Gynaecothoenas (), "the god feasted by women", was an epithet of the Ancient Greek war god Ares in the ancient city of Tegea in Arcadia. According to the tradition found in the account of Pausanias, during a war between the Tegeans and the Spartans, the women of Tegea defended the city from a invasion led by the Spartan king Charilaus. The women were led by Marpessa, and after arming themselves defeated the Spartans following an ambush. Among the prisoners was the Spartan king himself. Gynaecothoenas as an epithet of Ares arose following these events, Pausanias states that it was these events that led to the new epithet, and a feast of Ares in which only women partook.

Pausanias in his account does not mention the direct involvement by the war god in these events, showing how these events were led by the initiative of the local women without divine interference. It was then the women who offered the sacrifice to Ares following the events.

Marpessa's weapon was later in plain sights in the Temple of Athena Alea, a focal point for the local population in Tegea, showing the importance of this story and the character of Marpessa in the collective memory of the Tegeans. The image of Ares Gynaecothoenas was located on the Tegean Agora, and was as such, also easily viewable for visitors to the city. This story is a part of the narrative of conflict between the Tegeans and the Spartans which makes up some of the putative history that featured as an important part of local identity in Tegea.

References

Citations

Bibliography
Durcey, P. (2015) "War in the Feminine in Ancient Greece". In J. Fabre-Serries and A. Keith. eds. Women in War in Antiquity, Johns Hopkins University Press: Baltimore, 181-199.

Georgoudi, S. (2015) "To Act, Not Submit: Women's Attitudes in Situations of War in Ancient Greece". In J. Fabre-Serries and A. Keith. eds. Women in War in Antiquity, Johns Hopkins University Press: Baltimore, 200-2013.

Pretzler, M. (1999) "Myth and History at Tegea - Local tradition and community identity." In T.H. Nielsen and J. Roy. eds. Defining Ancient Arkadia, Munksgaard: Copenhagen, 89-129.

Epithets of Ares
Women in ancient Greek warfare
Religion in ancient Arcadia
Greek war deities

Ares Gynaecothoenas


Navigation is the methods used to learn where someone is and how to go to another place. Since this is easy when landmarks are visible, the word is often limited to the methods ships or aircraft use. The word navigation was invented in the 15th century from the Latin word navis which means "ship" and is found in other Indo-European languages. Navigation is literally "art of ship mastery" but is also used for 'finding one's way'. The Global Positioning System is the main tool for it.

Simple navigation
One type of navigation was made by the Polynesians and is called Polynesian navigation. Polynesians used different things found all around them to find their way across large areas of open ocean. Other early people also learned how to travel large distances using the natural world. For example:

A long time ago (and still used by some people today) people would watch the stars, the sun and the moon. From this they would know where north was.  With charts they could find how far from the equator they were. This is called celestial navigation. Until they had accurate clocks they didn't know their Longitude (how far east or west they were) without seeing landmarks.
Some types of clouds form over land, and waves can bounce off of a shore and travel out to sea.
The time it took to get to a place. When traveling on land they knew it would take them, for example, two days to get from one place to another. This time would most likely stay the same. From this they could travel two days and know they were close to where they wanted to be.
The animals they found helped too. In different places the people would find different types of fish, whales or birds that only lived in one place, or near land. From that they could tell either they were near or far from where they needed to be.

An example of people who used the stars were the Vikings.  They knew that the star called Polaris (the North Star) does not change location and points to the north. They would then know the latitude (distance from the equator), by measuring the angle between Polaris and the horizon. They also used animals, especially birds, to know if land was nearby. They also knew that specific kind of clouds form near land and that waves are different near land than at high seas.

Medieval navigation

As time went by better methods of navigation were invented or discovered. Some of these methods are:

Dead reckoning. A ship could throw a log over the side.  Attached to the log was a rope with knots tied at regular distances.  By counting how many knots went over the side before they pulled the log back in, they knew how fast they were going.  They would write this down every day and figure out how much they traveled for the day.  This is why a ship's speed is measured in knots.

A compass. It was discovered that the Earth had two poles (North and South) and that these poles had different magnetic charges (positive and negative). Resting a strip of magnetic iron on the point of pin it was found that the strip would spin until it matched the magnetic field of Earth. From this a direction could be taken and paths could be followed. The compass was first invented in China. It was later invented in France in 12th century.

Accurate clocks.  With a clock, it was finally possible to know what a person's longitude was.  Longitude is the location east or west. Before this, only landmarks and dead reckoning could be used.

Pilotage is when ships look out for special beacons or man made markers, which tell them where they are or to watch out for certain obstacles such as reefs.

 People divided the compass into 360 degrees. Then they could give an accurate number for the direction the ship had to follow (the "bearing") to arrive at a harbor. The first navigational sea maps, called "nautical charts", showed the bearings needed to get from one harbor to another.

Modern navigation

 Stellar navigation is an improvement on navigating by stars. It uses a sextant, a compass and a very accurate clock called a chronometer. By measuring the altitude of a star (how high it is above the horizon), and its direction on a compass at a known time, the navigator can determine where the ship is. GPS has pretty much replaced stellar navigation, but stellar navigation is still taught in all maritime schools because it does not need special electronics.
 Radio navigation was invented in the early 20th century. Hyperbolic navigation uses radio transmitters to find the location of a ship between two or three radio transmitters that do not move.

The Global Positioning System (GPS) replaced other radio methods in the late 20th century. It is a system of satellite transmitters. Travelers use a small receiver to find their location almost anywhere on Earth.

More reading

Related pages

 Sailing
 Surveying

Navigation


Christopher Ralai Amini is a Papua New Guinean cricketer. A right-handed batsman and right-arm medium pace bowler, he has played for the Papua New Guinea national cricket team since 2005.

Biography
Born in Port Moresby to Charles and Kune Amini in 1984, Chris Amini first played for Papua New Guinea at Under-19 level in the 2002 Under-19 World Cup in New Zealand and the same tournament in Bangladesh in 2004.

Whilst he had previously played for a combined East Asia Pacific team in the Australian National Country Cricket Championships in 2004 and 2005, his debut for the senior Papua New Guinea team came when he played in the repêchage tournament of the 2005 ICC Trophy. Papua New Guinea won the tournament after beating Fiji in the final. This qualified them for the 2005 ICC Trophy in Ireland in which Amini played, making his List A debut.

He most recently represented his country at Division Three of the World Cricket League in Darwin in 2007 and has since played for an East Asia-Pacific Emerging Players team in Australia.

He made his One Day International debut for Papua New Guinea on 8 November 2014 against Hong Kong in Australia.

Family
Chris Amini comes from a cricketing family. His father and grandfather both captained Papua New Guinea whilst his mother and aunt have played for the Papua New Guinea women's team. Two of his brothers have played for the Papua New Guinea Under-19s team.

References

1984 births
Living people
Papua New Guinean cricketers
Sportspeople from the National Capital District (Papua New Guinea)
Papua New Guinea One Day International cricketers

Chris Amini


The 2004 re-authorization of National Earthquake Hazards Reduction Program (NEHRP) directed that the Director of the U.S. National Institute of Standards and Technology (NIST) establish the Advisory Committee on Earthquake Hazards Reduction (ACEHR) to assess:
 trends and developments in the science and engineering of earthquake hazards reduction;
 the effectiveness of NEHRP in performing its statutory activities:
 improved design and construction methods and practices;
 land use controls and redevelopment;
 prediction techniques and early-warning systems;
 coordinated emergency preparedness plans; and
 public education and involvement programs;
 any need to revise NEHRP; and
 the management, coordination, implementation, and activities of the NEHRP.

On June 27, 2006, the official Charter of the Advisory Committee on Earthquake Hazards Reduction was established by the U.S. Department of Commerce, parent agency for NIST. The committee is to be widely representative of the stakeholder community. Federal employees may not serve on the committee. As established by the charter, ACEHR will have 11–15 voting members, in addition to having the Chairperson of the United States Geological Survey (USGS) Scientific Earthquake Studies Advisory Committee (SESAC) serve in an  capacity.

