & Hawkes
 Review: "OPERA REVIEW; 'Miss Julie,' to Rorem's Music", New York Times, 9 Dec 1994

1965 operas
Operas based on works by August Strindberg
English-language operas
Opera world premieres at New York City Opera
Operas
One-act operas
Operas by Ned Rorem
Operas based on plays
Operas set in Sweden
1978 operas
Works based on Miss Julie

Miss Julie (Rorem opera)


Sutton Staithe Halt was a railway station on the Midland and Great Northern Joint Railway which was opened in 1933 to serve the holidaymakers visiting the Norfolk Broads in the vicinity of the village of Sutton.

History

The station was opened by the Midland and Great Northern Joint Railway in 1933 to serve the increasing numbers of holidaymakers who were visiting the Norfolk Broads and coastal beaches within reach of the village of Sutton. This attempt to increase revenue on the line was, however, short-lived possibly due to its location on the northern extremity of the Broads. The single station platform was very basic in design, consisting of no more than a few sleepers at ground level, with passengers alighting with the aid of a set of retractable steps leading down from the Sentinel Railcar which called at the tourist halts on the line.

References

Disused railway stations in Norfolk
Former Midland and Great Northern Joint Railway stations
Railway stations in Great Britain opened in 1933
Railway stations in Great Britain closed in 1935

Sutton Staithe Halt railway station


A fast-food restaurant is a restaurant that serves fast-food. Usually, these restataurants mostly serve food to take away. Many of them do not have a large seating capacity, and often, seating is not very comfortable. The type of restaurant is also known as  quick-service restaurant (QSR). The food choice is limited, and usually prepared in bulk in advance. It is either kept hot, or heated up, before it is served. The kind of food is often of a "meat-sweet diet". Very often, fast-food restaurants are part of a restaurant chain or a franchise. The chain or franchise will provide partly-prepared standardized products or ingredients.

The term "fast food" was recognized in a dictionary by Merriam–Webster in 1951.

Variations on the fast-food restaurant concept include fast-casual restaurants and catering trucks. Fast-casual restaurants have higher sit-in ratios, offering a mix between counter-service typical at fast-food restaurants and a traditional table service restaurant.  Catering trucks (also called food trucks) often park just outside worksites and are popular with factory workers.

References

Fast food
Fast-food restaurants

Fast-food restaurant


Igor Aleksandrovich Moiseyev (;  – 2 November 2007) was a Soviet and Russian ballet master, dancer, choreographer and pedagogue. Moiseyev was widely acclaimed as the greatest 20th-century choreographer of character dance, a dance style similar to folk dance but with more professionalism and theatrics.

Life and career
Born in Kyiv, Russian Empire, he was the only child of a Russian lawyer and a French-Romanian seamstress. His family lived in Paris until he was 8, and throughout his life he spoke to Western journalists in fluent French. Moiseyev graduated from the Bolshoi Theatre ballet school in 1924 and danced in the theatre until 1939. His first choreography in the Bolshoi was Footballer in 1930 and the last was Spartacus in 1954.

Since the early 1930s, he staged acrobatic parades on Red Square and finally came up with the idea of establishing the Theatre of Folk Art. In 1936, Vyacheslav Molotov put him in charge of the new dance company, which has since been known as the Moiseyev Ballet. Among about 200 dances he created for his company, some humorously represented the game of football and guerrilla warfare. After visiting Belarus he choreographed a Belarusian "folk" dance Bulba ("Potato"), which over the years indeed became a Belarusian folk dance. According to the Encyclopædia Britannica, Moiseyev's work has been especially admired "for the balance that it maintained between authentic folk dance and theatrical effectiveness".

Moiseyev was named People's Artist of the USSR in 1953, Hero of Socialist Labour in 1976, received the Lenin Prize (1967, for the dance show A Road to the Dance), four Stalin/USSR State Prizes (1942, 1947, 1952, 1985), State Prize of the Russian Federation (1996), was awarded numerous orders and medals of the Soviet Union, Spain and many other countries. On the day of his centenary, Moiseyev became the first Russian to receive Order "For Merit to the Fatherland", 1st class — the highest civilian decoration of the Russian Federation. In 2001, he was awarded the UNESCO Mozart Medal for outstanding contribution to world music culture. He died in Moscow on 2 November 2007 aged 101.

He was married at least twice. In 1940, he married the dancer  and his daughter from that marriage, Olga, was a dancer in the Igor Moiseyev Ballet. His grandson, , was a performer in the Moiseyev Ballet as of 2015.

