Come Play with Me is a 1977 British softcore pornographic film, starring Mary Millington and directed by George Harrison Marks. Its cast list contains many well-known British character actors who were not known for appearing in such films. The film is regarded by many as the most successful of the British sex comedies of the seventies. It ran continuously at the Moulin Cinema in Great Windmill Street, Soho, London for 201 weeks, from April 1977 to March 1981, which is listed in the Guinness Book Of World Records as the longest-running screening in Britain. A blue plaque on the former cinema's site commemorates this.

Synopsis
Cornelius Clapworthy (Harrison Marks) and his sidekick Maurice Kelly (Alfie Bass) are two elderly forgers responsible for flooding the UK with fake banknotes. On the run from their gangster boss Slasher (Ronald Fraser) and effeminate, cross-dressing government official Podsnap (Ken Parry), the pair escape to the Scottish Highlands and, posing as musicians, hide out at Bovington Manor, a hotel owned by Lady Bovington (Irene Handl), who is attempting and failing to run it as a health farm.

The Manor has very few guests, and Clapworthy and Kelly find themselves free to continue their criminal activities, albeit having to constantly recite "O for the Wings of a Dove" on a portable organ to drown out the noise of the printing press that produces the fake banknotes. However, when Lady Bovington's choreographer nephew Rodney and his troupe of dancing girls arrive at the Manor, business picks up considerably when the girls, vaguely under the leadership of Rena (Suzy Mandel), decide to help Lady Bovington out by dressing as nurses and re-opening the Manor as a brothel, albeit using the health farm facilities, with topless massages and "the full treatment" being the order of the day. This means trouble and unwanted attention for Clapworthy and Kelly, especially when the girls' services attract Slasher and his heavies to the Manor.

Cast
Irene Handl as Lady Bovington
Alfie Bass as Kelly
Harrison Marks as Cornelius Clapworthy
Ronald Fraser as Slasher
Ken Parry as Podsnap
Bob Todd as Vicar
Henry McGee as Deputy Prime Minister
Mary Millington as Sue
Suzy Mandel as Rena
Tommy Godfrey as Blitt
Cardew Robinson as McIvar
Talfryn Thomas as Nosegay
Jerry Lordan as Rodney
Rita Webb as Rita
Anna Bergman as Nanette
Sue Longhurst as Christina
Valentine Dyall as Minister of Finance
Norman Vaughan as Stage Performer
Queenie Watts as Cafe Girl
Michael Balfour as Nosher
Pat Astley as Josie
Milton Reid as Tough

Production history
Harrison Marks had written Come Play With Mes script in 1970, not long after making The Nine Ages of Nakedness, but it was to remain on the shelf while in the ensuing years he was declared bankrupt, was the subject of an obscenity trial, and drank heavily. He made ends meet during this period by shooting short softcore sex films for the British 8 mm market, as well as hardcore, blue movie shorts for overseas.

In the mid-1970s Marks had begun selling explicit photo shoots to porn publisher David Sullivan's top-shelf magazines, such as Latent Lesbian Fantasy featuring Cosey Fanni Tutti, which appeared in the first issue of Sullivan's Ladybirds magazine in August 1976. Marks had, evidently, also sold Sullivan the rights to some of his 8 mm sex films; press adverts by Kelerfern (a Sullivan mail order company) carried Marks-directed sex shorts like Hole in One, Nymphomania, King Muff and Doctor Sex for sale around this period. In the 2005 documentary Oo-Err Missus, Sullivan remarks: "George was a great entertainer, he was a bit of a drunk really, but he was good fun … he said to me: 'I've got this old script I've had for years', I said: 'give us a look George' and within three weeks we were shooting it".

Much of the glamour in the film was provided by nude models popular in Sullivan's top-shelf magazines at the time (Millington, Pat Astley, Penny Chisholm, Nicola Austin), as well as more mainstream comedy actresses like Ingmar Bergman's daughter Anna Bergman, Sue Longhurst and Suzy Mandel from The Benny Hill Show. Lower down the cast list, actresses like Lisa Taylor, Sonia Svenburger and Suzette Sangalo Bond all had blue-movie backgrounds.

Filming
Come Play With Me was filmed during the autumn of 1976. Bovington Manor was in reality the Weston Manor Hotel, near Oxford. Owing to work commitments, Suzy Mandel was absent from the scene that introduces the girls travelling to Bovington Manor onboard a coach (she was taping a Benny Hill episode at the time).

After seeing a rough cut of the film, Sullivan and representatives of the distributor Tigon thought the film needed more nudity as well as more Mary Millington, so several additional scenes—including Mary's big scene with Marks' regular Howard "Vanderhorn" Nelson—were filmed. The "add-on" nature of these scenes to the narrative is sometimes apparent.

Several hardcore porn scenes were also shot for Come Play With Me. These would have appeared towards the end of the film; however, in the event all traces of hardcore sex were cut from these scenes in the pre-release stage, and the explicit footage went missing soon afterward. "For real" were the lesbian scene between Mary Millington and Penny Chisholm, as well as the heterosexual sex scenes between Lisa Taylor and Derek Aylward, Suzette Sangalo Bond and an unknown male, and Sonia Svenberger and Gordon Hickman. These scenes remain in the film, albeit heavily cut down to softcore, with only Penny Chisholm's "flushed" face during her sex scene with Mary giving a hint of these scenes' explicit origins.

Marketing
Sullivan saw Come Play With Me as a chance to turn his then-girlfriend and magazine cover girl Mary Millington into a film star, as well as an opportunity for some cross-media marketing. Sullivan's magazines like Playbirds and Whitehouse are seen throughout the film, but it was while promoting the film through his magazines that Sullivan really came into his own. Months before the film's release, Sullivan's readers were promised Come Play with Me would be "the British Deep Throat" and would "make Linda Lovelace look like Noddy". To add credibility to these claims, photo shoots only slightly short of being hardcore were published in Sullivan's magazines and claimed to be stills from the upcoming film, whereas in fact they bore little resemblance to anything in Come Play With Me. Frequently shown in these photo shoots was hardcore actor Timothy Blackstone, sometimes billed in the articles as "Randy Buck, Esquire". In spite of this exposure, Blackstone does not appear in the actual film.

The hype for Come Play with Me also spread to the letters pages of Sullivan's magazines. A fan letter of dubious authenticity (as it refers to scenes that do not appear in the film) from "Bert U" to Mary Millington in issue 27 of Whitehouse claims: "Dear Mary, I must congratulate you on your film Come Play with Me, I found it screamingly funny and very sexy as well…I loved every randy moment… everyone was so natural, and Henry McGhee [sic] as the PM was superb." The letter goes on to falsely claim that the actor Roy Kinnear appears in the film, and that "(Roy) looked like a Roman Emperor in the swimming pool scene. I'll bet it took him all his time to keep his towel on during rehearsals for the film… it looked to me, Mary, as though you were fucked rigid during the film".

In March 1977 Sullivan published the Playbirds Erotic Film Guide, a magazine entirely concerned with the release of Come Play with Me. The film was also adapted into a paperback novel, and in the summer of 1977 a sequel paperback novel, Come Play with Me Again, was released.

Significance
The film ran continuously at the Moulin Cinema in London's West End from April 1977 to March 1981, and is regarded by many as the most successful of the British sex comedies of the seventies. Costing £120,000 to make, the film took £550,000 during its West End run, and broke box-office records in the cinemas of a number of provincial cities. By 2001, the film had taken over £4 million. In a publicity stunt for the first anniversary of the film's opening, Suzy Mandel and Mary Millington posed in lingerie on the Moulin Cinema's marquee. Sullivan's follow-up film The Playbirds (1978) gave Millington a more sizable role.

While Millington's popularity and Sullivan's relentless publicity campaign are without doubt what made the film a success, Come Play with Me remains a peculiarly Harrison Marks concoction, with Marks' background as a photographer of nudes, his love of old-style British music hall comedy, and his heavy drinking adding much to the film's overall character. As comic counterfeiters Cornelius Clapworthy and his sidekick Maurice Kelly, Marks and Alfie Bass resemble a baggy-pants comedy double-act from the music hall days; the pair even sleep together in the same bed, à la Morecambe and Wise. Marks also throws in a song-and-dance routine, "It's Great to be Here", performed by himself, Bass, and a group of sexy nurses. "George was in a bit of a time warp, he forgot at times that it was a sex film he was making", commented Sullivan, "he thought he was making some vaudeville comedy… I thought it was a weird old film".

A blue plaque on the site of the former Moulin Cinema in Great Windmill Street, Soho, commemorates its 201-week run there, which is listed in the Guinness Book Of World Records as the longest-running screening in British cinema history. However, the validity of this record and the blue plaque is called into question in the second edition of David McGillivray's book Doing Rude Things which states that "film historian Allen Eyles has proven conclusively that Come Play With Me ran for 165 not 201 weeks. It is not Britain's longest running film – that is South Pacific, which ran... a total of four years and twenty-two weeks. Questions should be asked in parliament about the deception I may have instigated."

Imitations and spin-offs
The success of Come Play With Me inevitably led to imitation productions sometimes similar in name only, and some more authorized than others.

 Cum Lay With Me (1977): short 8 mm sex film starring Sonia Svenburger and directed by Harrison Marks.
 Come With Me (circa 1977): audio cassette of sex noises ("the turn-on tape of all time"), also sold in cartridge format.
 Come Play With Me (1980): stage farce loosely based on the film, starring Bob Grant from On the Buses.
 Come Play With Me: Part 2 (1980): unrelated Swiss sex film directed by Erwin C. Dietrich, re-titled by Tigon and David Sullivan and promoted as a "sequel" to the earlier film.
 Come Play With Me: Part 3 (1982): unrelated Swiss sex film again directed by Dietrich, re-titled by Tigon and David Sullivan and promoted as a second "sequel" to the earlier film.