References

External links

USGS Earthquake Hazards Program

United States Department of Commerce
National Institute of Standards and Technology
Disaster preparedness in the United States
Earthquake and seismic risk mitigation
Government agencies established in 2006
2006 establishments in the United States


Juan Ignacio Molina. Born June 24 1740; Died September 12 1829; Chilean Naturalist.
He is usually referred to as Abate Molina (form of Abbott Molina). He wrote Compendio della storia geografica, naturale e civile del regno del Cile (1776), latter translated in English, French, German and Spanish. The journal Moliniana is dedicated in his honour.

Related pages
List of biologists

Source
Charles E. Ronan: Juan Ignacio Molina. The World's Window on Chile.

Naturalists
Zoologists
Chilean biologists
1740 births
1829 deaths

Juan Ignacio Molina


On the commercial transportation, mostly with airlines, the baggage allowance is the amount of checked baggage or hand/carry-on luggage the company will allow per passenger. There may be limits on the amount that is allowed free of charge, and hard limits on the amount that is allowed.

The limits vary per airline and depend on the class, elite status, type of ticket, flight origin and destination. If a flight is booked together with another flight it may also have different limits (e.g. if another flight on the same ticket is a long-haul flight). The exact baggage conditions are mentioned in the ticket information online.

Types of baggage
On aircraft, there are two types of baggage, which are treated differently: checked baggage and hand/carry-on luggage. For both types, transportation companies have rules on the weight and size.

For checked baggage, stored in the aircraft hold, usually the weight is the limiting factor. All checked items are generally weighed by the airline during check-in, and if they exceed the limit, the passenger is informed by the airline. To avoid any fees, the passenger often must switch some of the items found in the suitcase to another suitcase, or else carry it on.

Carry-on luggage is judged primarily by size. Bags are measured by dimension or in total linear measurement (length + width + height). However, there may also be other restrictions on the types of belongings that can be carried on the plane.

IATA
The International Air Transport Association (IATA) has released recommendations for limits on checked baggage and carry-on luggage. Some companies adhere to these recommendations, some adhere partially and some do not adhere at all to them.

The recommendations for checked baggage are: advised maximum weight 23 kg (50.7 lbs), weight limit 32 kg (70.6 lbs), advised maximum size 158 cm (62.2 in) length + width + height, limit 203 cm (nearly 80 in). The limit of 23 kg is present because of similar limits in health and safety regulations.

Because of the wide variation in hand/carry-on luggage limits, in 2015 IATA released a size recommendation for suitcases meant as hand/carry-on luggage. These state that suitcases should have a maximum size of 55 cm (21.6 in) long, 35 cm (13.8 in) wide and 20 cm (7.9 in) deep. If they meet these requirements, the bag may carry the logo "IATA cabin OK". This limit is tighter than most current airline limits, so bags with this logo are practically allowed everywhere.

Standard concepts
Two concepts for baggage weight limits are in use.

Piece Concept
The Piece Concept used to be applicable only for passengers travelling to or from the Americas. From 1 August 2019, however, Vietnam Airlines (IATA Area 3) adopted the Piece Concept. Under the Piece Concept, passengers are permitted to check in a certain number of suitcases with a per-bag weight of up to 23 kilograms for Economy Class, and up to 32 kilograms for Business or First Class. The allowed weight per suitcase and the number of suitcases varies per airline and depends on the class, elite status, type of ticket, flight origin and destination.

Weight Concept
Under the Weight Concept, each passenger is permitted to check in a total weight regardless of the number of suitcases. Often passengers traveling together can also combine their allowed weights. The total weight varies per airline and depends on the class, elite status, type of ticket, flight origin and destination.

Baggage pooling
During the departure in an airport, assembling all the associated baggage of passengers who are to be checked in together and checking those baggages in the name of one passenger is known as a pooling of the baggage.

Fees
Baggage fees in the United States have been the norm for many airlines and the trend is predicted to continue with many trans-Atlantic flights starting to collect fees for the lowest cost tickets. Typically, baggage fees are included in the ticket price. Different airlines websites will normally explicitly state their baggage fees policy and baggage limits. IdeaWorks, a travel consulting firm, predicted fees will become the norm by the end of 2019 and globally thereafter.

The 23 largest airlines in the United States reported earning $4.6 billion in baggage fees in 2017.

References

External links

 TSA List of Permitted and Prohibited Items

Civil aviation
Luggage

Baggage allowance


Ben Caldwell (1945) is a Los Angeles-based arts educator and independent filmmaker.

Early life and education
A native of New Mexico, Ben Caldwell was first introduced to the visual arts at an early age. As a youth, Caldwell would help his grandfather project movies at a small theater in New Mexico. Working with his grandfather allowed Caldwell to develop an affinity for filmmaking. His early exposure to film inspired him to pursue an education and a career in filmmaking.

Working with his grandfather was not the inspiration that pushed Caldwell into filmmaking. During his childhood, war movies were very popular and they peaked young Caldwell's fascination. While enrolled in a two-year animation course under the Disney company, Caldwell was drafted and sent to Vietnam. Caldwell decided to buy a camera while in Japan so that he could photograph his counterparts in the military and document what soldiers faced in the Vietnam War. He has hundreds of pictures which he may or may not incorporate into a future project about war and the soldiers that suffer from combat. Taking pictures while in the military not only allowed Caldwell to document one aspect of the war, but it also gave him the opportunity to familiarize himself with the camera.

After serving his time in the military, Caldwell then enrolled in courses at Phoenix College in Arizona studying photography and other forms of media. After collaborating with other students and professors, Caldwell was encouraged to pursue an M.F.A in film. Professors at Phoenix noticed that Caldwell was attempting to tell stories with his still photography and suggested that he look into studying film. Caldwell then applied and was accepted into many different Masters programs, and decided to attend UCLA. Caldwell studied filmmaking at UCLA, receiving his M.F.A in 1976. He studied film alongside Charles Burnett, Julie Dash and Billy Woodberry, as part of a group of young artists who were to change African American independent filmmaking — a cultural phenomenon sometimes called "The L.A. Rebellion." Caldwell contributed largely to the L.A. Rebellion Movement creating films that focused on black culture in Los Angeles, California.

The idea of black film students attending UCLA was not embraced by everyone. Those who opposed their presence, did not hesitate to express their deeply rooted discontent. As a result, the L. A. Rebellion was born. Black filmmakers were making their voices heard through their art. Much of their art consisted of pieces that focused on politics that effected the black community, praised black culture, and pushed for unification among the human race. When asked in an interview, Ben Caldwell stated that the L. A. Rebellion set out to "emancipate the image" of black people.

Caldwell studied filmmaking at UCLA, receiving his M.F.A in 1976. He studied film alongside Charles Burnett, Julie Dash and Billy Woodberry, as part of a group of young artists who were to change African American independent filmmaking — a cultural phenomenon sometimes called "The L.A. Rebellion." Caldwell contributed largely to the L.A. Rebellion Movement creating films that focused on black culture in Los Angeles, California. While studying film at UCLA, Caldwell produced, wrote, directed, filmed, and edited his most revered piece "Madea." This film explores the development of a child's mind during gestation. At the time that he wrote this piece, Caldwell was entertaining the possibility of there being another Earth in a parallel universe. When he was attending school in Arizona, Caldwell created a still photography piece which equated the black woman's body to Earth. Once he began studying film, Caldwell adapted his still photography project into the short film. Over the course of his career, Caldwell has made other experimental shorts such as "I & I: An African Allegory" and "Water Ritual #1: An Urban Rite of Purification," which would fall under the category of Experimental Documentary. The shorts that he has written and/or worked on have focused on social issues that directly effect the black community. In a time when Blaxploitation dominated the black film industry, Caldwell and other black visionaries had different stories to tell.