Today, the repertoire of the Igor Moiseyev Ballet includes choreographic works by Moiseyev, starting in 1937. Approximately, there are nearly 300 original works of Moiseyev.

Dances
Ballets:
 Polovtsian Dances (music by Alexander Borodin)
 At the skating-rink (music by Johann Strauss)
 Night on Bald Mountain (music by Modest Mussorgsky)
 Spanish ballad (music by Pablo Luna)
 Evening in the Tavern
 Jewish suite "Family joy"

Dance paintings:
 Football
 Guerrillas
 Day on a ship (Engine room, Yablochko)
 Labour Day
 The buffoons (music by Nikolai Rimsky-Korsakov)
and many dances

Honours and awards

USSR and the Russian Federation
 Hero of Socialist Labour (20 January 1976)
 Three Orders of Lenin (1958, 1976, 1985)
 Order of the October Revolution (1981)
 Order of the Red Banner of Labour, twice (1940, 1966)
 Order of the Badge of Honour (1937)
 Order "For Merit to the Fatherland";
1st class (21 January 2006) – for outstanding contribution to the development of domestic and international choreographic art, many years of creative activity
2nd class (12 June 1999) – for outstanding contribution to cultural development and in connection with the 75th anniversary of creative activity
3rd class (28 December 1995) – for services to the state, an outstanding contribution to the development of choreographic art
 Order of Friendship of Peoples (11 April 1994) – for his great personal contribution to the development of choreographic art and world culture

Foreign
 Order of Saint Alexander with a crown (Bulgaria, 1945)
 Officer of the Order of Culture, 1st class (Hungary, 1954) and 2nd class (1960)
 Officer of the Order of Culture (Hungary, 1989)
 Commander of the Hungarian Order of Merit (1997)
 Commander of the Order of "Citizenship Award" (Spain, 1996)
 Order "Danaker" (Kyrgyzstan, 2007)
 National Order of the Cedar (Lebanon, 1956)
 Order of Sukhbaatar (Mongolia, 1976)
 Order of the Polar Star (Mongolia) (1947)
 Knight's Cross of the Order of Polonia Restituta (Poland, 1946)
 Commander of the Order of Merit of the Republic of Poland (1996)
 Officer of the Order of Culture (Romania, 1945)
 Order of Prince Yaroslav the Wise, 5th class (Ukraine, 3 March 2006) – for outstanding contribution to the development of cultural ties between Ukraine and the Russian Federation, the long-term selfless artistic activity
 Order of Merit, 3rd class (Ukraine, 1999)
 Order of the White Lion, 3rd class (Czechoslovakia, 1980)
 Gold Star of the Order of Brotherhood and Unity (Yugoslavia 1946)
 Commander of the Order of Merit of the Kingdom of Spain (1996)
 UNESCO Mozart Medal
 Order of May (2004)

Award
 Lenin Prize (1967)
 Stalin Prizes, 1st class (1942, 1952) and 2nd class (1947)
 USSR State Prize (1985)
 State Prize of the Russian Federation in Literature and Art in 1995 (27 May 1996)

Titles
 People's Artist of the USSR (1953)
 People's Artist of the RSFSR (1944)
 People's Artist of the Moldavian SSR (1950)
 People's Artist of the Kyrgyz SSR (1976)
 Honored Artist of the RSFSR (1942)
 People's Artist of the Buryat ASSR (1940)

|-
! colspan="3" style="background: red;" | Ovation
|-

|-

See also
 List of Russian ballet dancers

References

External links

 Official Youtube channel of the Igor Moiseyev Ballet
 Official site of the Igor Moiseyev Ballet
 Obituary in The Times, 6 November 2007
 The Guardian's tribute to Moiseyev
 Autobiography