Release history
 Come Play With Me was released on 8 mm by Fletcher Films and on VHS by Hokushin Audio Visual in 1979.
 The film was periodically released on VHS in the 1980s on a variety of softcore labels, although a 1986 release on the "Pink Climax" label, while claiming to be the Marks film on the video packaging, actually contains the unrelated "sequel" Come Play With Me part 3 on the tape itself, possibly released in error.
 In April 1997, Medusa Pictures released the film on VHS as part of their "X-Films of the Saucy 70s" series (the first release to put the film into a retro/historic context).
 The film had two early DVD releases in the UK, the first by Medusa Pictures (1999) with the short 6-minute prologue to the 1980 documentary True Blue Confessions as an extra. The second DVD is copyrighted 2005 and looked to have been derived from an old tape of the film, possibly the Hokushin one, and included the full version of True Blue Confessions, but again the picture appears taken from a VHS.
 Come Play with Me was reissued as a special edition DVD on 26 April 2010, by Odeon Entertainment. Special features on the DVD included the 1980 documentary Mary Millington's True Blue Confessions, the Harrison Marks short Sex is My Business (starring Millington), an extensive stills gallery and an 8-page essay on the making of the film, written by Simon Sheridan, with memories from actresses Anna Bergman, Sue Longhurst and Suzy Mandel.
  A restored version of the film was released on Blu Ray in 2020 by Screenbound Pictures as part of the Mary Millington Movie Collection.

See also
Pornography in the United Kingdom

References

Continental Film Review (vol 24, no 7, 1977) "Come Play With Me"
Whitehouse (no 27, circa 1977)

External links

 Weston Manor Hotel

1970s English-language films
1977 films
Films directed by Harrison Marks
1970s sex comedy films
British sex comedy films
Softcore pornography
1970s musical films
1970s pornographic films
1977 comedy films
Films set in Scotland
Films set in hotels
1970s British films

Come Play with Me (1977 film)


The Electronic Cultural Atlas Initiative (ECAI) is a digital humanities initiative involving numerous academic professors and institutions around the world with the stated goal of creating a networked digital atlas by creating tools and setting standards for dynamic, digital maps.

ECAI was established in 1997 by Emeritus Prof. Lewis Lancaster of the University of California, Berkeley, and has held two meetings per year most years from 1998 - 2009 (ongoing), one of which is often in conjunction with the Pacific Neighbourhood Consortium. The initiative is based at UC Berkeley.

The ECAI 'clearinghouse' of distributed digital datasets was developed from 1998 by the Archaeological Computing Laboratory at the University of Sydney, and uses the ACL's TimeMap software.

See also
GIS
Wikimaps

External links
http://www.ecai.org/
 Historical Geographic Information Systems Online Forum on Google

Cartography organizations
Geographic information systems organizations
Digital humanities
Historical geographic information systems
University of California, Berkeley
Research institutes in the San Francisco Bay Area
Digital humanities projects
1997 establishments in California

Electronic Cultural Atlas Initiative


Jared Dovan Anderson (born November 16, 1999) is an American professional boxer who held the NABF Junior heavyweight title in 2021. As an amateur he won the 2017 and 2018 U.S. National Championships.

Professional career
Anderson signed a multi-year promotional contract with Bob Arum's Top Rank on September 24, 2019, and made his professional debut a month later on October 26, scoring a first-round knockout (KO) victory over Daniel Infante at the Reno-Sparks Convention Center in Reno, Nevada.

Anderson faced Andrew Satterfield in his third professional fight, which he won by a first-round technical knockout. On June 9, 2020, Anderson beat Johnnie Langston by a third-round technical knockout. It was the first time that Anderson had fought past the first round. Anderson scored another first-round stoppage on July 16, 2020, when he beat Hector Perez. Anderson passed the first round for the second time in his career on September 5, 2020, against Rodney Hernandez, whom he beat by a fourth-round technical knockout. Anderson closed out 2020 with a first-round technical knockout of Luis Peña on October 31, 2020.

Anderson was scheduled to face Kingsley Ibeh on February 13, 2021, and won his first fight of 2021 by a sixth-round knockout. Anderson next faced Jeremiah Karpency on April 10, 2021, and once again won by a knockout, stopping Karpency early in the second round. Anderson improved to 10–0 when he beat the previously undefeated Vladimir Tereshkin (22–0–1) on October 9, 2021 on the undercard of Tyson Fury vs. Deontay Wilder III via second-round technical knockout. Anderson was scheduled to face Oleksandr Teslenko on December 11, 2021, on the undercard of the Vasiliy Lomachenko and Richard Commey lightweight bout. He won the bout via second-round technical knockout.

Professional boxing record

References

Living people
1999 births
American male boxers
Sportspeople from Toledo, Ohio
Boxers from Ohio
Heavyweight boxers
African-American boxers

Jared Anderson (boxer)


Tasman Motorsport was a V8 Supercar racing team.  It was formed in 2004 out of what was Lansvale Racing Team V8 Supercar team and was associated with Greg Murphy Racing as a satellite operation.

Tasman Motorsport entered the series in 2004, with a single Holden VX Commodore which was driven by Jason Richards. At the Queensland Raceway round they introduced a VY Commodore and then entered the VX as car #43 for Fabian Coulthard for the Oran Park Raceway round.

2005 saw the team upgrade to a two car operation and move to a new factory near Melbourne, from their previous site in Sydney. With internet service provider Dodo the naming sponsor of the team, both Jason Richards, and Jamie Whincup, had some very good placings including third at the Sandown 500 and second in the Bathurst 1000 This was all after Richards was still recovering after he had one of V8 Supercar's biggest ever accidents at Queensland Raceway barrel rolling at least 6 times after a tag from Paul Morris.

2006 saw improved pace with drivers Jason Richards and Andrew Jones. Armed with many sponsors for the year, including Firepower, SEW Eurodrive and Sleepyhead Bedding, Tasman Motorsport won their first V8 race, with Jason Richards at Winton Motor Raceway in June. At the same event the team got their best qualifying result of third on the grid. Later on in the season the team announced their plans to recruit Greg Murphy for the following 2007 Season.

2007 saw the début of the VE Commodore in V8 Supercars and the team opening a base in New Zealand. Championship wise the team finished 13th and 14th with Murphy and Richards respectively and both nearly stole a Bathurst 1000 victory but finished as the highest Holden, in 4th place. Later on in the season the team announced that Rockstar Energy Drinks would come on board as a sponsor for the last two rounds of the season. The team were on the way to secure sponsorship (with Rockstar) for the 2008 season but at the last minute pulled out.

2008 saw Sprint Gas become the naming rights sponsor for what was due to be a three-year deal. Murphy and Richards started the season promisingly finishing 7th and 9th overall at the Clipsal 500 in Adelaide. More top 10 results at the next round at Eastern Creek means that Murphy comes into the next round at Hamilton in 7th place with 330 points.  Criticism was received around the rushed livery that Tasman were running and the team designed a new livery for the Hamilton 400.

2009 saw Jason Bargwanna come in and replace Jason Richards in the #3 Sprint Gas Racing VE Commodore. Despite a standout performance at the 2009 Bathurst 1000 which saw both cars finish in the top six, the team announced it would not be continuing into 2010 and its V8 Supercar Racing Entitlement Contracts were for sale. The team cited lack of funding for 2010 as the reasons for closure.

See also
Greg Murphy Racing

References

External links
Murhpy to Tasman Motorsport
Tasman Motorsport driver Greg Murphy Photo

Supercars Championship teams
Auto racing teams in Australia
Auto racing teams in New Zealand
Auto racing teams established in 2004
Auto racing teams disestablished in 2009
Sports clubs and teams in Victoria (state)
2004 establishments in Australia
2009 disestablishments in Australia

Tasman Motorsport


Yeh Zindagi Ka Safar () is a 2001 Indian Hindi-language romantic drama film, directed by Tanuja Chandra and produced by Mukesh Bhatt. The film stars Jimmy Sheirgill and Ameesha Patel. The film released on November 16, 2001.

Plot

20-year-old Sarena's world is picture-perfect — she has an adorable relationship with her industrialist father Vivek Devan  and is on the verge of major stardom as a pop singer. Jai Bhardwaj's world is poles apart. As the struggling editor of a near-bankrupt Hindi tabloid "Aadarsh Times", he dreams of one day having an office in pricey Nariman Point. He searches for a sensational story that'll get him there.

Through Municipal clerk Ganpat, Jai stumbles upon the secret that pop star Sarena is not the real daughter of industrialist Vivek Devan, who had taken great pains to ensure that no one knew she was adopted. Jai realizes that this could be the story he was looking for and goes ahead and publishes it, thus incurring the wrath of Vivek Devan. Even the tabloid owner Dada is upset with Jai and disapproves of his idea of unraveling the truth. An enraged Vivek Devan takes legal action against the tabloid by sending defamation notice for Rupees five crores and he also tries to suppress any further information being leaked. Sarena, however, notices her father's anxiety and confronts him, only to discover that Jai, despite his crude ways of going about it, had written the truth. Ignoring her father's protests, Sarena goes in search of her real mother. At every stage, her companion in her mission is Jai, who follows her through the journey from Mumbai to Ooty to get the legal notice withdrawn.

With no headway in her search, Sarena seeks Jai's help, inspired by his go-getting ways. As Sarena discovers layer upon devastating layer of truth behind her identity, Jai too learns many things about life. On the trip, they fall in love. When Sarena meets her mother Sister Namrata, she is glad, but her mother doesn't seem pleased. She rejects Sarena by stating that she doesn't have a daughter. It turns out that Sarena's mother was raped by a police officer and Sarena was the product of that disastrous event. Horrified by the truth, Sarena teams up with Jai to undo the injustice done to her mother. All ends well, as Sarena's mother comes to Mumbai to testify against her rapist police officer. She is able to get justice and the police officer, who is none other than the Police Commissioner Prashant Marwah, gets arrested. He creates a ruckus in the Court during the hearing and walks out challenging the Judge, who orders his police remand for 10 days. Outside the courtroom, Prashant shoots himself, unable to bear the humiliation. Sarena's mother returns to Ooty while Sarena and Jai get married eventually and Jai manages to fulfill his dream of having his office in Nariman Point.

Cast
Jimmy Sheirgill as Jai Bharadwaj
Ameesha Patel as Sarena Devan / Sarena Marwah
Nafisa Ali as Sister Namrata
Gulshan Grover as Vivek Devan
Ehsaan Khan as Police Commissioner Prashant Marwah
Rajpal Yadav as Dada
Surendra Rajan as Father
Simran Rajiv Ghai as Little Girl

Soundtrack
The soundtrack album for the film was composed by Daboo Malik & Sajid–Wajid.