Career
Caldwell taught several years at CalArts and became a major force in CAP (Community Arts Partnership). In 1984, he founded KAOS Network, a community arts center dedicated to providing training on digital arts, media arts and multi-media, at the heart of Leimert Park, historic center of the Los Angeles jazz culture, now hosting a diverse multi-ethnic multimedia arts center. KAOS Network was designed to empower the youth of the community and is the only organization of its kind in South Central Los Angeles where inner-city youths can participate in hands-on courses in video production, animation, web-site development, video teleconferencing, CD ROM production, and use of the Internet. KAOS is also home to WORDshop, a weekly workshop for hip-hop artists, dancers, singers and visual artists. Each week over 150 youths participate in workshops and programs at the center. In addition to these workshops, KAOS Network has videotaped community events and produced documentaries for the state of California. KAOS Network is committed to creating a community of young people who are dedicated to learning new technologies, acquiring employable skills and participating in digital arts and new media training.

"For Whose Entertainment" is another piece by Caldwell that is yet to be distributed. Co-Produced by Artie Ivie, this film is a critique on Black comedians and their work. Caldwell poses the question of who are Black comedians attempting to appeal to and entertain the most, Black audiences or white audiences? Caldwell acknowledges this piece as a piece full of anger and discontent with the social norms surrounding Black comedy and has yet to share it with others. Howard University has expressed interest in using this film as a means to show film students the mixed feelings about Black comedy.

When asked why he decided to go in a more political direction with his work as opposed to creating mainstream type films such as Romance or Action films, Caldwell stated that he does not aim to create political films. With his work, Caldwell aims to create films that people will have to watch more than once in order to truly understand it. Caldwell also creates films where the audience notices something new each time they watch it. Caldwell does not want to make the standard Hollywood-like films, but instead wants to create films the way Black and African musicians make music. Caldwell strives to capture the natural flavor of Black music and translate that into films. Ben Caldwell states that the focus of his films are not political, they are instead cultural. By way of his art, Caldwell hopes to bring people closer together, explore, and preserve the unique culture of African Diaspora.

Ben Caldwell has major plans for the future that are in the works right now. He and his company are working to create autonomous cars which will not only drive itself, but it will also equip the driver and their passengers with films that they can watch. This will not only revolutionize driving, but it will also revolutionize the way audiences consume media. In addition that, Caldwell is working on repurposing old phone booths around Los Angeles, making them stations where people can Skype with one another. Caldwell hopes to utilize the new Metro line that will be constructed by 2020. The Metro line will go directly through South Los Angeles, which is still a predominately Black portion of the city, and therefore Caldwell aims to us it as a host for his multimedia projects, creating a platform for young artists to showcase their work to those who travel through their neighborhoods.

Filmography
Medea (1973)
I & I: An African Allegory (1979)
Water Ritual 1: An Urban Rite of Purification (1979)
Gidget Meets Hondo (1980)
Festival Of Mask (1982)
The Snake In My Bed (1995)
Eyewitness: Reflections of Malcolm X & O.A.A.U. (2006)
I Build The Tower (2006)
Leimert Park: Sankofa Project (2007)
La Buena Vida (2008)

References

Further reading
 Field, Allyson Nadia. Uplift Cinema: The Emergence of African American Film and the Possibility of Black Modernity. Durham: Duke UP, 2015. Print.
 Field, Allyson Nadia, Jan-Christopher Horak, and Jacqueline Najuma Stewart. L.A. Rebellion: Creating a New Black Cinema. Oakland, CA: U of California, 2015. Print.

External links
 Erin Aubrey Kaplan, "Leimert Park on the Radar," Los Angeles Times, March 22, 2011, image 26
 Lynell George, "Sanctuary Builds Cultural Bridge," Los Angeles Times, January 23, 1996, image 140
 Don Snowden, "Cultural Spring in Crenshaw District," Los Angeles Times, October 3, 1992, image 371
 Gary Bradford, "Featured Filmmaker Answers Call of Art, Not Hollywood," Pittsburgh Press, Pennsylvania, June 12, 1980, image 55
http://www.projectblowed.com
 http://sfbayview.com/2009/the-kaos-network-an-interview-with-owner-ben-caldwell/
 https://www.cinema.ucla.edu/la-rebellion/ben-caldwell

African-American film directors
Living people
L.A. Rebellion
1945 births
Film directors from New Mexico
People from New Mexico
California Institute of the Arts faculty
UCLA Film School alumni
Film directors from Los Angeles
20th-century African-American people
21st-century African-American educators
21st-century American educators

Ben Caldwell (filmmaker)


Robin Meloy Goldsby is an American pianist, composer, and memoirist.  Born in Pittsburgh, Pennsylvania, she is the daughter of drummer Bob Rawsthorne, who was one of the musicians on the PBS television show "Mister Rogers' Neighborhood." She attended Chatham College before moving to New York City in 1980. She started playing in piano bars during summers on Nantucket Island while working her way through Chatham College, and that eventually became her career.  She is married to bass player John Goldsby.  They have two children, Curtis Goldsby and Julia Goldsby.  They currently live in Germany.

Robin is the author of RHYTHM: A Novel, and Piano Girl: A Memoir. Her career as a musician has taken her from roadside dives to New York City's poshest venues, exclusive resorts, and on to the European castles where she now performs. Robin has three solo piano recordings to her name: Twilight, Somewhere in Time, and Songs from the Castle, and has appeared on NPR's All Things Considered and Piano Jazz with Marian McPartland.

Meloy also had a role as Jeanie, one of the seven doomed sorority sisters in Mark Rosman's 1983 cult slasher The House on Sorority Row. For the audition, in contrast with other actresses, Meloy wore a baggy T-shirt, glasses, and sweatpants to attain the role.

References
Piano Girl: Lessons in Life, Music, and the Perfect Blue Hawaiian by Robin Meloy Goldsby (Backbeat Books 2005, )
Rhythm: A Novel by Robin Meloy Goldsby (Bass Lion Publications/BookSurge 2008,

External links
 Robin Goldsby's web page

 Interview with House on Sorority Row star Robin Meloy

American women composers
21st-century American composers
Living people
Year of birth missing (living people)
Musicians from Pittsburgh
Musicians from New York City
Chatham University alumni
21st-century American pianists
21st-century American women pianists
21st-century women composers
American women memoirists

Robin Meloy Goldsby


George W. Perkins is an American producer of films and television series, most known for being one of the producers of the dramedy Desperate Housewives, of which he is one of the executive producers since 2006.

Beginning in the early 1980s Perkins produced or co-produced movies like the 1983 indie film Joysticks, Teen Wolf starring Michael J. Fox (1985), the 1986 thriller movie Extremities starring Farrah Fawcett and Who's Harry Crumb? from 1989, starring John Candy.

During the 1990s and 2000s, Perkins moved on to mainly producing telefilms. In addition he co-produced the 1997 action film Metro starring Eddie Murphy, and in 2003 he was one of the producers for the short lived thriller series Threat Matrix starring James Denton. Since 2004, he's been involved with producing Desperate Housewives, taking over the executive producer position for the 2007–2008 season.

External links

American film producers
American television producers
Living people
Year of birth missing (living people)

George W. Perkins (producer)


Alcide d'Orbigny describes the Cuban pygmy owl in Ramón de la Sagra's monumental Historia física, política y natural de la isla de Cuba
1839-1840 Christian Ferdinand Friedrich Krauss, Johan August Wahlberg and Adulphe Delegorgue :fr:Adulphe Delegorgue explore Natal
Juan Gundlach leaves Europe for Cuba
1839-1843 James Clark Ross expedition to Antarctica
Frédéric de Lafresnaye describes the spot-crowned woodcreeper in  Revue Zoologique, par la Société Cuvierienne  (Paris), René Primevère Lesson contributes the description of  the black-headed honeyeater to the same journal
Costa's hummingbird named to honour Louis Marie Pantaleon Costa.
Foundation of Musée d'histoire naturelle de Mons
Foundation of Museum d'Histoire Naturelle Aix en Provence

Ongoing events
William Jardine and Prideaux John Selby with the co-operation of James Ebenezer Bicheno Illustrations of ornithology various publishers (Four volumes) 1825 and [1836–43]. Although issued partly in connection with the volume of plates, under the same title (at the time of issue), text and plates were purchasable separately and the publishers ... express the hope, also voiced by the author in his preface to the present work, that the text will constitute an independent work of reference. Vol. I was issued originally in 1825 [by A. Constable, Edinburgh], with nomenclature according to Temminck

References

Birding and ornithology by year
1840 in science

1839 in birding and ornithology


PGP-RTB ( ) was a major state-owned record label and chain record store in the former SFR Yugoslavia, based in Belgrade, Socialist Republic of Serbia. After the breakup of Yugoslavia, in 1993, the company changed its name to PGP-RTS (Produkcija Gramofonskih Ploča Radio-Televizije Srbije).