1906 births
2007 deaths
20th-century Russian ballet dancers
Dancers from Kyiv
People from Kievsky Uyezd
Heroes of Socialist Labour
Honored Artists of the RSFSR
People's Artists of the Moldavian SSR
People's Artists of the RSFSR
People's Artists of the USSR
Commander's Crosses of the Order of Merit of the Republic of Hungary (civil)
Commander's Crosses with Star of the Order of Merit of the Republic of Hungary (military)
Commanders of the Order of Merit of the Republic of Poland
Commanders of the Order of Polonia Restituta
Commanders of the Order of the Star of Romania
Commanders of the Order of the White Lion
Grand Officers of the National Order of the Cedar
Knights of the Order of Polonia Restituta
Recipients of the Lenin Prize
Recipients of the Order "For Merit to the Fatherland", 1st class
Recipients of the Order "For Merit to the Fatherland", 2nd class
Recipients of the Order "For Merit to the Fatherland", 3rd class
Recipients of the Order of the Badge of Honour
Recipients of the Order of Friendship of Peoples
Recipients of the Order of Lenin
Recipients of the Order of Merit (Ukraine), 3rd class
Recipients of the Order of the October Revolution
Recipients of the Order of Prince Yaroslav the Wise, 5th class
Recipients of the Order of the Red Banner of Labour
Recipients of the Order of the White Lion
Recipients of the Stalin Prize
Recipients of the USSR State Prize
State Prize of the Russian Federation laureates
Ballet teachers
Choreographers of Bolshoi Theatre
Dance teachers
Expatriates from the Russian Empire in France
Russian people of French descent
Russian people of Romanian descent
Soviet people of French descent
Soviet people of Romanian descent
Men centenarians
Russian centenarians
Russian choreographers
Russian philatelists
Russians in Ukraine
Soviet choreographers
Soviet male dancers
Burials at Novodevichy Cemetery

Igor Moiseyev


Tobacco Radio Network was a radio network owned and operated by Capitol Broadcasting Company of Raleigh, North Carolina. Begun in 1942, the network was dedicated to educating and keeping farmers informed of the latest agricultural news, stories, and market standings. With the help of broadcaster Ray Wilkinson, the network went from being broadcast on one North Carolina affiliate to affiliates from Virginia to Florida. In the late 1940s, a sister station was formed called the Tobacco Sports Network, which carried North Carolina collegiate football and basketball. In 1959, the two networks were merged into the Tobacco Network and later that became the Capitol Agribusiness Network. In 1996, all of Capitol Broadcasting's radio networks were restructured and merged into the North Carolina News Network.

References
http://www.cbc-raleigh.com/division/ncnn.asp
http://history.capitolbroadcasting.com/divisions/tobacco-radio-network/page/2/

Defunct radio networks in the United States
1942 establishments in the United States

1996 disestablishments in the United States
Radio stations established in 1942
Radio stations disestablished in 1996
Defunct radio stations in the United States

Tobacco Radio Network


Flightpath or trajectory is the path of a moving object.

Flightpath or flight path may also refer to:
 Flight path, an airplane route
 Flightpath (marketing agency), a New York-based digital creative agency
 FlightPath (software), an academic advising software
 Flight Path Learning Center
 FlightPathTV, a television show
 Flight Path (album), an album by Sphere
 "Flight Path", a 1971 episode of TV series UFO
Flight Path (memoir), a 2017 memoir by Hannah Palmer

See also
 Flight Paths, an album by The Paradise Motel
 Airway (disambiguation)
 Flight plan (disambiguation)
 Flyway (disambiguation)
 Flyway for birds

Flightpath (disambiguation)


A wristband is a piece of clothing, plastic, metal or other material that is worn around the wrist of a person. There are different types of wristband such as those on watches and on the ends of the sleeves of a piece of clothing. Other types are the awareness bands and security bands used for music concerts and school dances.

Types of wristbands

Watch wristbands

There are many different types of wristband. Watches have wristbands that are often made of metal, plastic or leather. A metal wristband on a watch is often called a bracelet. A plastic or leather wristband on a watch is often called a strap.

Sports wristbands

Many people wear wristbands when they exercise or play sports to absorb sweat.

Hand Sweatbands

In 2009 a new Sweatband was invented, primarily designed for runners, called a sQoosh® band. This groundbreaking design completely changed the look of sweatbands. Worn on the hand to precisely wipe sweat from the eyes and face, these bands join moisture wicking material to stretch terry cloth. sQoosh brands revolutionized the old-fashioned sweatband market with a new favorite for runners in the 21st century. Similarly designed hand-sweatbands started appearing on the market in 2012.

Awareness wristbands

Charities and awareness organizations often make wristbands that are sold to people so that the money can help people who are sick or need other help, and to help other people learn about their charity or awareness organization. Some bands are those made for; Make Poverty History, Anti-bullying, disease awareness charities and to help people learn about religions (such as the Jesus Loves Me band). These bands are often made of plastic or silicone. The making of some of these bands has been in the news as some were made in sweatshops in China and poor countries. This is said to be very bad because these wristbands are made to help people and charities and by being made in these sweatshops they have hurt the people making them because these places are often not safe, and the people working in them do not get paid much money for work they do.