"Ahista Ahista" song is composed by Sajid–Wajid

References

External links

2001 films
2000s Hindi-language films
Films directed by Tanuja Chandra

Yeh Zindagi Ka Safar


Hours of Service (HOS) regulations are issued by the Federal Motor Carrier Safety Administration (FMCSA) and govern the working hours of anyone operating a commercial motor vehicle (CMV) in the United States. These regulations apply to truck drivers, commercial and intercity bus drivers, and school bus drivers who operate CMVs. These rules limit the number of daily and weekly hours spent driving and working, and regulate the minimum amount of time drivers must spend resting between driving shifts. For intrastate commerce, the respective state's regulations apply.

The FMCSA is a division of the United States Department of Transportation (DOT), which is generally responsible for enforcement of FMCSA regulations. The driver of a CMV is required to keep a record of working hours using a log book, outlining the total number of hours spent driving and resting, as well as the time at which the change of duty status occurred. In lieu of a log book, a motor carrier may keep track of a driver's hours using Electronic Logging Devices (ELDs), which automatically record the amount of time spent driving the vehicle.

The HOS's main purpose is to prevent accidents caused by driver fatigue. This is accomplished by limiting the number of driving hours per day, and the number of driving and working hours per week. Fatigue is also prevented by keeping drivers on a 21- to 24-hour schedule, maintaining a natural sleep/wake cycle (or circadian rhythm). Drivers are required to take a daily minimum period of rest, and are allowed longer "weekend" rest periods to combat cumulative fatigue effects that accrue on a weekly basis.

Enforcement of the HOS is generally handled by DOT officers of each state, and are sometimes checked when CMVs pass through weigh stations. Drivers found to be in violation of the HOS can be forced to stop driving for a certain period of time, which may negatively affect the motor carrier's safety rating. Requests to change the HOS are a source of contentious debate, and many surveys indicate some drivers get away with routinely violating the HOS. These facts have started another debate on whether motor carriers should be required to use ELDs in their vehicles, instead of relying on paper-based log books.

Purpose

Drivers subject to the HOS include any driver of a vehicle which has a gross vehicle weight of  or more; which is designed or used to transport more than 8 passengers (including the driver) for compensation; which is designed or used to transport more than 15 passengers (including the driver) and is not used to transport passengers for compensation; or which is used to transport hazardous materials in quantities requiring the vehicle to be marked or placarded under the hazardous materials regulations.

The purpose of the HOS is to reduce accidents caused by driver fatigue. As the graph to the right illustrates, the number of hours spent driving has a strong correlation to the number of fatigue-related accidents. According to numerous studies, the risk of fatigue is also greatest between midnight and 6:00 a.m., and increases with the total length of the driver's trip. The blanket assignment of midnight as the time of day when all drivers gain fresh hours may therefore not be the safest choice possible.

The FMCSA identifies three main factors in driver fatigue: Circadian rhythm effects, sleep deprivation and cumulative fatigue effects, and industrial or "time-on-task" fatigue.

Circadian rhythm effects describe the tendency for humans to experience a normal cycle in attentiveness and sleepiness through the 24-hour day. Those with a conventional sleep pattern (sleeping for seven or eight hours at night) experience periods of maximum fatigue in the early hours of the morning and a lesser period in the early afternoon. During the low points of this cycle, one experiences reduced attentiveness. During the high points, it is difficult to sleep soundly. The cycle is anchored in part by ambient lighting (darkness causes a person's body to release the hormone melatonin, which induces sleep), and a person's imposed pattern of regular sleeping and waking times. The influence of the day-night cycle is never fully displaced (standard artificial lighting is not strong enough to inhibit the release of melatonin), and the performance of night shift workers usually suffers. Circadian rhythms are persistent and can only be shifted by one to two hours forward or backward per day. Changing the starting time of a work shift by more than these amounts will reduce attentiveness, which is common after the first night shift following a "weekend" break during which conventional sleep times were followed.

Sleep deprivation and cumulative fatigue effects describe how individuals who fail to have an adequate period of sleep (7–8 hours in 24 hours) or who have been awake longer than the conventional 16–17 hours will suffer sleep deprivation. A sleep deficit accumulates with successive sleep-deprived days, and additional fatigue may be caused by breaking daily sleep into two shorter periods in place of a single unbroken period of sleep. A sleep deficit is not instantly reduced by one night's sleep; it may take two or three conventional sleep cycles for an individual to return to unimpaired performance.

Industrial or "time-on-task" fatigue describes fatigue accumulated during the working period and affects performance at different times during the shift. Performance declines the longer a person is engaged in a task, gradually during the first few hours and more steeply toward the end of a long period at work. Reduced performance has also been observed in the first hour of work as an individual adjusts to the working environment.

Definition of terms

Parts of a driver's work day are defined in four terms: On-duty time, off-duty time, driving time, and sleeper berth time.

FMCSA regulation §395.2 states:

On-duty time is all time from when a driver begins to work or is required to be in readiness to work until the driver is relieved from work and all responsibility for performing work.

On-duty time includes:

 All time at a plant, terminal, facility, or other property of a motor carrier or shipper, or on any public property, waiting to be dispatched, unless the driver has been relieved from duty by the carrier
 All time inspecting, servicing, or conditioning any CMV at any time
 Crossing a border
 All driving time as defined in the term "driving time"
 All time, other than driving time, in or upon any CMV except time spent resting in a sleeper berth
 All time loading or unloading a CMV, supervising, or assisting in the loading or unloading, attending a CMV being loaded or unloaded, remaining in readiness to operate the CMV, or in giving or receiving receipts for shipments loaded or unloaded
 All time repairing, obtaining assistance, or remaining in attendance upon a disabled CMV
 All time spent providing a breath sample or urine specimen, including travel time to and from the collection site, to comply with random, reasonable suspicion, post-accident, or follow-up drug testing
 Performing any other work in the capacity, employ, or service of a motor carrier
 Performing any compensated work for a person who is not a motor carrier (This rule does not explicitly forbid a driver from obtaining a second or part-time job; it simply prevents a driver switching from a non-driving job to a driving job without the required 10 hours of rest)

Driving time is all time spent at the driving controls of a CMV.

Sleeper berth time is any amount of time spent inside the sleeper berth (e.g., resting or sleeping). FMCSA regulation §393.76 gives the minimum requirements for a space to be defined as a sleeper berth. The simple definition is an area separate from (usually immediately behind) the driving controls that includes a bed. The rules do not explicitly require that a driver must sleep, only that a driver must take a period of "rest" within the sleeper berth or off-duty (i.e., home). A statement made by the ICC in 1937 gives the reason: "We have no control over the manner in which a driver may spend his time off-duty, although some of his spare time activities may tire him as much as any work would do. We can only emphasize, by this comment, the responsibility which is the driver's own to assure himself of adequate rest and sleep, in the time available for this purpose, to ensure safety of his driving, and likewise the employer's responsibility to see that his drivers report for work in fit condition."

Off-duty time is any time not spent on-duty, driving, or in the sleeper berth.

History

In 1938, the now-abolished Interstate Commerce Commission (ICC) enforced the first HOS rules. Drivers were limited to 12 hours of work within a 15-hour period. Work was defined as loading, unloading, driving, handling freight, preparing reports, preparing vehicles for service, or performing any other duty pertaining to the transportation of passengers or property. The ICC intended the 3-hour difference between 15 hours on-duty and 12 hours of work to be used for meals and rest breaks. The weekly maximum was limited to 60 hours over 7 days (non-daily drivers), or 70 hours over 8 days (daily drivers). These rules allowed for 12 hours of work within a 15-hour period, 9 hours of rest, with 3 hours for breaks within a 24-hour day.

Within a short time, however, representatives of organized labor (including the American Federation of Labor, the Teamsters, and the International Association of Machinists) petitioned for a stay of the original regulations. A few motor carriers made a similar request. The ICC agreed, and oral arguments were heard again. Labor wanted HOS limits of 8 hours per day and 48 hours per week. The ICC commented "there was no statistical or other information which would enable [them] to say definitely how long a driver can safely work."

Within six months of the original ruling, the ICC ultimately decided to change the 12-hour work limit in 24 hours to a 10-hour driving limit in 24 hours, and the 15-hour on-duty limit was rescinded. Motor carriers were required to give drivers 8, rather than 9, consecutive hours off-duty each day. These rules allowed for 10 hours of driving and 8 hours of rest within a 24-hour day.

In 1962, for reasons it never clearly explained, the ICC eliminated the 24-hour cycle rule, and reinstated the 15-hour on-duty limit. With 10 hours of driving and 8 hours of sleep, drivers were allowed to maintain an 18-hour cycle, disrupting the driver's natural 24-hour circadian rhythm. This change allowed up to 16 hours of driving per day, allowing the driver to exhaust their weekly limits in as little as five days. Later, an added exception for trucks equipped with sleeper berths meant drivers were allowed to "split" their 8-hour off-duty time into two parts. With the new splitting provision, a driver could take two 4-hour periods of rest. Using one of these short rest periods would effectively "stop the on-duty clock", allowing the driver to split the 15-hour on-duty time limit into two parts as well. These rules allowed for 10 hours of work within a 15-hour time limit, and 8 hours of rest within an 18-hour day.

Between 1962 and 2003, there were numerous proposals to change the HOS again, but none were ever finalized. By this time, the ICC had been abolished, and regulations were now issued by the FMCSA. The 2003 changes applied only to property-carrying drivers (i.e., truck drivers). These rules allowed 11 hours of driving within a 14-hour period, and required 10 hours of rest. These changes would allow drivers (using the entire 14-hour on-duty period) to maintain a natural 24-hour cycle, with a bare minimum 21-hour cycle (11 hours driving, 10 hours rest). However, the retention of the split sleeper berth provision would allow drivers to maintain irregular, short-burst sleeping schedules.

The most notable change of 2003 was the introduction of the "34-hour restart." Before the change, drivers could only gain more weekly driving hours with the passing of each day (which reduced their 70-hour total by the number of hours driven on the earliest day of the weekly cycle). After the change, drivers were allowed to "reset" their weekly 70-hour limit to zero, by taking 34 consecutive hours off-duty. This provision was introduced to combat the cumulative fatigue effects that accrue on a weekly basis, and to allow for two full nights of rest (e.g., during a weekend break).

