The Metropolitan Cathedral of Saints Vitus, Wenceslaus and Adalbert () is a Catholic metropolitan cathedral in Prague, and the seat of the Archbishop of Prague. Until 1997, the cathedral was dedicated only to Saint Vitus, and is still commonly named only as St. Vitus Cathedral ().

This cathedral is a prominent example of Gothic architecture, and is the largest and most important church in the country. Located within Prague Castle and containing the tombs of many Bohemian kings and Holy Roman Emperors, the cathedral is under the ownership of the Czech government as part of the Prague Castle complex. Cathedral dimensions are , the main tower is  high, front towers , arch height .

Origins
The current cathedral is the third of a series of religious buildings at the site, all dedicated to St. Vitus. The first church was an early Romanesque rotunda founded by Wenceslaus I, Duke of Bohemia in 930. This patron saint was chosen because Wenceslaus had acquired a holy relic – the arm of St. Vitus – from Emperor Henry I. It is also possible that Wenceslaus, wanting to convert his subjects to Christianity more easily, chose a saint whose name (Svatý Vít in Czech) sounds very much like the name of Slavic solar deity Svantevit. Two religious populations, the increasing Christian and decreasing pagan community, lived simultaneously in Prague castle at least until the 11th century.

In the year 1060, as the bishopric of Prague was founded, prince Spytihněv II embarked on building a more spacious church, as it became clear the existing rotunda was too small to accommodate the faithful. A much larger and more representative Romanesque basilica was built in its spot. Though still not completely reconstructed, most experts agree it was a triple-aisled basilica with two choirs and a pair of towers connected to the western transept. The design of the cathedral nods to Romanesque architecture of the Holy Roman Empire, most notably to the abbey church in Hildesheim and the Speyer Cathedral. The southern apse of the rotunda was incorporated into the eastern transept of the new church because it housed the tomb of St. Wenceslaus, who had by now become the patron saint of the Czech princes. A bishop's mansion was also built south of the new church, and was considerably enlarged and extended in the mid-12th century.

The Gothic cathedral

Construction of the present-day Gothic cathedral began on 21 November 1344, when the seat of Prague was elevated to an archbishopric. King John of Bohemia laid the foundation stone for the new building. The patrons were the chapter of cathedral (led by a dean), the Archbishop Arnost of Pardubice, and, above all, Charles IV, King of Bohemia and a soon-to-be Holy Roman Emperor, who intended the new cathedral to be a coronation church, family crypt, treasury for the most precious relics of the kingdom, and the last resting place cum pilgrimage site of patron saint Wenceslaus. The first master builder was a Frenchman Matthias of Arras, summoned from the Papal Palace in Avignon. Matthias designed the overall layout of the building as, basically, an import of French Gothic: a triple-naved basilica with flying buttresses, short transept, five-bayed choir and decagon apse with ambulatory and radiating chapels. However, he lived to build only the easternmost parts of the choir: the arcades and the ambulatory. The slender verticality of Late French Gothic and clear, almost rigid respect of proportions distinguish his work today.

After Matthias' death in 1352, 23-year-old Peter Parler assumed control of the cathedral workshop as master builder. He was son of the architect of the Heilig-Kreuz-Münster in Schwäbisch Gmünd. Initially, Parler only worked on plans left by his predecessor, building the sacristy on the north side of the choir and the chapel on the south. Once he finished all that Matthias left unfinished, he continued according to his own ideas. Parler's bold and innovative design brought in a unique new synthesis of Gothic elements in architecture. This is best exemplified in the vaults he designed for the choir. The so-called Parler's vaults or net-vaults have double (not single, as in classic High Gothic groin vaults) diagonal ribs that span the width of the choir-bay. The crossing pairs of ribs create a net-like construction (hence the name), which considerably strengthens the vault. They also give a lively ornamentation to the ceiling, as the interlocking vaulted bays create a dynamic zigzag pattern the length of the cathedral.