Awareness wristbands were first started by the Lance Armstrong charity Livestrong (see Other websites) in 2003.

Some of these wristbands are copied by criminals and sold to people without the money going to the organization they are trying to help.

Types of awareness bands
Some awareness bands:
yellow: Support Our Troops (also in camouflage green)
Blue: Anti-bullying, anti-Bush vote, tsunami relief, prostate cancer
Pink: Breast cancer
Red: Heart-disease, vote Bush, anti-tobacco, HIV
Purple: Cystic fibrosis, lupus (also orange), domestic violence
White: Jesus Loves Me, right to life
Orange: Asperger's, self-harm
Grey: Diabetes, brain cancer
Black & white: Anti-Racism in football games
Green: Ecology, leukaemia, organ donor
Gold: Childhood cancer
Black: Mourning or melanoma - also known as skin cancer

Security wristbands
Wristbands are often used at music events like concerts and sports event to show that the person wearing them has paid to be there. Some events let people leave and return during the event. Security wristbands allow the person to come back in to the event after they have given their ticket to the staff the first time they entered.

Child safety
Sometimes safety wristbands have been used to give to both a parent and child to make sure that only the parent can take the child home from an event. Both of their wristbands have the same number on them and this stops someone else from taking the child.

Identification wristbands

Hospitals also use wristbands on patients so that they know who they are because patients do not carry identification with them when they are in the hospital.

Alcohol wristbands
Some local governments have thought about using wristbands given to young people to let them buy alcohol in town pubs and bars.

Notes

Other websites
Livestrong - The Lance Armstrong charity
Make Poverty History

Accessories
Identification documents

Wristband


Spawn/Batman is a 1994 one-shot comic book written by Frank Miller with art by Todd McFarlane and published by Image Comics. The comic is an intercompany crossover between Batman and Spawn. The comic, along with Batman/Spawn: War Devil, was reprinted in Batman/Spawn: The Classic Collection on November 15, 2022.

Plot
Batman comes to New York City in his search for an arsenal of high-tech weapons and robots that use decapitated human heads as their brains. Antagonistic, confrontational and suspicious of each other, Spawn and Batman engage in violent battles before realizing they are both after the same villain. Grudgingly, they decide to work together. The person they seek has been kidnapping and decapitating the homeless for use in the robots, but that is only part of the plan: there is also a nuclear arsenal ready to be deployed.

Continuity
A note inside the front cover states that the one-shot is "a companion piece to DC Comics' The Dark Knight Returns. It does not represent current DC Comics continuity" and so on. Though the crossover has never been a part of the ongoing Spawn continuity either, it is a commonly held belief that the scar appearing on Spawn's face at the beginning of Spawn #21 is the same wound inflicted by Batman with a carefully thrown Batarang at the closing of the crossover, which is upheld by Spawn's remark in that very same issue that the scar was a result of his run-in with "some bozo in black". However, through some slight retcons, specifically with the non-chronological release of Spawn #19 and 20, the "bozo in black" in question is actually revealed/changed to be Harry Houdini, and the scar in question is the result of gunfire that Spawn suffered while protecting Terry Fitzgerald.

Frank Miller revealed that the crossover took place in his Batman shared universe alongside The Dark Knight Returns and its various sequels and prequels.

In the game Mortal Kombat 11, Raiden remarked that Spawn reminded him of another "Dark Knight". Spawn remarks that the "billion dollar crusader" is a friend.

Batman/Spawn: War Devil

Another meeting of the two characters was Batman/Spawn: War Devil published by DC. It was written by Doug Moench, Chuck Dixon, and Alan Grant and drawn by Klaus Janson.

References

1994 comics debuts
Intercompany crossovers
Comics by Frank Miller (comics)
Comics by Todd McFarlane
Comics set in New York City
Team-up comics
Image Comics one-shots
DC Comics one-shots
Cyborg comics

Spawn/Batman


Skyhawk Baseball Field is a baseball venue in Martin, Tennessee, United States.  It is home to the UT Martin Skyhawks baseball team of the  Division I Ohio Valley Conference.  Built in 1974, the venue was renovated in 2005 and 2008.  In 2005, a deck viewing area located down the first base line was added.  In 2008, seating areas were improved and a new scoreboard was added.  The field also features stadium lighting.  The Skyhawk Baseball/Softball Building sits adjacent to Skyhawk Park and includes offices and clubhouses for both programs.