In 2005, the FMCSA changed the rules again, practically eliminating the split sleeper berth provision. Drivers are now required to take a full 8 hours of rest, with 2 hours allowed for off-duty periods, for a total of 10 hours off-duty. This provision forced drivers to take one longer uninterrupted period of rest, but eliminated the flexibility of allowing drivers to take naps during the day without jeopardizing their driving time. Today's rule still allows them to "split" the sleeper berth period, but one of the splits must be 8 hours long and the remaining 2 hours do not stop the 14-hour on-duty period. This rule is confusing and impractical for most drivers, resulting in the majority of drivers taking the full 10-hour break.

In the years since 2005, groups such as Public Citizen Litigation Group, Parents Against Tired Truckers (PATT), Owner-Operator Independent Drivers Association (OOIDA), Citizens for Reliable and Safe Highways (CRASH, which has merged with PATT), and the American Trucking Associations (ATA), have been working to change the HOS again. Each group has their own ideas about what should be changed, and different agendas on why the rules should be changed.

Property-carrying vehicles

FMCSA rules prohibit driving a property-carrying CMV (e.g., trucks) more than 11 hours or to drive after having been on-duty for 14 hours. The 3-hour difference between the 11-hour driving limit and the 14-hour on-duty limit gives drivers the opportunity to take care of non-driving working duties such as loading and unloading cargo, fueling the vehicle, and required vehicle inspections, as well as non-working duties such as meal and rest breaks. After completing an 11- to 14-hour on-duty period, the driver must spend 10 hours off-duty.

FMCSA rules prohibit drivers from operating a CMV after having been on-duty 60 hours in 7 consecutive days (if the motor carrier does not operate CMVs every day of the week), or after having been on-duty 70 hours in 8 consecutive days (if the motor carrier operates CMVs every day of the week).

After accumulating, for example, 70 hours of driving and on-duty time within a period of 8 days, a driver's daily driving limit may be reduced (70 / 8 = 8.75 driving hours per day). A driver may be allowed (but not required) to take 34 hours off-duty to reset the weekly total back to zero (also known as a "34-hour restart").

Passenger-carrying vehicles

FMCSA rules prohibit driving a passenger-carrying CMV (e.g., commercial and intercity buses, passenger vans, and school buses) for more than 10 hours, or to drive after having been on-duty for 15 hours. The 5-hour difference between the 10-hour driving limit and the 15-hour on-duty limit gives drivers the opportunity to take care of non-driving work-related duties such as loading and unloading of passengers and luggage, and fueling the vehicle, as well as non-working duties such as meal and rest breaks. After completing a 10 to 15-hour on-duty period, the driver must be allowed 8 hours off-duty.

The FMCSA weekly hours limitations for passenger-carrying vehicles are identical to those for property-carrying vehicles.

After accumulating, for example, 60 hours of driving and on-duty time within a period of 7 days, a driver's daily driving limit may be reduced (60 / 7 = 8.57 driving hours per day). The driver of a passenger-carrying vehicle may not use the 34-hour restart provision.

Log book

Every driver of a CMV is required to keep track of their time with a log book or an ELD. A log book is simply a notebook with a grid pattern on every page, dividing the 24-hour day into 15-minute (1/4-hour) segments. Drivers are required to make carbon copies of each page, so one page may be kept with the driver (to be produced upon inspection by DOT officers), and so the other copy may be sent to the driver's employer.

Electronic Logging Devices can be thought of as an automated electronic log book. An ELD records the same information as a manual paper log book, and requires less input from the driver. The ELD automatically records driving time and location, leaving the driver responsible only for reporting on-duty and off-duty time. In these respects, the ELD is less susceptible to forgery than a paper log book.

FMCSA rules require that a log book (or ELD) must record for each change of duty status (e.g., the place of reporting for work, or starting to drive), the name of the city, town or village, with state abbreviation. If a change of duty status occurs at a location other than a city, the highway number and nearest milepost or the nearest two intersecting roadways followed by the name of the nearest city must be recorded. In addition to the time grid, a log book must record the date, total miles driven for the day, truck and trailer number, name of carrier, bill of lading number, and the driver's signature. The driver is required to retain a copy of each log page for the previous seven consecutive days which must be in their possession and available for inspection while on-duty.

Exceptions
There are numerous exceptions to these rules, some of these include but are not limited to:
 During adverse weather or emergency driving conditions, drivers are permitted to exceed the 11 hour maximum daily driving time. However, drivers may not extend the 14 hour on duty time. This changed as of 29 September 2020, and now drivers may extend their 14-hour limits by up to 2 hours for adverse conditions. This exception includes unusual traffic conditions but not recurring traffic conditions which should reasonably have been anticipated.
 Drivers who venture less than a 150 air-mile radius from their work reporting location are not required to maintain log books (but are not exempt from limits on driving time), provided their employers maintain accurate records of their driving time.
 Drivers who start and stop their work day at the same location for at least the previous 5 work days may drive past the 14 hour mark, for an extra 2 hours, if 11 driving hours are not exceeded. The 16-hour rule extends the work day by two hours, but does not extend the allowable driving hours. The 16-hour rule may be invoked once per 34 hour reset, if the 5 day pattern has been established. The driver must be relieved from work after the 16th hour.
 Drivers for oilfield operations in the petroleum industry, groundwater drilling operations, construction materials, and utility service vehicles are permitted to take a 24-hour restart.
 Retail store drivers who venture less than a 100 air-mile (115.08 statute miles or 185.2 kilometers) radius are allowed to exceed daily driving limits to make store deliveries from 10 December to 25 December, because of the demands of the Christmas shopping season.
 Drivers in Alaska can drive up to 15 hours within a 20-hour period.
 Drivers in Hawaii are not required to maintain log books, provided their employers keep accurate records of their driving time.
 Drivers in California are allowed up to 12 driving hours and 16 on duty hours.
 Drivers for theatrical or television motion picture productions are exempt if the driver operates within a 100 air-mile radius of the location where the driver reports to and is released from work. These drivers may take an 8-hour break, and are allowed 15 hours on duty.

Enforcement

The HOS are issued, among other industry-related regulations, by the FMCSA. In this instance, federal regulations apply only to interstate commerce. Commerce which does not involve the crossing of state lines is considered intrastate, and is under the jurisdiction of the respective state's laws. However, most states have adopted intrastate regulations which are identical or very similar to the federal HOS regulations.

Enforcement of the HOS rules is generally handled by DOT officers of their respective states, although any ordinary police officer may inspect a driver's log book. States are responsible for maintaining weigh stations commonly located at the borders between states, where drivers are pulled in for random vehicle inspections (although some of the inspections are based on the motor carrier's safety rating). Otherwise, a driver may be pulled over for random checks by police officers or DOT officials at any time. Drivers are required to maintain their log books to current status, and if inspections reveal any sort of discrepancy, drivers may be put "out of service" until the driver has accumulated enough off-duty time to be back in compliance. Being put out of service means a driver may not drive his truck during the prescribed limit under risk of further penalty. Repeated violations can result in fines from $1,000 to $11,000 and a downgrade in the motor carrier's safety rating.

Long-haul drivers are normally paid by the mile, not by the hour. Legally, truck drivers are not required to receive overtime pay for hours worked in excess of the standard 40-hour work week. Some drivers may choose to violate the HOS to earn more money. Being paid by the mile, any work performed that is not actual driving is of no value to the driver, providing incentive to falsify the amount of time spent performing non-driving duties. Drivers who falsify their log books often under-report their non-driving duties (such as waiting to be loaded and unloaded) which they are not paid for, and under-report their driving time or total miles. Many drivers who receive mileage pay are not paid by logged miles or actual miles, instead, motor carriers use computer mapping software (such as PC Miler) or published mileage guides (such as the Rand McNally Household Goods Carriers' Bureau Mileage Guide). PATT suggests that paying all drivers by the hour would reduce HOS violations by removing the incentive to "cheat the system" by driving more miles than are being logged. Surveys by OOIDA report 80% of drivers are not paid for waiting times while loading and unloading, and the majority of those drivers log these times as off-duty (while regulations require they be logged as on-duty). These same drivers reported they would log these times as on-duty if they were paid reasonably for such delays.

Drivers can get away with this rule-breaking because of their paper-based log books. As drivers record their time spent behind the wheel, there is very little to stop them from forging their log books. There is very superficial oversight and some drivers take advantage of this fact. Surveys indicate that between 25% and 75% of drivers violate the HOS. Other drivers maintain more than one log book, showing falsified versions to enforcement officers.

Trucking companies (motor carriers) can also play a role in HOS violations. Certain carriers may choose to knowingly ignore HOS violations made by their drivers, or even encourage their drivers to do so. Allowing drivers to violate the HOS is an effective cost-cutting measure used mostly by non-union, long haul carriers. Permitting HOS violations allows a carrier to hire fewer drivers, and run on fewer trucks than a company which follows the rules. To comply with the HOS, these companies would have to hire more drivers (possibly driving up wages) and purchase additional trucks and trailers. Making a change to comply with the law is complicated by competition with carriers that already comply with HOS regulations. Because of this competition, carriers who choose to switch from non-compliance could not pass on all of their increased costs associated with HOS compliance to their customers.

In 1999, two trucking company officials were sentenced to federal prison for violating hours of service regulations. Charles Georgoulakos Jr. and his brother, James Georgoulakos were sentenced to four months in prison, eight months in home confinement, and one year of supervised release. Their company, C&J Trucking Company of Londonderry, New Hampshire, was placed on two years probation and fined $25,000 (the maximum amount). The sentences were the result of an investigation which began when one of the trucking company's drivers was involved in a collision on Interstate 93 in Londonderry on 2 Aug. 1995, in which four individuals were killed.

Several private and public motor carriers such as Frito-Lay, United Parcel Service, and Werner Enterprises, have voluntarily implemented electronic on-board recorders to ensure drivers are in compliance with the federal regulations, to reduce the errors and hassles associated with paper log books, and to improve driver retention and recruitment. EOBRs automatically record the driving time and cannot be easily forged. Any violation of the HOS will automatically be recorded and reported to the company.