History
PGP-RTB was established in 1959, as the music production branch of the national Radio-Television Belgrade.

After the breakup of Yugoslavia, in 1993, the company changed its name to PGP-RTS (Produkcija Gramofonskih Ploča Radio-Televizije Srbije), which is the music production branch of the national Radio Television of Serbia.

Artists
PGP-RTB is notable for signing numerous eminent former Yugoslav pop and rock, as well as folk acts. Some of the artists that have been signed to PGP-RTB include:

Alisa
Amajlija
Silvana Armenulić
Arsen Dedić
Atomsko Sklonište
Bajaga i Instruktori
Đorđe Balašević
Banana
Bastion
Bebi Dol
Bele Vrane
Bel Tempo
Beograd
Bezobrazno Zeleno
Bulevar
Buldožer
Ceca
Crni Biseri
Crveni Koralji
Dejan Cukić
Čista Proza
Nikola Čuturilo
Zdravko Čolić
Dado Topić
DAG
Delfini (Split band)
Disciplina Kičme
Divlji Anđeli
Doktor Spira i Ljudska Bića
Drugi Način
Džentlmeni
Ekatarina Velika
Elipse
Galija
Generacija 5
Gordi
Griva
Grupa I
Heroina
Heroji
Igra Staklenih Perli
Merlin
Miroslav Ilić
Indexi
Jakarta
Jugosloveni
Jutro
Karizma
Kerber
Tereza Kesovija
Korni Grupa
Miha Kralj
La Strada
Laboratorija Zvuka
Laki Pingvini
Leb i Sol
Lepa Brena
Lutajuća Srca
Mama Rock
Oliver Mandić
Đorđe Marjanović
Srđan Marjanović
Slađana Milošević
Toni Montano
Oktobar 1864
Osmi Putnik
Osvajači
Parni Valjak
Partibrejkers
Piloti
Pomaranča
Pop Mašina
Porodična Manufaktura Crnog Hleba
Poslednja Igra Leptira
Propaganda
Predmestje
Dušan Prelević
Radomir Mihajlović Točak
Rambo Amadeus
Rani Mraz
Riblja Čorba
Roze Poze
San
September
Siluete
Slomljena Stakla
Smak
Boba Stefanović
Suncokret
S Vremena Na Vreme
Šaban Šaulić
Miladin Šobić
Tako
Time
Tunel
Neda Ukraden
U Škripcu
Vampiri
Van Gogh
Viktorija
Vlada i Bajka
Warriors
YU Grupa
Zana
Zdravo
Zebra
Zlatko Pejaković
Zlatni Prsti
Vesna Zmijanac
Zona B

PGP-RTB has also released some albums by eminent classical musicians at that time, such as Milenko Stefanović and Ernest Ačkun.

Like other former Yugoslav labels, PGP-RTB also had a licence to release foreign titles for the Yugoslav market including notable international popular music stars such as: ABBA, Louis Armstrong, Joan Baez, Bee Gees, Blood, Sweat & Tears, Bon Jovi, James Brown, John Coltrane, Cream, Def Leppard, Dire Straits, Bryan Ferry, Jimi Hendrix, INXS, Joan Jett and The Blackhearts, Elton John, Kiss, Amanda Lear, The Moody Blues, Billy Ocean, The Platters, The Police, Rainbow, Siouxsie and The Banshees, Status Quo, Rod Stewart, Sting, The Style Council, Tangerine Dream, The Who, and others.

Competition
Other major labels in the former Socialist Federal Republic of Yugoslavia were: Jugodisk from Belgrade, Jugoton and Suzy from Zagreb, Diskoton from Sarajevo, ZKP RTLJ from Ljubljana, Diskos from Aleksandrovac, and others.

See also
List of record labels

References

External links
PGP-RTS official page

Serbian record labels
Yugoslav record labels
Serbian rock music
Yugoslav rock music
Record labels established in 1958
State-owned record labels
1958 establishments in Yugoslavia
Radio Television of Serbia

PGP-RTB


Camille-Melchior Gibert (18 September 1797 – 30 July 1866) was a French dermatologist who was a native of Paris.

He studied medicine in Paris, where in 1818–19 he served as an interne to Laurent-Théodore Biett at the Hôpital Saint-Louis. In 1822 he received his medical doctorate and in 1826 he obtained his agrégation. From 1836 he was a physician at the Hôpital Lourcine, and from 1840 to 1863, was associated with the Hôpital Saint-Louis. In 1847 he became a member of the Académie de médecine. He died during the 1866 Paris cholera epidemic.

Gibert contributed to the Medical section of the Encyclopédie Méthodique.

Gibert is remembered for providing the first accurate description of a papulosquamous skin disorder that he named pityriasis rosea. Historically, this condition was also referred to as "Gibert disease". His best written work on skin diseases was a book called "Traité pratique des maladies spéciales de la peau" (second edition, 1840).

In 1859, with Dr. Joseph-Alexandre Auzias-Turenne (1812–1870), Gibert took part in controversial experiments in which three volunteers were inoculated with secondary syphilis.

References
 Journal of the European Academy of Dermatology & Venereology (biographical information)

1797 births
1866 deaths
French dermatologists
Physicians from Paris

Camille-Melchior Gibert


The Leyland Band is a brass band based in Lancashire in the UK.

History
The Leyland Band was established in 1946 in the heart of industrial Lancashire as the Leyland Motors Band, taking its name from the world famous truck and bus company. Now an independent group of some thirty musicians, the Band has retained its local connection and now proudly bears the name of its home town.

The last twenty five years of the Bands existence has been the most consistently successful in its history. After a meteoric rise through the various sections, the Band has witnessed scores of prize awards at all the major competitions in the brass band arena.

Leyland Band has also rightly earned its reputation as an unrivalled concert entertainer by producing dynamic and unique performances both at home and abroad. Leyland Band has always fostered a strong sense of originality. In 1980, the ensemble was the first western brass band to tour Japan, a country it revisited along with South Korea in the 1990s. In the last decade, four coast to coast tours of the United States of America are testament to the Band's far-reaching appeal. Numerous performances on continental Europe have been a feature of the band's work on the concert platform. It has also had great success at the Brass in Concert Championship of which it is the current title holder.

Leyland Band has appeared in numerous television and radio broadcasts, specifically for the Granada Band of the Year, BBC Radio 3 and Listen to the Band. It has an impressive discography and has recorded many commercial CDs.

Previous Names
 Leyland Motors Band (1946 - 1979)
 Leyland Vehicles Band (1979 - 1988)
 Leyland DAF Band (1988 - 1992)
 BNFL (Leyland) Band (1992 - 1997)
 JJB Sports Leyland Band (1997 - 2000)

Contest successes
 Champion Band of Great Britain: 2005
 British Open Champions: 1994
 All England Masters: 1989, 1992, 2003
 Brass in Concert Champions: 1989, 1991, 1992, 1997, 2011
 North West Regional Champions: 1982, 1990, 1991, 1993, 1994, 2004, 2005, 2012, 2013
 Grand Shield Champions (Spring Festival): 1981, 2008

Conductors

References

External links
 Leyland Band official site

Musical groups established in 1946
Organisations based in Lancashire
British brass bands
Leyland Motors
Leyland, Lancashire

Leyland Band


A loading screen is a screen shown by a computer program, very often a video game, while the program is loading (moving program data from the disk to RAM) or initializing.