See also
 List of NCAA Division I baseball venues

References

College baseball venues in the United States
Baseball venues in Tennessee
UT Martin Skyhawks baseball

Skyhawk Park


Sir Edward Nicholas Coventry Braddon  (11 June 1829 – 2 February 1904) was an Australian politician who served as Premier of Tasmania from 1894 to 1899, and was a Member of the First Australian Parliament in the House of Representatives. Braddon was a Tasmanian delegate to the Constitutional Conventions.

Both the suburb of Braddon in the Australian Capital Territory and the Division of Braddon in Tasmania are named after him.

Early life
Braddon was born in St. Kew, Cornwall in 1829, the son of unsuccessful solicitor Henry Braddon and his wife Fanny White. He had two sisters, one of whom, Mary Elizabeth Braddon, was later a famous novelist. Braddon was educated at various private schools including University College School, and later at University College London.

Henry and Fanny separated in 1840, due to Henry's financial failures, and in 1847, Braddon left for India to take a job with his cousin's merchant business. He later joined the Indian civil service, rising to the position of assistant commissioner, and serving as Inspector-General of Registration and Commissioner of Excise and Stamps.

Braddon married firstly Mary Georginia Palmer on the 24 Oct 1857 in Calcutta, India, she died aged 24 on the 28th of  July 1864 at Simla, Bengal. India. They had two sons and four daughters. One of these sons was Sir Henry Yule Braddon, who was a Rugby union player, representing New Zealand (the All Blacks) and New South Wales, and was later a Commissioner (ambassador) for Australia in the United States. Daughter Alice Gertrude married Colonel Bernard Underwood Nicolay CB (see Nicolay (family)).

In 1876, Braddon married Alice Smith, who survived him.

During the Indian Mutiny, Braddon fought as a volunteer on behalf of the British forces. In 1872, Braddon wrote a memoir detailing his experiences in India, entitled Life in India. He left the Indian civil service in 1878 and retired to Tasmania.

Political career

Tasmanian career
In 1879, Braddon was elected to the Tasmanian House of Assembly in the Division of West Devon, and he represented that constituency until November 1888. He became leader of the opposition in 1886 and after the defeat of the James Agnew government, he was asked to form a cabinet. However, he resigned the premiership to Philip Fysh, and instead became Minister for Lands and Works.

In 1888, Braddon represented Tasmania on the Federal Council, the predecessor to the Constitutional Conventions of the 1890s. After leaving parliament in 1888, Braddon was appointed Agent-General for Tasmania in London, a position he held until September 1893. While in London he helped to raise funds to float a number of ventures in Tasmania. These include the Mount Lyell Mining and Railway Company.

After returning to Tasmania, Braddon was again elected the member for West Devon, and again became opposition leader. In April 1894, Braddon became Premier, and held office until 12 October 1899, the longest term of any Premier up to that date. He drew no salary while in office, but a contemporary diarist, J.B. Walker, judged him "an adventurer ... not overburdened with conscience".

In 1895, Braddon published another volume of memoirs, entitled Thirty Years of Shikar.

Federal career

Braddon was an important proponent of federation in Tasmania. He was elected as one of the Tasmanian representatives to the Constitutional Convention of 1897.

At the convention, he was responsible for the so-called "Braddon Clause" (or "Braddon Blot", as it was known by its opponents). The proposed Constitution provided that the Federal Government would assume the power to levy customs duties, an important source of revenue for the states. The Braddon Clause provided that the Commonwealth would have to return at least three-quarters of all duties collected.

After fierce debate, during which George Reid threatened to withdraw New South Wales from the convention, the Clause was limited in operation to ten years after Federation. The now-defunct Clause is still part of the Constitution of Australia as Section 87, however it was superseded by the Surplus Revenue Act 1910.

At the federal election of 1901, Braddon was elected to the first Australian Parliament as one of the five members for Tasmania, which had not yet been divided into electoral divisions. He was not only the oldest member of the House of Representatives, but, at almost 72 years of age, he is still the oldest person ever elected to the House of Representatives. (The city of Melbourne, where the Parliament then met, had not been founded at the time of his birth). As a supporter of free trade, he joined with Sir George Reid and became a member of the Free Trade Party, where he would occasionally stand as Leader of the Opposition when Reid was absent. In the debates over the Commonwealth Franchise Act 1902 he spoke in favour of the disenfranchisement of Aboriginals. Braddon was re-elected at the federal election of 1903, as the first member for the Division of Wilmot, but he died suddenly at his home in Tasmania in 1904 before the parliament returned from recess.