The FMCSA posted a notice of proposed rule making (NPRM) concerning Electronic logging devices (ELD's), as part of the move to require mandatory ELD's for all carriers, on 18 January 2007. On 18 December 2017, ELD rules were implemented as part of the Congressionally mandated  MAP-21 Act, for all carriers subjected to the record of duty status (RODS) requirements.

The Federal Motor Carrier Safety Administration (FMCSA) announced the Final Rule of the ELD mandate, and ELD regulations being implemented in several phases with a compliance date of 18 December 2017. Fleets had until December 2017 to implement certified ELDs to record hours. Fleets already equipped with loggers or recorders had until December 2019 to ensure compliance with the published specifications

Rewriting the Hours of Service

Whereas the 11 and 14 hour rules are still in effect, drivers will also be required to take a 30-minute break within the first 8 hours of on duty time.  The 34 hour restart provision will still be in effect.  However, drivers will only be allowed 1 restart per week (168 hours).
Up to 2 hours either side of a sleeper-berth period while in the passenger seat will count as off-duty. Drivers inside a parked CMV who are not in the sleeper berth must log it as on-duty.

This regulation has been codified into the Final Rule, and will come into force on 27 February 2013 (for the additional Off Duty allowances) and 1 July 2013 (for the break rules, and restart limits).

HOS Final Rule
On 27 December 2011 (76 FR 81133), FMCSA published a final rule amending its hours-of-service (HOS) regulations for drivers of property-carrying commercial motor vehicles (CMVs). The final rule adopted several changes to the HOS regulations, including a new provision requiring drivers to take a rest break during the work day under certain circumstances. Drivers may drive a CMV only if 8 hours or less have passed since the end of the driver's last off-duty or sleeper-berth period of at least 30 minutes. FMCSA did not specify when drivers must take the 30-minute break, but the rule requires that they wait no longer than 8 hours after the last off-duty or sleeper-berth period of that length or longer to take the break. Drivers who already take shorter breaks during the work day could comply with the rule by taking one of the shorter breaks and extending it to 30 minutes. The new requirement took effect on 1 July 2013.

On 2 August 2013, the U.S. Court of Appeals for the District of Columbia Circuit issued its ruling on the Hours of Service litigation brought by the American Trucking Associations and Public Citizen. The Court upheld the 2011 Hours of Service regulations in all aspects except for the 30-minute break provision as it applies to short haul drivers. While the decision does not officially take effect until the mandate is issued 52 days after the decision (unless a party files a petition for rehearing, either by the panel or en banc, or moves to stay the mandate pending the filing of a petition for certiorari in the Supreme Court), FMCSA announces the Agency will immediately cease enforcement of the 30-minute rest break provision of the HOS rule against short-haul operations.
The Agency requests that its State enforcement partners also cease enforcement of this provision. States that do so will not be found in violation of the Motor Carrier Safety Assistance Program (MCSAP).
ENFORCEMENT POLICY
Effective 2 August 2013, FMCSA will no longer enforce 49 CFR 395.3(a)(3)(ii) against any driver that qualifies for either of the "short haul operations" exceptions outlined in 49 CFR 395.1(e)(1) or (2). The Agency requests that State and local enforcement agencies also refrain from enforcing the 30-minute rest break against these drivers. Specifically, the following drivers would not be subject to the 30-minute break requirement:
 All drivers (CDL and non-CDL) that operate within 150 air-miles of their normal work reporting location and satisfy the time limitations and record keeping requirements of 395.1(e)(1).
 Non-CDL drivers that operate within a 150 air-mile radius of the location where the driver reports for duty and satisfy the time limitations and record keeping requirements of 395.1

2018

An Advanced Notice of Proposed Rule making (ANPRM) was published in August 2018, to revisit the 2013 HOS rules with possible changes that would include the 30 minute break. The ANPRM is in response to a Congressional mandate and industry concerns that may lead to hours of service rule reforms concerning the air-mile "short-haul" exemption, modification to the 14-hour on-duty limitation, revision of the current mandatory 30-minute break for truck drivers after 8 hours of continuous driving, and reinstating split-sleeper berth options.

See also
 Airline pilot
 Bus driver
 Commercial driver's license
 Drivers' working hours (European Union)
 Federal Motor Carrier Safety Administration
 Helmsman
 List of trucking industry terms in the United States
 Public Citizen Litigation Group
 Railroad engineer
 Tachograph
 Truck driver
 Trucking industry in the United States
 U.S. Department of Transportation

References

External links
 Federal Motor Carrier Safety Administration (FMCSA)
 Parents Against Tired Truckers (PATT) & Citizens for Reliable and Safe Highways (CRASH)
 Owner-Operator Independent Drivers Association (OOIDA)
 American Trucking Associations (ATA)
 Log Book Examples

Commercial vehicles
Road transport
Truck drivers
Trucking industry in the United States
Trucks
Vehicle law
United States transportation law

Hours of service


Walter Weber (26 March 1907 in Gelsenkirchen – 18 July 1944 in German-occupied Kościan) was a German pioneer of electromagnetic sound recording.

From 1925 to 1927 he studied at the Oldenburg Academy of Engineering. From 1 May 1928 to 31 December 1930 he was an engineer at the central laboratory of Siemens & Halske AG in Berlin. There he met Hans-Joachim von Braunmühl. When he moved to the laboratory of the Reichs-Rundfunk-Gesellschaft, he followed him there in 1931. On 2 November 1938, he defended his thesis Das Schallspektrum von Knallfunken und Knallpistolen mit einem Beitrag über Anwendungsmöglichkeiten in der elektroakustischen Meßtechnik. (The sound spectrum of spark transmitters and oscillators with a contribution on possible applications in electroacoustic measuring technology), .

On 18 April 1940 the pair re-invented RF bias (HFVM), and on 10 June that year they exhibited their "HF magnetophone" at the Ufa Palace cinema in Berlin.

References
Funkschau 44 / 7–8 / 53: "Oberingenieur Dr. Walter Weber zum Gedächtnis".
Hans Joachim von Braunmühl. "Oberingenieur Dr. Weber zum Gedächtnis". Reichsrundfunk, 9/10. Issue 1944/45, August 1944, p. 110

External links
Friedrich Karl Engel, "Walter Weber's Technical Innovation at the Reichs-Rundfunk-Gesellschaft"

1907 births
1944 deaths
German electrical engineers
People from Gelsenkirchen
Engineers from North Rhine-Westphalia

Walter Weber (engineer)


Music from the Motion Picture New Jack City is the original soundtrack to Mario Van Peebles' 1991 film New Jack City. It was released by Giant Records through Reprise Records, and distributed by Warner Bros. Records. The soundtrack consists of eleven original songs, most of which were performed by chart-topping R&B and hip-hop artists of the time. The music is heavily influenced by the New Jack Swing genre of R&B. Prominent artists and producers of this sound contributed to the soundtrack, including Guy with Teddy Riley, Keith Sweat, Color Me Badd, and Johnny Gill; Al B. Sure! produced the track "Get It Together (Black Is a Force)," performed by F.S. Effect.

The soundtrack reached No. 1 on the US Billboard Top R&B/Hip-Hop Albums chart for eight weeks, and No. 2 on the Billboard 200. The single "I'm Dreamin'," performed by Christopher Williams, and "For the Love of Money/Living for the City," performed by Troop, LeVert, and Queen Latifah, reached No. 1 and No. 12 on the Billboard Hot R&B/Hip-Hop Songs chart, respectively.

The Troop/LeVert/Queen Latifah song was a medley of The O'Jays' "For the Love of Money" and Stevie Wonder's "Living for the City" (The O'Jays' lead singer is Eddie Levert, the father of two members of the group LeVert).

Track listing

Personnel
 Doug McHenry — executive producer
 George Jackson — executive producer
 Benny Medina — executive producer
 Cassandra Mills — executive producer
 Teddy Riley — producer, arranger
 Bernard Belle - producer

Charts

Singles

Certifications

See also
List of number-one R&B albums of 1991 (U.S.)

References

External links

1991 soundtrack albums
Hip hop soundtracks
Contemporary R&B soundtracks
Giant Records (Warner) soundtracks
Albums produced by DJ Aladdin
Albums produced by Teddy Riley
Action film soundtracks

New Jack City (soundtrack)


Windsor Hill is a  biological Site of Special Scientific Interest in Princes Risborough in Buckinghamshire. It lies within the Chilterns Area of Outstanding Natural Beauty, and it is featured in the Nature Conservation Review. A small part is managed by the Berkshire, Buckinghamshire and Oxfordshire Wildlife Trust, and access to this area requires a permit.

Site Description
The wood consists of an extensive tract of the Chiltern escarpment. It contains beech woodlands, scrub and chalk grassland. It is one of three extant British locations for the red helleborine orchid.

The beech woodlands incorporate communities characteristic of soils on the Clay-with-flints of the Chiltern plateau and the chalky deposits of the scarp slopes. Associated with the beech on the plateau are oak and occasional birch whilst on the slopes, the associated species are ash and whitebeam. Both even-aged and more mixed stands are represented, the latter typically with a shrub layer including gorse and honeysuckle on the plateau, and elder and hazel on the slopes.

On the plateau, brambles, bracken and rosebay willowherb occupy extensive patches, but a more mixed ground flora occurs between these, including creeping soft-grass (Holcus mollis), hairy brome (Bromus ramosus), tufted hair-grass (Deschampsia cespitosa), wood millet (Milium effusum) and wood melick (Melica uniflora). Pill sedge (Carex pilulifera), hairy wood-rush (Luzula pilosa) and slender St. John's-wort (Hypericum pulchrum) are found in more heathy areas, and the rushes Juncus effusus and J. conglomeratus are present in damper areas.

On the slopes dog's-mercury (Mercurialis perennis) and woodruff (Galium odoratum) are abundant, while more local species include nettle-leaved bellflower (Campanula trachelium), white (Cephalanthera damasonium), broad-leaved (Epipactis helleborine) and narrow-lipped  (E. leptochila)helleborines, yellow bird's-nest (Monotropa hypopitys) and scaly male-fern (Dryopteris affinis).

Juniper scrub occurs on Windsor Hill itself, where it is associated with various other typical chalk shrubs and chalk grassland with an abundance of the moss Pseudoscleropodium purum and common valerian (Valeriana officinalis). There are patches of bare chalk with forget-me-nots (Myosotis species) and common mullein (Verbascum thapsus).