In early video games, the loading screen was also a chance for graphic artists to be creative without the technical limitations often required for the in-game graphics. Drawing utilities were also limited during this period. Melbourne Draw, one of the few 8-bit screen utilities with a zoom function, was one program of choice for artists.

While loading screens remain commonplace in video games, background loading is now used in many games, especially open world titles, to eliminate loading screens while traversing normally through the game, making them appear only when "teleporting" farther than the load distance (e.g. using warps or fast travel) or moving faster than the game can load.

Loading times
Loading screens that disguise the length of time that a program takes to load were common when computer games were loaded from cassette tape, a process which could take five minutes or more. Nowadays, most games are downloaded digitally, and therefore loaded off the hard drive meaning faster load times; however, some games are also loaded off of an optical disc, faster than previous magnetic media, but still include loading screens to disguise the amount of time taken to initialize the game in RAM.

Because the loading screen data itself needs to be read from the media, it actually can increase the overall loading time. For example, with a ZX Spectrum game, the screen data takes up 6 kilobytes, representing an increase in loading time of about 13% over the same game without a loading screen. Recently, however, more powerful hardware has significantly diminished this effect.

Variations

The loading screen does not need to be a static picture. Some loading screens display a progress bar or a timer countdown to show how much data has actually loaded. Others, recently, are not even a picture at all, and are a small video or have parts animated in real time.

Variations such as the progress bar are sometimes programmed to inaccurately reflect the passage of time or extended during loading; opting instead for artificial pauses or stutters. This can be done in games for a multitude of reasons including encouraging players to engage with exposition during time away from gameplay and providing the player with an immersive transition between scenes. One notable example of this practice being used is for the real-time strategy game Age of Empires, with programmer Greg Street describing his method of timing visual loading queues with appropriate script queues when loading a randomly generated map. Other developers describe the necessity of an artificial loading timer despite technical advancement making modern loading times near-instantaneous to allow the player a smooth transition between gameplay segments. This technique also has grounds in the perceived perception of performance denoted by loading times. This perception of loading times can be altered by factors such as the movement of a progress bar.

Other loading screens double as briefing screens, providing the user with information to read. This information may only be there for storytelling and/or entertainment or it can give the user information that is usable when the loading is complete, for example the mission goals in a game. In fighting games the loading screen is often a versus screen, which shows the fighters who will take part in the match.

Minigames
Some games have even included minigames in their loading screen, notably the 1983 Skyline Attack for the Commodore 64 and Joe Blade 2 on the ZX Spectrum.
One well-known loader game was Invade-a-Load. Another example is "the shop keepers quiz" in Dota 2 which was more of a game finding screen rather than loading screen.

Namco has used playable mini-games during a loading screen. Examples include variations of their old arcade games (Galaxian or Rally-X or for example) as loading screens when first booting up many of their early PlayStation releases. Even to this day, their PlayStation 2 games, like Tekken 5, still use the games to keep people busy while the game initially boots up. Despite the Invade-a-Load prior art, Namco filed a patent in 1995 that prevented other companies from having playable mini-games on their loading screens, which expired in 2015.
Recent EA Sports games have "warm up" sessions. For example, FIFA 11 has the player shooting free-kicks solo and NBA Live 10 has 2-player shootouts, while the game loads. NBA Live 08 features a 4-player general knowledge quiz. The PlayStation 3 and Xbox 360 versions of THQ's MX vs. ATV: Untamed lets the player partake in a free-ride session on the test course.

Videos
Some games like a number of Call of Duty titles have videos that give an introduction to the level while the game loads in the background. Normally, when the level is completely loaded, the remaining video can be skipped. The video does not necessarily apply to what is happening in the level, as Red Faction: Guerrilla sometimes shows news reports foreshadowing events that will become important later on, or that give tidbits about the game's universe.

Music
On the Commodore 64, tape loading screens would often feature music in the form of a chiptune making use of the machine's advanced SID sound chip.

See also
 Splash screen
 Title screen

References

Graphical user interface elements
Video game design

Loading screen


Pat Fenlon (born 15 March 1969) is an Irish football manager who is currently managing Bohemians F.C..

His first job as a manager was at Shelbourne where he won the league in 2003, 2004 and 2006. In that time they also made history by managing the first Irish club to reach the third qualifying round of the Champions League, where they were knocked out by Deportivo de La Coruña from Spain. He left Shelbourne at the end of 2006.

He was made the Derry City manager at the end of 2006 but left halfway through the 2007 season after making a poor start with his new club.

He was made manager of Bohemians in early 2008 and so far has won back-to-back titles, an FAI Cup and a League Cup. He has stated that his desire is to get Bohemians into the Champions League group stages in 2010.

1969 births
Living people
Irish footballers
Irish football managers
Sportspeople from Dublin

Pat Fenlon


The SU-76 (Samokhodnaya Ustanovka 76) was a Soviet light self-propelled gun used during and after World War II. The SU-76 was based on a lengthened version of the T-70 light tank chassis and armed with the ZIS-3 mod. 1942 76-mm divisional field gun. Developed under the leadership of chief designer S.A. Ginzburg (1900–1943). Its quite simple construction and multipurpose combat role made it the second most produced Soviet armored fighting vehicle of World War II, after the T-34 medium tank.

History

SU-76

Design of the SU-76 began in June 1942, when the State Defense Committee (GKO) ordered the construction of infantry support self-propelled guns armed with the ZIS-3 76-mm divisional field gun and the M-30 122-mm howitzer. The T-70 light tank chassis was chosen by chief designer S.A. Ginzburg for mounting the ZIS-3 gun, and basic tank's hull was lengthened, adding one road wheel per side, to facilitate better gun mounting. The gun was installed in the embrasure of the front armored plate of the fixed fully closed armored casemate above the rear of the hull. The power plant consisted of two engines connected in parallel with the transmission. The units of the latter were also paralleled and connected at the level of the main gears. The mechanic-driver sat in the bow of the vehicle, and the gun crew of three men including the commander (usually junior lieutenant) was located in the casemate. The SU-76 (factory designation SU-12) was put into service by a GKO decree of December 2, 1942.

The first batch of SU-76s (25 units) was manufactured by January 1, 1943 and sent to the self-propelled artillery training center. At the end of January, the first two self-propelled artillery regiments of a mixed organization (1433rd and 1434th) were sent to the Volkhov Front to participate in breaking the siege of Leningrad. In March 1943, two more regiments were formed - the 1485th and 1487th, which participated in battles on the Western Front (Soviet Union).

However, already after 10 days of military operation, most of the SU-76s were out of order due to breakdowns in gearboxes and main shafts. An attempt to correct the situation by strengthening the shafts did not lead to anything. Moreover, such vehicles failed even more often. It became obvious that the transmission of the SU-76 had a fundamental design flaw, which was the parallel installation of two twin engines that worked on a common shaft. Such transmission scheme led to the occurrence of resonant torsional vibrations on the shafts. Moreover, the maximum value of the resonant frequency accounted for the most intense mode of operation of the engines (driving in 2nd gear off-road), which led to their rapid failure. Elimination of this defect required time, therefore, on March 21, 1943, the production of the SU-76 was suspended. A total of 560 units were built at Plant No. 38 in Kirov. During the investigation that followed the mass failure of SPGs in the winter of 1943, a commission chaired by I.M. Zaltsman defined that the main culprit was the head of the Department of the Chief Designer of the People's Commissariat of the Tank Industry S.A. Ginzburg, who was removed from his position and sent to the front as the head of the repair service of the 32nd tank brigade belonged to the 29th tank corps. Stalin, having learned about this, did not approve of such a hasty decision, and ordered the talented tank designer to be recalled from the front, but it was too late - Ginzburg was killed in action.