Braddon is buried at Pioneer Cemetery in Forth, Tasmania. In February 2004, his grave was restored and a lookout constructed nearby to commemorate the centenary of his death.

Honours
In 1891 Braddon was made a Knight Commander of the Order of St Michael and St George. In 1897 he was made a member of the Privy Council.

The Canberra suburb of Braddon, Australian Capital Territory was named after him in 1928.

See also

 Members of the Australian House of Representatives, 1901-1903
 Members of the Australian House of Representatives, 1903-1906

References

 Tasmanian Bicentenary Office – 200 Footprints

External links
 Thirty years of Shikar (1895)

Further reading

|-

1829 births
1904 deaths
Premiers of Tasmania
Free Trade Party members of the Parliament of Australia
British people in colonial India
Australian people of Cornish descent
British emigrants to Australia
Members of the Australian House of Representatives for Wilmot
Members of the Australian House of Representatives for Tasmania
Members of the Australian House of Representatives
Australian Knights Commander of the Order of St Michael and St George
Australian members of the Privy Council of the United Kingdom
Members of the Tasmanian House of Assembly
People educated at University College School
Leaders of the Opposition in Tasmania
Treasurers of Tasmania
19th-century Australian politicians
20th-century Australian politicians
Burials in Tasmania

Edward Braddon


Zimredda, also Zimr-Edda or Zimr-Eddi (Amorite:  ) was the mayor of Sidon, (i.e. the "King of Sidon") in the mid 14th century BC. He is mentioned in several of the Amarna letters, in the late Rib-Hadda series, and later. He authored letters EA 144–45 (EA for 'el Amarna').

Zimredda of Siduna-Sidon, is the only mayor of Siduna in the 1350–1335 BC Amarna letters correspondence, (15–20 year) time period.

Zimredda of Sidon's name is referenced in ten Amarna letters, with three from the Rib-Hadda series-(+Rib-Hadda EA 92, entitled: "Some help from the Pharaoh"-(calling mayors to assist Rib-Hadda), as the "King of Siduna"), five from Abimilku of Tyre, also his own letters. (He is the major subject of half of Abimilku's letters to pharaoh.)

The Abimilku letters reference Zimredda of Siduna as one of his major enemies in the groups against Abimilku.

Zimredda of Siduna: his two letters

EA 144: "Zimreddi of Siduna"
A letter written to the pharaoh.
Say to the king, my lord, my god, my Sun, the breath of my life: Thus Zimreddi, the mayor of Siduna. I fall at the feet of my lord, god, Sun, breath of my life, ((at the feet of my lord, my god, my Sun, the breath of my life))-(emphasis(?)), 7 times and 7 times. May the king, my lord, know that Siduna-(Sidon), the maidservant of the king, my lord, which he put in my charge, is safe and sound. And when I heard the words of the king, my lord, when he wrote to his servant, then my heart rejoiced, and my head went [h]igh, and my eyes shone, at hearing the words of the king, my lord. May the king know that I have made preparations before the arrival of the archers of the king, my lord. I have prepared everything in accordance with the command of the king, my lord.
May the king, my lord, know that the war against me is very severe. All the cit[i]es that the king put in [m]y ch[ar]ge, have been joined to the 'Apiru-(Habiru). May the king put me in the charge of a man that will lead the archers of the king to call to account the cities that have been joined to the 'Apiru, so you can restore them to my charge that I may be able to serve the king, my lord, as our ancestors before (did before).  —EA 144, lines 1–30 (complete)

(See: the Prostration formula)

EA 145: "Word on Amurru"
A letter written to someone, in the pharaoh's charge.
[Sa]y [to ...] ... [my lord: Message of Z]imre[ddi]. I fall [at (your) fee]t. [May] you know that I am safe and sound, and with your greeting from the presence of the king, my lord, you–yourself brought back to me the breath of his mouth. I have heard your words that you sent me through ... [...] The war is very severe. [...] ...The king, our lord, has indeed  been ea[rnestly ad]dressed from his lands, but the breath of his mouth does not reach his servants that are in the hinterlands-(countryside). Moreover, as to your ordering with regard to the land of Amurru, "The word you hear from ther[e],—you must report to me," everyone [has] heard (that) [...] ....: ia-ak-wu-un-ka (he awaits you).  —EA 145, lines 1–29 (with lacunae)

EA 154, no. 9 of 10 of Abimilku
This damaged letter is the 5th letter of Abimilku which discusses the affairs of  Zimredda: ('ruler of Siduna'). His name appears in the end-lines damaged lacuna. He is also referenced as the "ruler of Siduna", line 14.