On Kop Hill, hawthorn dominates the scrub, and the grassland is less mossy. Several localised plant species such as squinancywort (Asperula cynanchica) chalk eyebright (Euphrasia pseudokerneri), horseshoe vetch (Hippocrepis comosa), autumn gentian (Gentianella amarella) and clustered bellflower (Campanula glomerata) occur. A further small area of chalk grassland dominated by wood false-brome (Brachypodium sylvaticum) and glaucous sedge (Carex flacca) occurs at the foot of Pink Hill.

23 species of butterflies have been recorded, including brown hairstreak (Thecla betulae), which requires scrub thickets and woodland edge habitats. The juniper colony supports several species of insects specific to this host plant. The snail fauna includes Abida secale, Helicella itala and Pomatias elegans.

There is access from Kop Hill Road and Peters Lane.

References

Berkshire, Buckinghamshire and Oxfordshire Wildlife Trust
Sites of Special Scientific Interest in Buckinghamshire
Nature Conservation Review sites
Chiltern Hills

Windsor Hill


The line-oriented debugger DEBUG.EXE is an external command in operating systems such as DOS, OS/2 and Windows (only in 16-bit/32-bit versions).

DEBUG can act as an assembler, disassembler, or hex dump program allowing users to interactively examine memory contents (in assembly language, hexadecimal or ASCII), make changes, and selectively execute COM, EXE and other file types. It also has several subcommands which are used to access specific disk sectors, I/O ports and memory addresses.

Overview

Traditionally, all computers and operating systems have included a maintenance function, used to determine whether a program is working correctly. DEBUG was originally written by Tim Paterson to serve this purpose in 86-DOS. When Paterson began working for Microsoft in the early 1980s he brought the program with him. DEBUG was part of  and has been included in MS-DOS/PC DOS and certain versions of Microsoft Windows. Originally named DEBUG.COM, the executable was renamed into DEBUG.EXE with MS-DOS 3.2.

Windows XP and later versions included DEBUG for the MS-DOS subsystem to maintain MS-DOS compatibility. The 16-bit DOS commands are not available on 64-bit editions of Windows.

The MS-DOS/PC DOS DEBUG has several limitations:

 In assembly/disassembly modes it only supports 8086 opcodes.
 It can only access 16-bit registers and not 32-bit extended registers.
 When the "N" subcommand for naming files is used, the filename is stored from offset DS:5D to DS:67 (the Program Segment Prefix File Control Block area), meaning that the program can only save files in FAT 8.3 filename format.

Enhanced DEBUG packages include the DEBUG command in Novell DOS 7, OpenDOS 7.01 and DR-DOS 7.02 and higher, a reimplementation of Digital Research's former Symbolic Instruction Debugger SID/SID86, which came with former versions of DR DOS. It is fully compatible with the DEBUG command line syntax of MS-DOS/PC DOS, but offers many enhancements, including supporting 16-bit and 32-bit opcodes up to the Pentium, an extended mode (/X) with dozens of additional commands and sub-modes, a much enhanced command line syntax with user-definable macros and symbolic debugging facilities with named registers, loaded symbol tables, mathematical operations and base conversions, as well as a commenting disassembler. Some versions also utilized DPMS to function as a "stealth mode" protected-mode debugger.

The FreeDOS version of DEBUG was developed by Paul Vojta and is licensed under the MIT License.

A 32-bit clone "DEBUGX" version supporting 32-bit DPMI programs exists as well. Andreas "Japheth" Grech, the author of the HX DOS extender, developed enhanced DEBUG versions 0.98 to 1.25, and former PC DOS developer Vernon C. Brooks added versions 1.26 to 1.32.

Syntax
DEBUG [[drive:][path] filename [parameters]]

When DEBUG is started without any parameters the DEBUG prompt, a "-" appears. The user can then enter one of several one or two-letter subcommands, including "A" to enter the assembler mode, "D" to perform a hexadecimal dump, "T" to trace and "U" to unassemble (disassemble) a program in memory.
DEBUG can also be used as a "DEBUG script" interpreter using the following syntax.

 DEBUG < filename

A script file may contain DEBUG subcommands and assembly language instructions. This method can be used to create or edit binary files from batch files.

Using for non-debugging purposes
The DEBUG utility is useful for editing binary files in an environment where only DOS is installed without anything else. It can also be used to edit disk sectors, which is one method of removing boot-sector viruses.

Availability
Although technical documentation for the DEBUG command was removed with the release of MS-DOS 3.3, the command was retained in the standard distribution, unlike what was done with EXE2BIN.

Other Operating Systems
The operating systems Intel ISIS-II and iRMX 86, DEC TOPS-10 and TOPS-20, THEOS/OASIS, Zilog Z80-RIO, Stratus OpenVOS, PC-MOS, and AROS also provide a DEBUG command.

See also
 List of DOS commands
 DDT (CP/M command) (Dynamic Debugging Technique)
 SID (Symbolic Instruction Debugger)
 SYMDEB
 CodeView
 Turbo Debugger
 SoftICE
 DEBUG (tag)

References

External links

 Debug | Microsoft Docs
 Open source DEBUG implementation that comes with MS-DOS v2.0

Assemblers
Debuggers
Disassemblers
External DOS commands
Microsoft free software
OS/2 commands

Debug (command)


The Ballard Estate business district is situated in the financial district of Fort. Located between Chhatrapati Shivaji Maharaj Terminus and Fort in South Mumbai, it hosts the offices of shipping companies and the headquarters of the Mumbai Port Trust at the Port House. It has the Reliance Centre, many mid-priced hotels and a noted Irani cafe, Britannia.

Overview
The Bombay Port Trust reclaimed  of land at Ballard Estate between 1914 and 1918, using material excavated from the Alexandra Docks for filling.  Ballard Estate was named for Colonel J. A. Ballard, a founder of Mumbai Port Trust, which constructed the port and Ballard Pier.  George Wittet designed the buildings for the business district, imposing a uniformity of style and design through the use of European Renaissance facades.  As it is built in the  Edwardian neoclassical architecture, it has a "London feel" to it and is often referred to as "London-like" by the locals.

A plan to relieve congestion, conserve the structures and enliven the historic area under the auspices of the Heritage Conservation Committee has been proposed.

Images

References

External links

Neighbourhoods in Mumbai
Edwardian architecture

Ballard Estate


Film yatim () adalah sebuah karya film yang telah ditinggal oleh pemiliknya atau pemegang hak ciptanya; selain juga, film manapun yang telah melewati batas waktu hak cipta.

Sejarah
Asal muasal istilah film yatim masih belum jelas. Namun pada 1990an, para pengarsip film umumnya memakai kolokuialisme tersebut untuk merujuk kepada film-film yang ditinggal oleh para pemiliknya. Sebelum akhir dekade tersebut, frase tersebut dianggap sebagai kiasan bagi penyajian film, mula-mula di Amerika Serikat, kemudian dunia.