While Matthias of Arras was schooled as a geometer, thus putting an emphasis on rigid systems of proportions and clear, mathematical compositions in his design, Parler was trained as a sculptor and woodcarver. He treated architecture as a sculpture, almost as if playing with structural forms in stone. Aside from his bold vaults, the peculiarities of his work can also be seen in the design of pillars (with classic, bell-shaped columns which were almost forgotten by High Gothic), the ingenious dome vault of new St. Wenceslaus chapel, the undulating clerestory walls, the original window tracery (no two of his windows are the same, the ornamentation is always different) and the blind tracery panels of the buttresses. Architectural sculpture was given a considerable role while Parler was in charge of construction, as can be seen in the corbels, the passageway lintels, and, particularly, in the busts on the triforium, which depict faces of the royal family, saints, Prague bishops, and the two master builders, including Parler himself.

Work on the cathedral, however, proceeded slowly, because the Emperor commissioned Parler with many other projects, such as the construction of the new Charles Bridge in Prague and many churches throughout the Czech realm. By 1397, when Peter Parler died, only the choir and parts of the transept were finished.

After Peter Parler's death in 1399 his sons, Wenzel Parler and particularly Johannes Parler, continued his work; they in turn were succeeded by a certain Master Petrilk, who by all accounts was also a member of Parler's workshop. Under these three masters, the transept and the great tower on its south side were finished. So was the gable which connects the tower with the south transept. Nicknamed 'Golden Gate' (likely because of the golden mosaic of Last Judgment depicted on it), it is through this portal that the kings entered the cathedral for coronation ceremonies.

The entire building process came to a halt with the beginning of Hussite War in the first half of 15th century. The war brought an end to the workshop that operated steadily over for almost a century, and the furnishings of cathedral, dozens of pictures and sculptures, suffered heavily from the ravages of Hussite iconoclasm. As if this was not enough, a great fire in 1541 heavily damaged the cathedral.

St. Wenceslaus Chapel

Perhaps the most outstanding place in the cathedral is the Chapel of St. Wenceslaus, which houses relics of the saint. Peter Parler constructed the room between 1356 (the year he took over) and 1364 with a ribbed vault. The lower portions of the walls are decorated with over 1300 semi-precious stones and paintings depicting the Passion of Christ dating from the original decoration of the chapel in 1372–1373. The upper area of the walls have paintings depicting the life of St. Wenceslaus, by the Master of the Litoměřice Altarpiece between 1506 and 1509. Above the altar, is a Gothic statue of St. Wenceslaus created by Jindřich Parler (Peter's nephew) in 1373. The chapel is not open to the public, but it can be viewed from the doorways.

A small door with seven locks, in the southwest corner of the chapel, leads to the Crown Chamber containing the Czech crown jewels, which are displayed to the public only once every (circa) eight years.

Renaissance and Baroque
Through most of the following centuries, the cathedral stood only half-finished. It was built to the great tower and a transept, which was closed by a provisional wall. In the place of a three-aisled nave-to-be-built, a timber-roofed construction stood, and services were held separately there from the interior of the choir. Several attempts to continue the work on the cathedral were mostly unsuccessful. In the latter half of the 15th century, king Vladislaus II commissioned the great Renaissance-Gothic architect Benedict Ried to continue the work on the cathedral, but almost as soon as the work began, it was cut short because of lack of funds. Later attempts to finish the cathedral only brought some Renaissance and Baroque elements into the Gothic building, most notably the obviously different Baroque spire of the south tower by Nikolaus Pacassi (1753 until 1775) and the great organ in the northern wing of transept.

Completion in 19th and 20th century

In 1844, Václav Pešina, an energetic St. Vitus canon, together with Neo-Gothic architect Josef Kranner presented a program for renovation and completion of the great cathedral at the gathering of German architects in Prague. The same year a society under the full name "Union for Completion of the Cathedral of St. Vitus in Prague" was formed, whose aim was to repair, complete and rid the structure of everything mutilated and stylistically inimical. Josef Kranner headed the work from 1861 to 1866 which consisted mostly of repairs, removing Baroque decorations deemed unnecessary and restoring the interior. In 1870 workers finally laid the foundations of the new nave, and in 1873, after Kranner's death, architect Josef Mocker assumed control of the reconstruction. He designed the west façade in a typical classic Gothic manner with two towers, and the same design was adopted, after his death, by the third and final architect of restoration, Kamil Hilbert.