EA 154: "Orders carried out"
To the king, my lord: Message of Abimilku, [your] servant. I fall at the feet of the king, [m]y lo[rd], 7 times and 7 times. I am the d[i]rt un(der) the sandals of the king, my lord. I have heard what the king wrote to his servant, "Let my forces: [.ia-k]u-(un) (be prepar(ed)) again[st] Yawa." What the king ordered, that I have carried out with the greatest joy. Moreover, since the departure of the troops of the king, my lord, from me, the ruler of Siduna does not allow me or my people to go to land to fetch wood or to fetch water for drinking. He has killed one man, and he has capt[ured] another. [ ... 8–line lacuna ]. May the king take cognizance of his servant.  —EA 154, lines 1–20, and line 29 (lines 21–28, a lacuna)

See also
Amarna letter EA 144
Zimredda (Lachish mayor)
Abimilku, mayor of Surru-(Tyre)
Rib-Hadda, mayor of Gubla-(Byblos)
Amarna letters–localities and their rulers

References

Moran, William L. The Amarna Letters. Johns Hopkins University Press, 1987, 1992. (softcover, )

External links
Write-up of Letter EA 151, concerning Zimredda-(Sea peoples, Abimilku letter); see: Sea Peoples

Amarna letters writers
Kings of Sidon
14th-century BC Phoenician people
14th-century BC mayors
Phoenicians in the Amarna letters

Zimredda of Sidon


Edith McAlinden (b. 1968) is a Scots murtheress who, alang wi her teenage son John McAlinden an his friend Jamie Gray, wis involvit in a triple murther dubbit The Hoose Of Blood killins in Croashull, Glesga, Scotland on 17 October 2004.

McAlinden wis a convictit robber, prostitute, an hameless drifter who wis released fae preeson on 16 October 2004 efter feenishin a nine-month sentence for serious assault. On her release frae preeson, McAlinden went tae the flat o 67-year-auld Ian Mitchell an 71-year-auld Anthony Coyle, whare her boyfriend David Gillespie wis livin. Efter a drinkin session an argument eruptit an McAlinden murthert David Gillespie bi plungin a knife twice intae his thigh, slicin throu his femoral vein, causin him tae rapidly bleed tae daith. McAlinden then telephoned her son, John, who arrivit wi his friend Jamie Gray tae help dispose o the body.

Realisin that Mitchell an Coyle wur witnesses tae the murther o Gillespie, John McAlinden stabbit Ian Mitchell tae daith an kicked him sae violently aroond the heid that his brain wis bleedin. Bi this time Coyle haed lockit hissel in a bedroom. Uisin a drill, the boys opened the door an efter beatin the pensioner, Gray smashed his skull wi a gowf club, an Coyle dee'd. Efter the murthers boilin watter wis poured on the victims in an attempt tae see if thay wur still alive.

Edith McAlinden pleadit guilty tae the murther o David Gillespie an wis sentencit tae life impreesonment on 29 Juin 2005. She wis tauld she wad spend at least thirteen years in preeson.  Her son John an Grey wur baith sentencit tae twal years in preeson.

Freemit airtins
 McAlinden pleads guilty to murder - BBC article, dated Thursday 26 Mey 2005
 McAlinden jailed for life - BBC article, dated Wednesday 29 Juin 2005

2004 in Scotland
Murther in 2004
History o Glesga
Murther in Scotland
2005 in Scotland

House of Blood murthers


Põhja-Kõrvemaa Nature Reserve () is a protected area in Harju County, Northern Estonia, some 50 km east of Tallinn. With an area of 130.9 km2, it is the third largest nature reserve in Estonia. Dominated by forests and bogs, it aims to protect rare and endangered species, their habitats, and valuable natural landscapes.

Põhja-Kõrvemaa (meaning North Kõrvemaa) occupies the northern part of Kõrvemaa, which itself forms the northern part of Transitional Estonia, a large forested and sparsely populated area spanning in northeast–southwest direction through Estonia, from Lahemaa through Soomaa to Latvia.

History

Põhja-Kõrvemaa Nature Reserve was established in the end of 1991, a few months after Estonia regained its independence. Throughout the Soviet Era a large part of the nature reserve's current territory was used by Soviet Army for military training and as such was closed to the public. The proving grounds were established in 1947 and in 1953 expanded to 33 304 ha (333 km2), making it the biggest Soviet military polygon in Estonia. Still, the Soviet Army damaged only about 10% of the proving grounds' territory, leaving the rest intact. Due to unsuitability for agriculture (poor and/or badly drained soils) the whole region has always been very sparsely populated – in the beginning of the 1950s the population density was around 1 people per km2 – but still a few hundred people were displaced together with the creation of proving ground.