Referensi

Catatan kaki

Daftar pustaka

 Asch, Mark. "Three Questions for Cullen Gallagher About the Orphan Film Symposium,"  The L Magazine, January 22, 2010.
 Boyle, James, et al. Access to Orphan Films , submission to the Copyright Office, from the Center for the Study of the Public Domain, Duke University Law School, March 2005.
 Cave, Dylan. "Born Digital – Raised an Orphan?: Acquiring Digital Media through an Analog Paradigm," The Moving Image 8.1 (Spring 2008): 1–13.
 Cherchi Usai, Paolo. "What Is an Orphan Film? Definition, Rationale, Controversy." Paper delivered at the symposium "Orphans of the Storm: Saving Orphan Films in the Digital Age", University of South Carolina, September 23, 1999. Transcript at http://www.sc.edu/filmsymposium/archive/orphans2001/usai.html
 Cherchi Usai, Paolo. "Are All (Analog) Films 'Orphans'? A Pre-digital Appraisal," The Moving Image 9.1 (2009): 1–18.
 Coffey, Liz. "Orphans of the Storm III: Listening to Orphan Films," The Moving Image 3.2 (Fall 2003): 128–32.
 Cohen, Emily. "The Orphanista Manifesto: Orphan Films and the Politics of Reproduction," American Anthropologist 106.4 (2004): 719–31.
 Cullum, Paul. "Orphanistas! Academics and Amateurs Unite to Save the Orphan Film,"  L.A. Weekly, Apr. 26, 2001.
 de Klerk, Nico. "Entwurf eines Heims. 'Orphan Films' im Werk Gustav Deutsch / Designing a Home: Orphan Films in the Work of Gustav Deutsch." In Gustav Deutsch, ed. Wilbirg Brainin-Donnenberg and Michael Loebenstein (Vienna: SYNEMA, 2009): 113-22.
 Eagan, Daniel. "Orphan Films: Recapturing Lost Snippets of History," Smithsonian Magazine, July 2010, www.smithsonianmag.com.
 Fishman, Stephen. The Public Domain: How to Find & Use Copyright-free Writing, Music, Art, & More, 3rd ed. Berkeley, CA: Nolo, 2006.
 Frick, Caroline. "Beyond Hollywood: Enhancing Heritage with the 'Orphan' Film," International Journal of Heritage Studie 14.4 (2008): 319–31.
 Frick, Caroline. 'Saving Cinema: The Politics of Preservation' (Oxford University Press, 2010).
 Goldsmith, Leo. "Adventures in Preservation: A Report from the 7th Orphan Film Symposium,"  Moving Image Source, June 10, 2010.
 Horak, Jan-Christopher. "Editor's Introduction," The Moving Image 6.2 (2006): vi–viii.
 Horak, Jan-Christopher. "The Strange Case of The Fall of Jerusalem: Orphans and Film Identification," The Moving Image 5.2 (2005): 26–49.
 Jones, Janna. The Past Is a Moving Picture: Preserving the Twentieth Century on Film. Gainesville: University Press of Florida, 2012. See chapter 3, subtitled "Orphans and the Culture Wars."
 Kay, Olivia Lory. "Gathering in the Orphans: Essay Films and Archives in the Information Age." Journal of Media Practice, 11.3 (2010): 253-66.
 Libby, Jenn. "Foundling Films: Orphans 5: Science, Industry and Education", Afterimage (May/June 2006): 11.
 Longo, Regina. "Fifth Orphan Film Symposium: Science, Industry, and Education," The Moving Image 7.1 (Spring 2007): 92–94.
 Musser, Charles. "Discovering Union Films and Its Archives," Cinémas: revue d'études cinématographiques 24.2-3 (2014): 125-60.
 Musser, Charles. Foreword to Fight Pictures: A History of Boxing and Early Cinema by Dan Streible (University of California Press, 2008), x–xvi.
 "Orphans No More: Ephemeral Films and American Culture," issue of the Journal of Popular Film and Television 37 (Fall 2009), ed. Elizabeth Heffelfinger and Heide Solbrig.
 Orgeron, Devin. "Orphans Take Manhattan: The 6th Biannual Orphan Film Symposium," Cinema Journal 48.2 (Winter 2009): 114–18.
 "'Orphan Films' Course to Screen Eight Neglected Works at Guild," Los Angeles Times, Nov. 23, 1979.
 Orphan Works and Mass Digitization: Obstacles and Opportunities , Berkeley Technology Law Journal 27.3 (2012): 1251-1550.
 Prelinger, Rick. The Field Guide to Sponsored Films. San Francisco: National Film Preservation Foundation, 2006.
 Prelinger, Rick. "On the Virtues of Preexisting Material," Black Oyster Catcher , blog, May 30, 2007. Republished as "Prelinger Manifesto: On the Virtues of Preexisting Material," Enclosure of the Commons blog  Feb. 23, 2010; and in Contents magazine no. 5  (2013).
 Prelinger, Rick, with Raegan Kelly. "Panorama Ephemera," Vectors: Journal of Culture and Technology in a Dynamic Vernacular , vol. 2.
 Schwartz, Eric J. and Matt Williams. "Access to Orphan Works: Copyright Law, Preservation, and Politics," Cinema Journal 46.2 (Winter 2007): 139–45.
 Streible, Dan. "Orphan Films," [http://www.oxfordbibliographies.com/view/document/obo-9780199791286/obo-9780199791286-0064.xml Oxford Bibliographies Online: Cinema and Media Studies,''']  ed. Krin Gabbard (Oxford University Press, added Oct. 29, 2013). DOI: 10.1093/OBO/9780199791286-0064.
 Streible, Dan. "The Role of Orphan Films in the 21st Century Archive," Cinema Journal 46.3 (Spring 2007): 124–28.
 Streible, Dan. "Saving, Studying, and Screening: A History of the Orphan Film Symposium." In Film Festival Yearbook 5: Archival Film Festivals. Edited by Alex Marlow-Mann (St. Andrews, UK: St. Andrews Film Studies, 2013), 163-76.
 Streible, Dan. "The State of Orphan Films: Editor's Introduction," The Moving Image 9.1 (2009): vi–xix.
 Tynes, Teri. "*Gustav Deutsch and the Art of Found Footage." Originally for Reframe (Tribeca Film Institute blog), May 6, 2009. footage.html Access via the filmmaker's website .
 Van Gompel, Stef and P. Bernt Hugenholtz. "The Orphan Works Problem: The Copyright Conundrum of Digitizing Large-Scale Audiovisual Archives, and How to Solve It," Popular Communication: International Journal of Media and Culture, 8.1 (2010): 61-71.
 Wilson, Rachel. "Moving Pictures Around the World: The 7th Orphan Film Symposium," Senses of Cinema, 55  (2010).
 Ziebell Mann, Sarah. "A Meditation on the Orphan, via the University of South Carolina Symposium," AMIA Newsletter'' 47 (Winter 2000), 30, 33.

Pranala luar

 Orphan Film Symposium websites at New York University (Cinema Studies Dept., Tisch School of the Arts),  and at the University of South Carolina (Film and Media Studies Program, College of Arts & Sciences),  , including "What is an orphan film?" http://www.sc.edu/filmsymposium/orphanfilm.html . These sites include audio recordings of talks given at the symposia.
 Orphan Film Symposium Collection, Internet Archive. Created May 3, 2010; last updated June 1, 2014. Audiovisual documentation generated at the Orphan Film Symposium.
 National Film Preservation Foundation
 Orphan Works Website of the Association of European Film Archives and Cinematheques
 FORWARD project website

Penyajian film
Karya yatim

Film yatim


The Diamonds are a Canadian vocal quartet that rose to prominence in the 1950s and early 1960s with 16 Billboard hit records. The original members were Dave Somerville (lead), Ted Kowalski (tenor), Phil Levitt (baritone), and Bill Reed (bass). They were most noted for interpreting and introducing rhythm and blues vocal group music to the wider pop music audience. Contrary to a popular myth, the father of Tom Hanks was never a member of the group.

History

1950s
In 1953, Dave Somerville, while working as a sound engineer for the Canadian Broadcasting Corporation in Toronto, Ontario, Canada, met three other young singers. They decided to form a stand-up quartet called the Diamonds. The group's first performance was in the basement of St. Thomas Aquinas Church in Toronto singing in a Christmas minstrel show. The audience's reaction to the Somerville-led group was so positive that they decided that night they would turn professional.

After 18 months of rehearsal, they drove to New York and tied for 1st Place on Arthur Godfrey's Talent Scouts. The prize of being guest artist for a week on Godfrey's show led to a recording contract with Coral Records. Professional musician Nat Goodman became their manager. Coral released four songs, the most notable being "Black Denim Trousers & Motorcycle Boots", written by Jerry Leiber and Mike Stoller.

The next big step was an audition with Cleveland, Ohio, radio disc jockey, Bill Randle, who had aided in the success of some popular groups, such as The Crew-Cuts. Randle was impressed with the Diamonds and introduced them to a producer at Mercury Records who signed the group to a recording contract.

The Diamonds' first recording for Mercury was "Why Do Fools Fall in Love" (originated by Frankie Lymon and the Teenagers), which reached No. 12 in the U.S. as their first hit, and their follow-up hit single, "The Church Bells May Ring" (originally by The Willows), reached No. 14 in the U.S.

The Diamonds' biggest hits were 1957's "Little Darlin'" (originally recorded by The Gladiolas, written by Maurice Williams) and "The Stroll" (1957), an original song written for the group by Clyde Otis, from an idea by Dick Clark.

Although they were signed to do rock and roll, Mercury also paired them with jazz composer and arranger Pete Rugolo, in one of his Meet series recordings. The album, entitled The Diamonds Meet Pete Rugolo, allowed them to return to their roots and do some established standards.

The group sang "Little Darlin'" and "Where Mary Go" in the film The Big Beat. They sang the theme song to the 1958 film, Kathy O'.

Their television appearances included the TV shows of Steve Allen, Perry Como, Vic Damone, Tony Bennett, Eddy Arnold, and Paul Winchell. They also appeared on American Bandstand.

In the late 1950s, Reed, Kowalski and Levitt left the group and were replaced by Mike Douglas, John Felten, and Evan Fisher.

1960s, 1970s and 1980s
Despite the ever-changing style of rock & roll and their Mercury contract expiring, the Diamonds continued touring the country. After Dave Somerville left the group in 1961 to pursue a folk singing career as "David Troy", he was replaced by Jim Malone. There were no more hit records by the Diamonds after Somerville left.

Throughout the 1960s and 1970s the Diamonds performed mostly in Las Vegas led, at first, by Mike Douglas, later being continued by Glenn Stetson. At one time, there were at least two groups performing under the Diamonds name, the other principally being led by John Felten until his death on May 17, 1982, in a plane crash. This created an issue in the late 1980s that ultimately went to court. The right to the use of the name "The Diamonds" was awarded to Gary Owens (a member of Felten's group) with the original members being allowed to use their name on special occasions each year. Owens, along with members Bob Duncan, Steve Smith (both former members of Lawrence Welk's band and television program), and Gary Cech, released an album in 1987, "Diamonds Are Forever", which contained two songs that entered the lower reaches of the Country Music Charts, "Just a Little Bit" and "Two Kinds of Women".

In 1986, Glenn Stetson and Dick Malono opened up Little Darlin's Rock and Roll Palace near Disney in Orlando, Florida which was a magical success for all the acts of that era to perform. The Country Music Network also starting videos of the groups that went on the TV network. In 1983, the Diamonds with Glenn Stetson were the first rock and roll group to go on the Country Music Network on a show called Nashville Now with Ralph Emory.

2000s and beyond
The Diamonds received national attention once again in 2000, when the original members were invited to sing in TJ Lubinsky's PBS production of Doo-Wop 51, and again in the PBS production entitled Magic Moments - The Best of '50s Pop in 2004.

Stetson received a heart transplant in 2000, and died in 2003. Original member Kowalski died on August 8, 2010, from heart disease, at the age of 79.

In 2012, the Diamonds were listed as guest stars with The Fabulous Palm Springs Follies at the Plaza Theatre in Palm Springs, California.

Douglas died in a car accident on July 2, 2012, at age 78.

Somerville died on July 14, 2015, in Santa Barbara, California.

The Diamonds continue to tour to this day with the line-up of Gary Owens (baritone), Dan Vissers (tenor), Julian McCleary (lead) and Jeff Dolan (bass), although none of the members are from the original group which recorded for Mercury Records.

Original members
 Dave Somerville – Lead (died 2015) / Replaced by Jim Malone in 1961.
 Ted Kowalski – Tenor (died 2010) / Replaced by Evan Fisher in 1958.
 Phil Levitt – Baritone / Replaced by Mike Douglas in 1957.
 Bill Reed – Bass (died 2004) / Replaced by John Felten in 1958 (died 1982) / Replaced by Gary Cech until 1992 (voluntarily left the group).