SU-76M

A more reliable vehicle, the SU-15, appeared as a result of a competition announced by the management of the People's Commissariat of the Tank Industry for a light assault SPG armed with a 76-mm divisional gun. GAZ and Plant No. 38 took part in the competition. Tests of the new self-propelled guns took place at the Gorokhovets artillery training ground in July 1943, at the height of the Battle of Kursk. The SU-15 enjoyed the greatest success with the military, and it was recommended for mass production after some improvements. It was necessary to lighten the vehicle, which was done by removing the armored roof over the casemate, at the same time this solved all problems with its ventilation, and also facilitated the boarding and disembarkation of the crew as well as the gun maintenance. In July 1943, the SU-15 under the army designation SU-76M was adopted by the Red Army.

After production of the light SPGs resumed, GAZ and Plant No. 40 in Mytishchi near Moscow joined it in autumn 1943 (the same time the production of T-70 light tanks was fully finished), and as a result 13,732 SU-76Ms were built. More than 9,000 of these SPGs were built solely by Gorky Automobile Plant (GAZ), which became the main plant for the production of the SU-76M from January 1, 1944.  The SU-76M became the second most produced Soviet armored fighting vehicle of World War II, after the T-34 medium tank. Under the leadership of the chief designer N.A. Astrov, since the autumn of 1943, work has been going on at GAZ to improve the SPG and adapt its design to mass production conditions. Changes were made to the design of the SU-76M and in the future. Vehicles of later series received a higher rear armor plate of the fighting compartment with two firing ports and a larger door, a tube welded to the right and left sides at the back of a casemate appeared to mount the machine gun for anti-aircraft defense. Firing ports of a new shape began to be used, more adapted for firing from a machine gun, etc. Mass production of the SU-76M ceased in October 1945. In contemporary accounts SU-76Ms are often referred to in texts, public radio and TV broadcasting as SU-76s with the "M" omitted, due to their ubiquity in comparison with the original SU-76s.

The layout of the SU-76M and its chassis remained unchanged compared to the SU-76. But the SU-76M had an armored casemate open at the top and partly behind. Two chief designers at the GAZ, N.A. Astrov and A.A. Lipgart, changed the power plant arrangement to that of the T-70 light tank - two GAZ-202 engines were connected in series and installed on the right hand side of the vehicle. The transmission consisted of a two-disk main clutch of dry friction, a four-speed gearbox of the ZIS-5 type, a main drive, side clutches and side drives.

The SU-76M had a clearance . The SPG could climb a slope of 28o, overcame a  wide trench, a  high wall and a  deep ford.

The ZIS-3 gun pointing angles ranged from -5o to +15o vertically and 15o left and right horizontally. The rate of fire of the gun with the pointing correction was 10 rounds per minute, with the rapid fire - up to 20 rounds per minute.

The SU-76 was the basis for the first serial Soviet tracked armored anti-aircraft vehicle, the ZSU-37. Mass production of the ZSU-37 was continued after SU-76M production ceased. The majority of SU-76Ms had been withdrawn from the Soviet army service in the beginning of 1950s, although some were retained as training vehicles for tank crews as late as 1960s.

Variants
OSU-76 Experimental model based on the T-60 light tank chassis and armed with the 76-mm gun ZIS-3, three prototypes were built in summer 1944.
SU-76 (factory designation SU-12) Based on a lengthened T-70 light tank chassis, with the inferior dual-engine arrangement of earlier T-70s.  Only 560 units were produced, and these were quickly withdrawn from front line service because of transmission problem, which was the parallel installation of two twin engines that worked on a common shaft. The casemate of this version had armored roof, but it caused ventilation issues and was sometimes removed in field depots. Combat mass was 11,200 kg (24,692 lb).
SU-76M (factory designation SU-15) Main production model (13,732 units were produced). The casemate was open at the top and partly behind. The power plant was taken from the later T-70 light tank and consisted of two GAZ-202 engines connected in series. Combat mass was 10,500 kg (23,149 lb).
SU-85A/SU-85B (factory designation SU-15A/SU-15B) The SU-76M with elongated hull armed with the 85-mm gun (D-5S-85A/LB-2 respectively), two prototypes were tested in 1944 and 1945 respectively.
ZSU-37 Self-propelled anti-aircraft gun, based on the SU-76M.

In 1978, Institute 111 from Romania designed an armoured personnel carrier based on the SU-76M chassis, equipped with the TAB-71 turret. The vehicle entered service as the MLVM (, meaning "infantry fighting vehicle of vânători de munte").

Unrelated vehicles
The unrelated SU-76i (the "i" standing for "inostrannaya", or 'foreign', in Russian), first designed and fielded in 1943, was based on captured stocks of German Panzer III and StuG III chassis, a large quantity coming from defeated German troops after the Battle of Stalingrad that year. This partially-modified vehicle was armed with an S-1 76.2 mm tank gun (a cheaper variant of the renowned F-34/ZIS-5 guns which were already mounted on T-34 and KV-1 tanks respectively) in a casemate superstructure but retained the original German Maybach gasoline engine and its torsion-bar suspension system. Around 200 of these ex-German vehicles were sent for conversion into SU-76is at Factory No. 37 to supplement the existing SU-76. They were issued to tank and self-propelled gun units starting in the fall of 1943. They were eventually withdrawn from the front in early 1944 and then used for training and testing until the end of 1945. Only 2 have survived the war, most having been scrapped after 1945. A similar vehicle called SG-122 existed, which was a similar Panzer III conversion, but armed with 122 mm M-30 howitzer. Only around 20 were converted, as the M-30 was considered an insufficient weapon for infantry support.

The also unrelated SU-76P (1941) was based on the T-26 chassis. It was built in Leningrad during the Siege of Leningrad and involved removing the turret from the T-26 and mounting a 76 mm regimental gun M1927 on the engine deck. This was created due to the lack of high-explosive 45 mm ammunition inside Leningrad due to the siege, so some T-26 tanks were rearmed with 37mm or 76mm guns for which a reliable source of ammunition was available. They served until 1944, when the siege was broken. They were originally called "SU-76s", until the SU-76 came into service, upon which it was renamed "SU-76P" ("polkovaya" - regimental).

SU-76M in combat

The SU-76M virtually replaced light tanks in the close support role. While its thin armour and open top made it vulnerable to anti-tank weapons and grenades, its light weight and low ground pressure gave it good maneuverability and low noise on the move. SU-76M was a reliable vehicle (the GAZ-203 engine unit confidently worked out not less than 350 hours without serious breakdowns). But the main advantage of light SPGs was their wide versatility.

According to table of organization and equipment of 1943, each light self-propelled gun regiment was equipped with 21 SU-76M, there were 119 such regiments in the Red Army by the end of World War II. In the end of 1944 and the beginning of 1945, 70 self-propelled gun divizions (16 SU-76M in each) were formed to be included into rifle divisions. Also 4 light self-propelled gun brigades of the Reserve of the Supreme High Command (60 SU-76M SPGs, 5 T-70 light tanks and 3 US M3A1 Scout Car armored personnel carriers in each) were formed, starting from the first half of 1944.

The SU-76M was a multipurpose SPG and combined three main battlefield roles: light assault gun for infantry support, mobile anti-tank weapon and mobile gun for indirect fire. With all these tasks, light SPGs successfully coped. The SU-76M had a large number of ammunition types. They included armour-piercing (usual, with ballistic nose and subcaliber hyper-velocity), hollow charge, high explosive, fragmentation, shrapnel and incendiary projectiles. This made the SU-76M an excellent multi-purpose light armoured fighting vehicle.

As a light assault gun, the SU-76M was well-regarded by Soviet infantrymen (in contrast with their own crews). It had more powerful gun than any previous light tank for close support of infantry in defense and offensive, and communication between infantry and the SU-76M crew was simple due to the partially open fighting compartment. This was extremely useful in urban combats like the Battle of Berlin where good teamwork between infantry and AFVs was a key to success.