In the 1920s the sculptor Vojtěch Sucharda worked on the façade, and the famous Czech Art Nouveau painter Alfons Mucha decorated the new windows in the north part of nave. Frantisek Kysela designed the rose window from 1925 to 1927, which depicts scenes from the Biblical story of creation. By the time of St. Wenceslaus jubilee in 1929, the St. Vitus cathedral was finally finished, nearly 600 years after it was begun. Despite the fact that the entire western half of the cathedral is a Neo-Gothic addition, much of the design and elements developed by Peter Parler were used in the restoration, giving the cathedral as a whole a harmonious, unified look.

Organ

The St. Vitus Cathedral has two organ casings. The upper façade belonged to a baroque organ, which was built in 1765 by Anton Gartner. It had 40 stops on 3 manuals and pedals. This case is purely decorative. The associated work was transported around 1909 and was lost.

The lower neoclassical casing contains today's main organ. It was built by Josef Melzel in the years 1929–31. A general overhaul was carried out by the organ builder Brachtl a Kánský (1999–2001). The rather modest instrument in relation to the large church space has 58 stops on 3 manuals and pedals, 4,475 pipes in total. The action is purely pneumatic. With a large number of basic pipes (flutes and principals) and little reeds (trumpets), the instrument has a rather gentle tone – a typical feature of post-Romantic organs.

Influence

The Cathedral of St. Vitus had a tremendous influence on the development of Late Gothic style characteristic for Central Europe. Members of Parler workshop, and indeed, the Parler family (both of which were established at the building site of St. Vitus) designed numerous churches and buildings across Central Europe. More notable examples include Stephansdom cathedral in Vienna, Strasbourg Cathedral, Church of St. Marko in Zagreb and the Church of St. Barbara in Kutna Hora, also in Czech Republic. Regional Gothic styles of Slovenia, northern Croatia, Austria, Czech Republic, and southern Germany were all heavily influenced by Parler design.

Of particular interest are Parler's net vaults. The Late Gothic of Central Europe is characterised by ornate and extraordinary vaulting, a practice which was started by Parler's development of his own vaulting system for the choir of St. Vitus Cathedral. Another regional Gothic style also displays amazing ingenuity and ornamentation in the design of vaults, the Perpendicular Style of English Gothic. A question remains of what was influenced by what. Some British art and architecture historians suspected that Peter Parler might have travelled to England at some point in his life, studying the great English Gothic cathedrals, which then inspired his work on St. Vitus. However, taking into account that the Perpendicular style and the use of truly extravagant vaults in English Gothic began at the very end of 14th century, it is also quite possible that it was St. Vitus Cathedral of Prague that influenced the development of English Gothic.

Recent history
In 1997, on 1000th anniversary of the death of Saint Adalbert, the patrocinium (dedication) of the church was re-dedicated to Saint Wenceslaus and Saint Adalbert. The previous Romanesque basilica had this triple patrocinium to the main Bohemian patrons since 1038 when relics of Saint Adalbert were placed here. The skull of Saint Adalbert is kept at the Hilbert Treasury