Replacement members
 Glenn Stetson, lead vocalist. Replaced John Felten in 1968. Mike Douglas remained with the group as the only original member who recorded for Mercury in the 1950s and early 1960s. At this time the Diamonds consisted of Glenn Stetson (Canada), Harry Harding (Canada), Danny Rankin (USA), and Mike Douglas (Canada).
 Joe Derise, vocalist and composer joined in 1969.
 Jerry Honeycutt, was with John Felten during the mid-1970s, right up until Felten's death.
 Steve Smith, of The Lawrence Welk Show fame has been with the Diamonds since 1982.
 John Wagner, vocalist, singing tenor and playing tenor sax, joined Glen Stetson in 1983 and was with Stetson until 2003 when Stetson died. The Diamonds continued to perform until Stetson's death. It needs to be understood that the group that evolved when Somerville left the Diamonds in 1961 and Mike Douglas continued the group is the same group that Stetson kept going until his death in 2003. The historical continuation that began in 1968 ended with Stetson's death.
 Mike Douglas and Joe Derise rejoined the Diamonds in 1988. Derise eventually died and Mike Douglas (one of the original singers from the group's Mercury days) died in 2012.
 Bob Duncan, tenor, began singing with John Felten in 1979.
 Gary Owens, baritone, joined John Felten in 1975. He sings, plays saxophone and flute, and does most of the vocal arranging for the group.
 Gary Cech, bass, began singing with Bob Duncan in 1982 shortly after John Felten's death and left the group in 1992.
 Jerry Siggins, bass.
 Carson Church, Bass joined the Diamonds from 2001-3

Discography

Original albums
 The Diamonds (1957)
 America's Number One Singing Stylists (1957)
 The Diamonds Meet Pete Rugolo (Mercury, 1958) (with Pete Rugolo)
 America's Favorite Song Stylists (1959)
 Songs from the Old West (1959)
 Bandstand Boogie (1960)
 Pop Hits (1960)
 Diamonds Are Forever (1976)
 We're Still Rockin' (1995)
 Solemnly Yours (1996)
 Silver Bells & Diamonds: Holiday Music from the Diamonds (1998)
 As Long as We're Singin'...and Swingin'! (2013)

Compilation albums
 Little Darlin''' (1981)
 The Diamonds Songbook (2007)
 The Stroll – 2 CD Set (2011)
 The Diamonds – 4 Classic Albums Plus (2015)

Singles

Film appearances
 The Big Beat (1958)

TV appearances
 The Eddy Arnold Show (1956)
 The Steve Allen Show'' (1957)

Awards and honours
 In 1984, the Canadian Juno "Hall of Fame" award by the Canadian Academy of Recording Arts and Sciences.
 In October, 2004, inducted into the Vocal Group Hall of Fame in Sharon, Pennsylvania.
 In 2006 inducted into the Doo-Wop Hall of Fame.

See also

 Canadian rock
 Music of Canada

References

External links
 The Current Diamonds
 Official Fan site
 'The Diamonds' Vocal Group Hall of Fame Page

 The Diamonds' singles discography

Canadian pop music groups
Canadian Music Hall of Fame inductees
Doo-wop groups
Mercury Records artists

The Diamonds


Damián Ariel Álvarez (born 21 May 1979), also known as "La Chilindrina", is a former professional footballer. Born in Argentina, he played for the Mexico national team.

Club career
Álvarez made his professional debut in Argentina for River Plate in 1998. In 2002, he moved to Serie B to play for Reggina. However, he returned to the Americas a year later, joining Morelia of the Liga MX. Álvarez played a significant role for the team that season, playing in 16 games, 13 starts, and scoring three goals and helped them reach the league final but lost to Monterrey. He remained a consistent starter for the team and started a total of 60 games for the team, scoring nine goals.

He moved to Pachuca, earning six championships with the team: one Copa Sudamericana, three CONCACAF Champions' Cup, one SuperLiga, and the Mexican Clausura 2007. Álvarez has been a significant member in every championship.

Tigres UANL
In the 2010 draft of the Liga MX, Álvarez was bought by Tigres UANL in a high-profile transfer. A starter under Ricardo Ferretti, he became a key in the team's offensive for the Apertura 2011 Championship. He scored the goal of the 1-0 victory in the first leg of the finals against Santos Laguna. Tigres won the Liga MX Championship for the third time after 29 years. Álvarez, along with Danilinho, Héctor Mancilla and Lucas Lobos in the attack, became the so-called "Cuatro Fantásticos" ("Fantastic Four") of the Liga MX.

On December 14, 2014, he received a red card along with teammates Hernán Burbano and Nahuel Guzmán in the Apertura 2014 final against Club América. Álvarez and his team lost 3–0 in the final at the Estadio Azteca.
Álvarez was a regular starter in the 2015 Copa Libertadores. In the group stage, Tigres played against his former team River Plate and scored the second goal of the 2-2 draw in the home game. Tigres would eventually reached to the finals and lose to River Plate.

Álvarez played an important role in the playoffs of the Apertura 2015 Championship. Damián, who in the regular season played a substitute role, scored one goal in quarterfinals against Chiapas and one more in semifinals against Toluca. Tigres became champions defeating Pumas UNAM.

He came in as substitute of Javier Aquino in the second half of the Apertura 2016 finals against Club América. Álvarez started the play that dramatically tied the game in overtime, by crossing to Jürgen Damm, who then re-crossed to Jesús Dueñas, that finally scored a header at the 119'. Tigres beat América in penalty shoot-out.

With very few minutes in the Apertura 2017 season, a 38-year old Álvarez officially retired from his playing career after Tigres beat archrival CF Monterrey in the first and only League final between the two. After his retirement, Álvarez became an instant idol among fans, and is considered, along with names such as Tomás Boy, Gerónimo Barbadillo, Claudio Núñez, Walter Gaitán and Lucas Lobos, as one of the most emblematic players of Tigres.

International career
In 2012, Álvarez became a naturalized Mexican citizen, having settled in Mexico in 2003. He was called up to Mexico national team on 23 February for a friendly against Colombia; Mexico lost 2-0.

Honours
River Plate
Argentine Primera División: 1999 Apertura, 2000 Clausura

Pachuca
Liga MX: Clausura 2007
CONCACAF Champions League: 2007, 2008, 2009–10
SuperLiga: 2007
Copa Sudamericana: 2006

Tigres UANL
Liga MX: Apertura 2011, Apertura 2015, Apertura 2016, Apertura 2017
Copa MX: Clausura 2014
Campeón de Campeones: 2016, 2017

External links

 Football Database profile

References

1979 births
Living people
Footballers from Buenos Aires Province
Mexican men's footballers
Mexico men's international footballers
Argentine men's footballers
Argentine emigrants to Mexico
Naturalized citizens of Mexico
Men's association football wingers
Club Atlético River Plate footballers
LFA Reggio Calabria players
Atlético Morelia players
C.F. Pachuca players
Tigres UANL footballers
Expatriate men's footballers in Italy
Serie A players
Argentine Primera División players
Liga MX players
Argentine expatriate men's footballers
Argentine expatriate sportspeople in Italy

Damián Álvarez (footballer, born 1979)


Saint Augustin (also known as Ianantsony; ) is a rural municipality in Madagascar. It belongs to the district of Toliara II, which is a part of Atsimo-Andrefana Region. The population of the commune was estimated to be approximately 15,000 in 2001 commune census. The mouth of the Onilahy River is near the town.

Primary and junior level secondary education are available in town. The majority 60% of the population works in fishing. 23% are farmers, while an additional 10% receives their livelihood from raising livestock. The most important crops are sweet potatoes and rice; also lima beans is an important agricultural product. Services provide employment for 7% of the population.

England's Courteen association attempted to sponsor a colony nearby in 1645 but by 1646 famine, disease, and conflict with the Malagasy drove the English settlers away and the colony failed. Pirates such as John Pro, Thomas White, Samuel Burgess, and John Halsey frequented the area in the early 18th century. Ex-pirate John Rivers established a pirate settlement at Saint Augustin, resupplying passing ships for a fee and trading in slaves; his trading post lasted from 1686 until his death in 1719.

Geography
It is situated south of Toliara (Tuléar) at the mouth of the Onilahy River to the Bay of Saint-Augustin and the Indian Ocean.
There used to be a ferry over the Onilahy to Soalara but it broke down. It is necessary to take small outrigger canoes or to make the trip around the bay (250 km) since 2021.

References

Populated places in Atsimo-Andrefana
Pirate dens and locations

Saint Augustin, Madagascar


"Gartan Mother's Lullaby" is an old Irish song and poem written by Herbert Hughes and Seosamh Mac Cathmhaoil, first published in Songs of Uladh [Ulster] in 1904.
Hughes collected the traditional melody in Donegal the previous year and Campbell wrote the lyrics. The song is a lullaby by a mother, from the parish of Gartan in County Donegal. The song refers to a number of figures in Irish mythology, places in Ireland and words in the Irish language.

Pronunciation
Aoibheall, (pronounced "ee-val") commonly known as Aoibhinn the Beautiful, is the queen of the Northern Fairies.
The Green Man, (or Fear Glas in Irish) it is said if you see him in the morning, "no ill follows"; but if at night, death or some other terrible misfortune will surely overtake you. He is sometimes called Fear Liath, or the Grey Man.
Siabhra, is a generic term for an Irish fairy of any kind. In ancient writings the Tuatha de Danann, or little magicians of the Pagan Irish, were called "siabhra" without distinction.
Tearmann, Irish for Termon, a village near Gartan in Donegal.
Leanbhan, is an old Irish word for little child. (leanbh is Irish for child +án leanbhán is its diminutive.)

Recordings
2016 - UCD Choral Scholars covered on the album "Invisible Stars"
2016 - Lisa Cuthbert covered on the album Paramour
2011 - Screaming Orphans covered on the album The Jacket's Green
2011 - Deirdre Shannon covered on the album Anamcheol
2010 - Peter Roberts covered on the album Love and the Ferryman
2010 - Fionnuala Sherry covered on the album Songs From Before
2007 -Tracey Rose Brown covered on the album " Songs In The Mist"
2006 - Órla Fallon, covered on the album The Water Is Wide
2002 - Spiral Dance, covered on the album Notes of Being
2002 - Kerstin Blodig, covered on the album Valivann
2000 - Meryl Streep, recorded for the album For Our Children: 10th Anniversary
1992 - Kim Robertson, recorded for the album Tender Shepherd
1991 - Paddy Reilly, on his album The Gold and Silver Days
1977 - Alba, on their album "Alba"
1972 - The Dubliners, on their album Double Dubliners
1969 - The Corries, appears on their album Strings and Things
1963 - The Ian Campbell Folk Group, appears on their album This Is The Ian Campbell Folk Group!
1959 - Deirdre O'Callaghan, appears on their album Folk Songs From Erin
1958 - Mary O'Hara, appears on their album Songs Of Ireland

References

Lullabies
Irish songs
Irish poems
Irish folk songs
1904 songs

Gartan Mother's Lullaby