The SU-76M was effective against any medium or light German tank. It could also knock out the Panther tank with a flank shot, but the ZIS-3 gun was not effective against Tiger tanks. Soviet manuals for SU-76M crews usually instructed the gunner to aim for the tracks or gun barrels when facing Tigers. To improve the SU-76M's anti-armour capabilities, armour-piercing composite rigid (APCR) and hollow charge projectiles were introduced. This gave the SU-76M a better chance against heavily armoured German vehicles. A low profile, a low noise signature and good mobility were other advantages of the SU-76M. This was ideal for organizing ambushes and sudden flank or rear strikes in close combat, where the ZIS-3 gun was sufficient against most German armoured fighting vehicles.

The maximum elevation angle of the SU-76M's gun was the highest of all Soviet self-propelled guns. The maximum indirect fire distance was nearly 13 km. SU-76Ms were sometimes used as light artillery vehicles (like the German Wespe) for counter-battery fights, bombardments, indirect fire support. However, the power of the 76.2 mm shells was not sufficient in some cases.

The SU-76M was the single Soviet vehicle able to operate in swamps with minimal support from engineers. During the Belarus liberation campaign in 1944 it was extremely useful for organizing surprise attacks through swamps; bypassing heavy German defenses on firmer ground. Usually only lightly armed infantry could pass through large swampy areas. With SU-76M support, Soviet soldiers and engineers could effectively destroy enemy strongpoints and continue to advance.

One famous crewman was Rem Nikolaevich Ulanov. In his younger days he was a mechanic-driver and later a commander of a SU-76. He and some other soldiers called their SU-76 Columbina after the female Renaissance Italian Commedia dell'Arte personage.

The reliability and good driving performance of the SU-76M proved to be especially in demand at the final stages of World War II, during the liberation of Poland and battles in Germany. Quite maneuverable and fast, SU-76Ms sometimes additionally armed with trophy machine guns and carried infantrymen on its armour were often included into vanguards to pursue the retreating enemy. SU-76M SPGs took part in combat operations on the Eastern Front until the end of World War II, and then in the Soviet–Japanese War. During World War II, 130 SU-76Ms were given to the Polish People's Army.

In the post-war period, the SU-76M was in service with the Soviet Army until the early 1950s, and in the armies of a number of countries even longer. The SU-76M SPGs of the Korean People's Army took part in the Korean War, a small number of them were captured and used by South Korea after the landing at Incheon. The SU-76M was in service with the Polish People's Army until the mid-1950s. During the same period, SU-76Ms were used in the Czechoslovak and Romanian armies. The SU-76M served in the National People's Army of the German Democratic Republic (GDR) until the early 1960s, and in the Border Troops of the German Democratic Republic they served even longer - until the early 1970s.

Former operators

 – in active service in the Soviet Army until the early 1950s.
 – 130 were given to the Polish People's Army during WWII, in active service until the mid-1950s.
 – 75 were transferred by the Soviet Union, saw extensive combat during the Korean War.
 Romania – 352 acquired by 1957.
 Czechoslovakia
 – 260, in active service until the early 1960s in the National People's Army and until the early 1970s in the Border Troops of the German Democratic Republic.

 Hungary – 147
 Afghanistan
 – 30, saw extensive combat during the Vietnam War.

Surviving examples
Due to the large number of vehicles produced, many SU-76Ms have survived the post-war years, and most of the larger Russian military museums have examples of the SU-76M in their exhibitions. They can also be found at the German-Soviet War monuments or memorials in different Russian, Belarusian, and Ukrainian cities.

In museums

Albania
Museum of Armed Forces
Australia
The Australian Armour and Artillery Museum (Cairns) SU-76M
Bulgaria
 National Museum of Military History, Sofia.
China
The Chinese Tank Museum (Beijing) SU-76
Poland
 Muzeum Oręża Polskiego in Kołobrzeg - SU-76
 Armoured Weapon Museum in Poznań - SU-76M
 Polish Army Museum in Warsaw
 exhibition in front of the main building - SU-76 tactical number 203, serial number 403062
 Museum of Polish Military Technology -  SU-76 tactical number 207
Romania
 National Military Museum, Romania in Bucharest
Russia
 Central Armed Forces Museum in Moscow
 Technical Museum of Vadim Zadorozhny in Krasnogorsky District, Moscow Oblast - in running condition
 Kubinka Tank Museum in Kubinka, Moscow Oblast
 Museum of Military History in Padikovo, Istrinsky District, Moscow Oblast - in running condition
 Military Historical Museum of Artillery, Engineers and Signal Corps in Saint Petersburg
 Memorial Complex "Gorky citizens in the Great Patriotic War" in Nizhny Novgorod Kremlin
 Mount Sapun Museum Memorial Complex in Sevastopol
United Kingdom
 The Tank Museum in Bovington - SU-76M captured from North Korea in 1950

See also
 List of Soviet tanks
 List of Soviet Union military equipment of World War II

Comparable vehicles
 German Marder I, II and III
 Italian Semovente da 75/34
 Romanian TACAM T-60 and TACAM R-2
 Spanish Verdeja 75 mm

References

Further reading
 Zaloga, Steven J., James Grandsen (1984). Soviet Tanks and Combat Vehicles of World War Two, London: Arms and Armour Press. .
 Dougherty, Martin J. (2008). Tanks; From World War I to the Present Day, New York: Metro Books.
 Чубачин, Александр (2009). СУ-76. "Братская могила экипажа" или оружие Победы? Москва: БТВ-Книга, Яуза, Эксмо. Chubachin, Alexander V. (2009). SU-76. "Bratskaya mogila ekipazha" ili oruzhie Pobedy? (SU-76. "The Mass Grave of the Crew" or Weapons of Victory?). Moscow: BTV-Kniga, Yauza, Eksmo. .

External links

 Axis History Factbook
 Su-76  and SU-76i  at Battlefield.ru
 LemaireSoft
 OnWar
 WWII Vehicles
 Interview with an SU-76 gunner

Assault guns of the Soviet Union
World War II tank destroyers
World War II assault guns
76 mm artillery
Military vehicles introduced from 1940 to 1944
World War II armoured fighting vehicles of the Soviet Union
Tracked self-propelled artillery

SU-76


Falling Stars is a role-playing video game developed and published by Agetec in North America. It was released on August 24, 2007 in Europe for Microsoft Windows and the PlayStation 2 and on August 26, 2008 in the United States for the PlayStation 2.  The game is aimed at young children and was released with a price point lower than most PS2 games.

Gameplay

In Falling Stars, players control Luna, a young girl who lives in the peaceful land of Dazzleon. Luna's uncle, Matt, discovers a curious mine and decides to take up residence in Dazzleon to investigate. The mine slowly takes over Matt's mind and he begins to perform evil experiments. Eventually, Matt turns on his pets, changing them all into evil monsters. Realizing her uncle's madness, Luna sets out to save him and prevent the world from suffering dire consequences.

Combat
Monsters are unleashed upon Dazzleon. The player cannot fight until they've obtained their pet, Komi. Battles require input to progress. When Komi's time bar fills, he can attack. When the monster's time bar fills, Komi can defend. The strength of the attack depends on the strength of the defense. If the two match, less damage is done.
Monsters have attack patterns players can learn and use to compensate.
For example, the Red Dog will begin his attack pattern with either Red (strong) or Yellow (fast). In either case (Red or Yellow), the pattern will follow as Yel, Red, Yel, Red, Yel, White. Since the Red Dog's pattern ends with White (mega), it's easy to tell when a new pattern is beginning.
The player can heal Komi with magic or the more effective Health Potions when Luna's time bar fills. Luna's time bar can be rushed by rotating the RAS (right analog stick).
Komi's stats can be boosted through equipped accessories, special items, and experience. Enough experience gains Komi bonus training points for use in Luna's home.

Plot

Ending
At the end of the game, after beating Uncle Matt's spider, the spirit reveals itself, explaining that it had taken over Luna's body to prevent her from seeking out the ultimate power. It asks that Matt ensure Luna does not seek this power out and he promises to protect her.