In 1954, a government decree entrusted the whole Prague Castle into ownership of "all Czechoslovak people" and into administration of the President's Office. Beginning in 1992, after the Velvet Revolution the church filed several petitions requesting a determination on the true owner of the structure. After 14 years, in June 2006, the City Court in Prague decided that the 1954 decree did not change the ownership of the cathedral and the owner is the Metropolitan Chapter at Saint Vitus. In September 2006, the President's Office ceded the administration to the Metropolitan Chapter. However, in February 2007, the Supreme Court of the Czech Republic reversed the decision of the City Court and returned the case to the common court. In September 2007, the District Court of Prague 7 decided that the cathedral is owned by the Czech Republic, this decision was confirmed by the City Court in Prague and the Constitutional Court rejected the appeal of the Metropolitan Chapter, however noted that the chapter unquestionably owns the interior furnishings of the cathedral. The Metropolitan Chapter considered continuing the case in the European Court for Human Rights however in May 2010, the new Prague Archbishop Dominik Duka and the state president Václav Klaus together declared that they did not wish to continue with court conflicts. They constituted that the seven persons who are traditionally holders of the keys of the Saint Wenceslaus Chamber with the Bohemian Crown Jewels become also a board to coordinate and organize administration and use of the cathedral. However, controversy about ownership of some related canonry houses continues.

In July 2012, the Chamber of Deputies passed a bill to compensate the churches for property seized by the Communist government. The Senate approved the bill in November 2012 and the government implemented it the following June after clearing legal challenges.

Gallery

Further reading
Fučíková, Eliška, Martin Halata, Klára Halmanová, Pvel Scheufler. "Prague Castle in Photographs /1956-1900". Prague: Správa Pražského hradu a Nakladatelství KANT, 2005.
K. Benešovská, P. Chotebor, T. Durdík, M. Placek, D. Prix, V. Razim. "Architecture of the Gothic", vol. 2 of "Ten centuries of architecture" series, Prague Castle Administration & DaDa, a.s., Prague 2001,  (English version)

See also

Czech Gothic architecture
St. George's Basilica, Prague
Treasury of St. Vitus Cathedral
History of early modern period domes

References

See also
List of Gothic Cathedrals in Europe

External links

Archdiocese of Prague
Information from the Prague Castle administration site
Church Art including Bath and St. Vitus Cathedral
St. Vitus Cathedral Prague tourist guide
A guided tour of St. Vitus Cathedral's incredible stained glass

Prague Castle
1344 establishments in Europe
14th-century Roman Catholic church buildings in the Czech Republic
20th-century Roman Catholic church buildings in the Czech Republic
Peter Parler buildings
Burial sites of Bohemian royal houses
Roman Catholic churches completed in 1929
Vitis
Coronation church buildings
Gothic architecture in the Czech Republic
Prague
Roman Catholic shrines in the Czech Republic
Burial sites of the House of Luxembourg
Burial sites of the House of Přemysl
Burial sites of the House of Valois
Wenceslaus I, Duke of Bohemia

St. Vitus Cathedral


Peristalsis is a process of contraction and relaxation of the muscle around parts of the alimentary canal. Peristalsis is also a series of contractions that pass from the mouth to the stomach.

The most familiar example of this is in the oesophagus. In the oesophagus, peristalsis pushes the ball of food down the oesophagus. The smooth muscle of the oesophagus contracts and relaxes in sequence, and this pushes the ball of food down the oesophagus.

The muscle is worked by a nervous mechanism called the "migrating motor complex". This works in one direction only, and also works in the lower regions of the digestive system.

Digestive system

Peristalsis


Frankie Yankovic (July 28, 1915 – October 14, 1998) was a polka musician from the United States. He played the accordion. He was called "America's Polka King." He played Slovenian-style polka.

Background
Yankovic was a Slovene. He was raised in South Euclid, Ohio. Yankovic's parents were immigrants. Yankovic received an accordion at age 9, but never took lessons. By his early teenage years, he was a working musician. He played for local events.

Career
He began making appearances on the radio in the 1930s. He wanted to make recordings, but the major labels turned him down.  Therefore, his first records were made for Yankee and Joliet, labels operated by Fred Wolf.

Yankovic joined the U.S. Armed Forces in 1943. He made records while on leave, before going to Europe to fight in World War II. He fought in the Battle of the Bulge. He was awarded a Purple Heart.

Yankovic earned two platinum singles for "Just Because" (1947) and "Blue Skirt Waltz" (1949).