Põhja-Kõrvemaa nature reserve was formed in the western part of the former Aegviidu polygon, which had been hidden behind the official name of Pavlov Forest District. In the 1990s, Estonian Defence Forces were interested to begin reusing some areas of the former polygon now situated on the nature reserve's territory. However, due to strong opposition by local people and conservationists, the idea was given up. In 2001, Estonian Defence Forces central proving ground was established in the eastern part of the former Soviet military polygon.
The Valgejõgi River is the natural divide between the current proving ground and the nature reserve.

From 1997 to 2007 the nature reserves official status was landscape protection area. In 2007 it was expanded from 12,890 to 13,086 hectares and official status changed back to nature reserve. Since 2004 it is part of the European Union Natura 2000 network.

Nature

The landscape in Põhja-Kõrvemaa took shape in the end of the last Ice Age, when the glacier retreated about 12,000 years ago and is as such a typical glacial landscape. It is characterized by ice marginal formations and glaciolacustrine plains, the latter of which are now mostly covered by extensive bogs and, to a much lesser extent, fens. Forests cover about 40% of the nature reserve's territory and man-made open areas only 10%.

The region is richest in Estonia in ice marginal formations. The most remarkable relief forms of the region are eskers, which form steep-sided ridges of very complex relief that extend to a number of kilometers and are up to 25 m high.  Along with eskers there are several kame fields — areas covered with hillocks consisting of sand and gravel. Jussi kame field is the best known in Põhja-Kõrvemaa.

There are more than 30 lakes in Põhja-Kõrvemaa. Most of the lakes are small, situated either in bogs (Kivijärv, Koitjärv, Venejärv and others) or between kames. Jussi lakes is a group of 6 lakes (spanning from 2 to 20 hectares in area) situated in the eastern part of the Jussi kame field.

In addition to the lakes, the three biggest bogs (Koitjärve, Kõnnu Suursoo and Võhma bogs), which cover about half of the territory, have developed extensive ridges of small bog ponds, which can be counted in hundreds.

Flora and fauna
A number of rare or endangered species can be found in Põhja-Kõrvemaa, which is one of the main reasons behind the area's status as a nature reserve. It is home to large predators such as gray wolf, Eurasian lynx and brown bear. Small populations of European mink endured until the beginning of the 1990s, but are now disappeared, as in most of Estonia.  Protected bird species include black stork, golden eagle, capercaillie and common crane. Nineteen species of orchids can be found in Põhja-Kõrvemaa (for example, Goodyera repens and Platanthera bifolia), among other rare plants growing in the area are Pulsatilla patens, Sparganium angustifolium, Isoetes echinospora and Oxytropis sordida (the only place in Estonia where the plant is found).

Recreation

Põhja-Kõrvemaa is one of the most visited protected areas in Estonia due to the closeness of Tallinn and general good accessibility - in the north the nature reserve is bordered by the Tallinn-Narva highway (E20) and in the west by Jägala-Aegviidu-Käravete secondary road. The nature reserve itself has also a considerable amount of gravel and dirt roads. Aegviidu, which is located less than 5 km southwest from the nature reserve and is the end point of Elron commuter railway line, can be reached in an hour from the center of Tallinn.

There are several hiking trails, the longest being the 36 km long Liiapeksi-Aegviidu trail, which crosses the nature reserve from north to south, and also continues  to the north in Lahemaa National Park, which is separated from Põhja-Kõrvemaa by Tallinn-Narva highway. Shorter nature and hiking trails and half a dozen campsites are also available, all managed by the State forest management centre (RMK).

Despite the hiking facilities created in recent years, berry and mushroom picking are still the most popular activities among the visitors.

At summer weekends, up to 700 people visit Põhja-Kõrvemaa daily, most of whom drive from Tallinn.

See also
Nature tours in Põhja-Kõrvemaa
Aviators Boulder in Põhja-Kõrvemaa (estonian)(site is for the memorial of the Estonian Air Force officers who are killed by NKVD officers in near-by site)

References

Nature reserves in Estonia
Geography of Harju County
Protected areas established in 1991
1991 establishments in Estonia
Forests of Estonia
Tourist attractions in Harju County
Kuusalu Parish
Anija Parish

Põhja-Kõrvemaa Nature Reserve