Characters
Some information about characters that appear in the game (with their Russian names):

- Lilou, or Luna - a young girl who's always there to help her friends. Her parents are dead and since their ruin, Lilou's uncle Shikoracks (Matt) is taking care of her.

- Shikoracks, or Matt - he was always interested in science, and he was ordering science magazines and new science tools. But after he'd found a curious mine, he changed into someone else - his skin colored in green and he lost his mind and no-one knows what will happen next with him.

- Bobo - he's a dwarf and he loves animals and hates everyone who hates them. As all dwarfs, Bobo can count money and he'll never miss a chance to earn some. But sometimes he makes a discounts for his friends.

- Artus - he's working on his boat station, giving his boats for lease. When he's not working, he likes to lay with his favorite smoothie and sunbathing.

- Thomash - an old military man. He loves kids and telling stories about his past, and if you don't stop him, his stories will last for hours. But also he knows some really great fighting methods.

- Isla - clever and beautiful girl. She's a little selfish but she loves making potions and medicine from everything - but they are too expensive.

- Olee - he's a science candidate. He hates magic and thinks that everything must be explained by scientific point of view. He can always help you with his inventions.

- Hoka - one more guy who likes science and dreams to be a scientist. But he's too boring and slow to start his career.

- Keira - laughing-out-loud girl with the worst memory in Lydonia (Dazzleon). She has a crush on Hoka, but it's her biggest secret.

Reception and Criticism

Few official reviews for Falling Stars exist but those that do are critical of the gameplay. Criticisms include 'sterile combat' and 'flat characters'. The game currently holds a score of 32% on Metacritic, pooling reviews from 6 separate online sources.

Other critiques include frequent slow-loading screens, slow character movement/reaction, sprinting which requires stamina (a slow-refilling bar potions fill instantly), etc.

Positive notes would highlight the rare "dress-up" system featuring multiple character's opinions, the complexity of mini-games, conversations which begin automatically upon approach, plays in six different languages, opening movie is pretty if short, there is no "game over", the battle mechanics are relatively interesting.

References

External links
 Falling Stars official website
 Falling Stars at GameSpot
 Falling Stars at IGN
  - Russian "Falling Stars" website with all information about the game

2007 video games
Action role-playing video games
Nordcurrent games
PlayStation 2 games
Role-playing video games
Single-player video games
Video games developed in Lithuania
Windows games
Agetec games

Falling Stars (video game)


Carmen Delgado Votaw was a civil rights pioneer, a public servant, an author, and community leader. She studied at the University of Puerto Rico and graduated from American University in Washington, D.C., with a bachelor of arts in international studies. She was subsequently awarded an honorary doctorate in humanities by Hood College in Frederick, Maryland.

Career
Votaw was appointed by President Jimmy Carter to serve as cochair of the National Advisory Committee for Women. She served as president of the Interamerican Commission of Women of the Organization of American States in 1979–80. The first president of that body, she remains just one of two women from the United States to have served as the commission's president.

During her career, Votaw travelled to more than 80 countries and met with more than 50 heads of state. She was a member of the U.S. delegation to the International Women's Year conference, attending conferences in Mexico City, Copenhagen, Nairobi and Beijing.

Votaw was chief of staff for Puerto Rico's Resident Commissioner Jaime B. Fuster from 1985–91. As the first Hispanic female chief of staff for a Member of Congress, she worked to address the challenges facing 3.5 million Puerto Ricans living on the island and to build a strong network for women in the Federal Government. After leaving the U.S. House of Representatives, she was involved with the Girl Scouts of the USA, United Way of America, and the Alliance for Children and Families.

Votaw was an author of a number of publications on women, including Puerto Rican Women: Mujeres Puertorriquenas, Notable American Women, Libro de Oro, and To Ourselves Be True. These stories highlight the accomplishments of women, particularly Hispanic women, who led remarkable lives and serve as role models for younger women.

Activism
As a defender of civil rights for diverse populations, especially Hispanics, Votaw received the Hispanic Heritage Award for Education, the Mexican American Women's Primeras Award, and numerous awards from NASA, FEW, and national and local civic organizations. Votaw served on the boards of directors of numerous women's organizations, including the National Conference of Puerto Rican Women, which she served as national president and president of the DC chapter, the Overseas Education Fund of the League of Women's Voters, the Girl Scouts of the USA, the International Girl Guides, the National Women's Political Caucus and its Appointments Coalition, the Mid-Atlantic Equity Center, and the National Coalition for Women and Girls in Education. She was also active with the Congressional Hispanic Caucus Institute, the Gala Hispanic Theatre, and the Maryland Women's Heritage Center, and she was a member of the Council on Foreign Relations.

In 1978, Votaw became an associate of the Women's Institute for Freedom of the Press (WIFP). WIFP is an American nonprofit publishing organization. The organization works to increase communication between women and connect the public with forms of women-based media.

Awards
In 1992, Votaw was inducted into the Maryland Women's Hall of Fame for her numerous contributions to the community. For her leadership in education, she was a 1996 recipient of the National Hispanic Heritage Award, presented at the Kennedy Center in Washington, D.C. In 2007, The National Cuban American Women's Association Award. she earned the Foremother Award from the National Center for Health Research. In addition, she was recognized by the National Women's History Project for Distinguished Lifetime Achievement in 2014.

References

Online references
 Congressional Record
 Veteran Feminists of America
 Montgomery County Commission for Women
 State of Maryland Archives
 Clearinghouse on Women's Issues
 Twitter
 Carmen Delgado Votaw Scholarship: National Conference of Puerto Rican Women
 University of Denver: Center for Multicultural Excellence

Newspaper and journal articles

 National Women's History Project. Women's History 2014 Gazette Vol. 6
 Washington Post: Womans History Month: Honoring women for their courage, character and commitment. March, 2014

Video
 In 2020, she was played by actress Andrea Navedo in the Hulu miniseries Mrs. America.
 Honoring Carmen Delgado-Votaw and Edna Laverdi – YouTube
 Puerto Ricans in Public Service-Washington, D.C.
 TOP OF THE MORNING Carmen Delgado Votaw
 Sisters of '77. Directed by Cynthia Salzman Mondell and Allen Mondell. Dallas, Texas: Circle R Media, 2005. DVD.
 Votaw, Carmen Delgado. "Carmen Delgado Votaw: Talks about her work in Washington and the Women's Movement", I Care Village video.

Books
 Votaw, Carmen Delgado. Puerto Rican Women/Mujeres Puertorriqueñas. Washington, D.C.: National Conference of Puerto Rican Women, 1995.
 Votaw, Carmen Delgado. "Face to Face with Power." In True to Ourselves, edited by Nancy Neuman, 68–79. San Francisco, California: Jossey-Bass, Inc., 1998.
 Votaw, Carmen Delgado. In Feminists Who Changed America, 1963–1975, edited by Barbara Love and Nancy Cott, 473. (Champaign, Illinois: University of Illinois Press, 2006).
 Votaw, Carmen Delgado, in Notable Hispanic American Women, 1980

Other
 Carter, Jimmy. "National Commission on the Observance of International Women's Year, 1975 Appointment of Members and Presiding Officer of the Commission." March 28, 1977.
 "Carmen Delgado Votaw." In Notable Hispanic American Women. August 20, 1998. Biography Resource Center.
 "Carmen Delgado Votaw", in Marquis Who's Who™, 2006, Biography Resource Center. Courtesy of the Maryland State Archives.
 Maryland Women's Heritage Center. "Executive Board."
 Montgomery County Commission for Women. "40 Women of Historical Significance in Montgomery County: Carmen Delgado Votaw."
 Carmen Delgado Votaw Papers, Hood College Archives.

1935 births
2017 deaths
American University alumni
American politicians of Puerto Rican descent
Hispanic and Latino American women in politics
People from Yabucoa, Puerto Rico
Puerto Rican women in politics

Carmen Delgado Votaw