Yankovic also was on the television series Polka Time on Buffalo, New York-based WKBW-TV in 1962. He traveled from Cleveland to host each episode. He hosted a similar show in Chicago at about the same time. He won a Grammy Award in 1986 for his album 70 Years of Hits. He was the first winner in the Best Polka Recording category.  The NARAS (Grammy) organization dropped the category in 2008.

Yankovic made over 200 recordings in his career. He has recorded with country guitarist Chet Atkins and pop singer Don Everly. He has also recorded a version of the "Too Fat Polka" with comedian Drew Carey. At one point, Yankovic was performing on the road in 325 shows a year.

He was not related to musical comedian and accordionist "Weird Al" Yankovic, who also performs polka music. However, Weird Al has jokingly said that he was given accordion lessons as a child because his parents thought that "there should be at least one more accordion-playing Yankovic in the world."

Death
Yankovic died on October 14, 1998, in New Port Richey, Florida, from heart failure, at the age of 83. He was buried in Cleveland's Calvary Cemetery. Hundreds of friends, family, fans, and fellow musicians were at his funeral.

Former band members
 Adolph Poczatek (Pozatek) (1911–1984) Violin, tenor banjo, plectrum banjo, accordion, mandolin, cordiovox, guitar, piano. Toured and recorded with Frankie throughout his career.  Appearances on Donahue and Lawrence Welk, and many live radio broadcasts. His original band was the Polka Aces, known in the Chicago Community. Adolph Poczatek also frequently appeared with polka bands including Verne Meisner, Roman Posedi, and Joe Kovich.
 Georgie Cook - Banjo player, helped Yankovic establish the "Cleveland Sound".
 Joey Miskulin - Began playing with Frankie Yankovic in 1962 at the age of 13. This was the start of a relationship that lasted for 35 years. Joey developed his skill with the accordion and music while touring with the band. Joey began writing and arranging songs for Yankovic. He eventually arranging and producing Frankie's albums, including the Grammy Award-winning album 70 Years of Hits.
 Jeff Winard - Accomplished accordionist from Milwaukee; traveled with Yankovic in later years.
 Marian "Lefty" Bell - played bass with Yankovic.  His father was a tenor in the Slovenian operettas in Cleveland

References

More reading
Dolgan, Bob (2006). America's Polka King: The Real Story of Frankie Yankovic. Cleveland, OH: Gray & Company, Publishers.

Other websites
Sample text from the book America's Polka King by Bob Dolgan
Polkas.com: Frank Yankovic...America's Polka King
Biography on ElvisPelvis.com
Dennis Kucinich's letter to Clinton in support of awarding Yankovic a National Medal of Arts
Profile of Frank Yankovic at The Remington Site
New York Times article on Yankovic's death

1915 births
1998 deaths
Accordionists
American musicians
Purple Heart recipients

Frankie Yankovic


Ji Kang Hun (1954~October 15th 1988) was an escapee from prison in Seoul.

Ji became well known to Koreans, along with those who escaped with him, as their hostage taking was broadcast live all over Korea. Ji became famous for his saying "If you have money, non-guilty. If you don't have money, guilty." The phrase criticized social and income inequality of the 1980s Korean society. Also, it raised the issue of "Preventive Custody Policy," which separated prisoners from the society for a while even after their prison term was over in a preventative approach to potential crimes.

The Escape
On October 8, 1988, 12 prisoners from Youngdeungpo Prison escaped into Seoul city during their transfer to Kongju Prison. Although they were known to Koreans as cruel and inhumane criminals, they were actually accused of robbery and other small crimes. They escaped because they were enraged by the idea of "Preventive Custody Policy," and that trials were conducted unfairly to the poor. Their prison term for stealing 5,000,000 won was longer than that of Jun Kyung Hwan, brother of the former Korean president, who had embezzled approximately 60,000,000,000 won.
Among the 12 escapees, 4 out of 5 managed to stay unarrested until the very end. They are Ji Kang Hun (35 years old), An Kwang Sul (22), Kang Young Il (21), and Han E-Chul (20). They moved in search of shelters from houses to houses in Seoul. On October 15th, they smuggled into Koh Yong-suh's house in Seodaemungu Bukjakadong and took hostage of his family. This hostage taking was broadcasted live on television. Koh managed to sneak out from the house at 4:00 AM in the morning and informed the police. The house was surrounded immediately by more than 1000 police force. The standoff between the escapees and the police started from 4:40 AM. At about 12:00 PM, Kang Young Il came out of the house in an effort to negotiate with the police. He tried to get back to the house, but was stopped by Ji who shot a gun before Kang's feet. Ji stated that this was his last gift to Kang. Then, two of other escapees, An Kwang Sul and Han E-Chul committed suicide in the other room. Ji asked the police for a cassette tape, Holiday by Beegees. He shouted out to the reporters, policemen, and those who were at the scene, "If you have money, non-guilty. If you don't have money, guilty." He tried to kill himself by stabbing his throat with a piece of glass that he had shattered from the window while listening to Holiday. During the process of rescuing the hostages, Ji was shot two times by the Special Squad in the house. He died the same day at the hospital for excessive loss of blood.

Influence
To this day, the phrase "If you have money, non-guilty. If you don't have money, guilty" is used to criticize politicians or elites in corporations who get away with bribery and embezzlement.

A movie based on his escape, "Holiday," was made in Korea in 2006. The title was named after a song by Beegees, which Ji Kang Hun asked for at the hostage taking scene

Other websites
 "Hostage Taking on Sunday" video from MBC iMTV
 October 16th 1988 News from MBC

South Korean criminals

Ji Kang Hun


Bethesda Presbyterian Church is a historic church in Russellville, Tennessee, US, that was used as a hospital during the American Civil War. It is listed on the National Register of Historic Places.

History
Bethesda Presbyterian Church was organized in 1832. The church building was completed in 1835. It is a brick building equipped with high-back wooden pews and an "ornate" wooden pulpit.

As the Civil War approached, the congregants' sympathies were divided between the Union and secessionist sides. The split led the church to suspend activity until after the hostilities ended.

Some 25,000 Confederate Army soldiers under the command of General James Longstreet arrived at the church in December 1863 to spend the winter, after the Battle of Bean's Station. They remained there until February 1864 and used the church building as a hospital. Military engagements occurred near the church in both October and November 1864. In the Battle of Morristown (also known as "Vaughn's Stampede") in October, Union forces under General Alvan C. Gillem attacked Confederate troops commanded by General John C. Vaughn, causing them to retreat to Carter's Station on the Watauga River. In the Battle of Bull's Gap (also known as "Gillem's Stampede") in November, Confederate forces under General John C. Breckinridge and Vaughn prevailed over Gillem's troops, chasing the Union forces westward to a defensive position near Knoxville. During one of these skirmishes, a cannonball penetrated one of the church walls, causing structural damage that was repaired by reinforcing the walls with large iron rods. The Union Army used the church as a hospital for soldiers wounded in these operations. Many soldiers from both sides are interred in the church cemetery. Eighty of the wartime burials are unidentified.

Worship services resumed after the war ended, but church members could not reconcile their political differences. Confederate and Union supporters sat on different sides of the church, separated by empty pews. In 1871, one group walked out together; they then joined the Presbyterian Church of Morristown. The other group continued to worship at Bethesda Presbyterian Church until 1875, when they closed Bethesda and left to become part of the new Russellville Presbyterian Church.

Modern status
The church was added to the National Register of Historic Places in 1973. The church building and its cemetery are maintained by members of a local chapter of the Sons of Confederate Veterans. In 2011, a pair of local teenagers vandalized the church and its cemetery, breaking windows and defacing gravestones. It currently has a Civil War Trails sign that signifies its usage in the American Civil War and a plaque honoring the fallen Civil War veterans.

References

External links

Presbyterian churches in Tennessee
Churches on the National Register of Historic Places in Tennessee
Churches completed in 1835
19th-century Presbyterian church buildings in the United States
American Civil War hospitals
Buildings and structures in Hamblen County, Tennessee
1875 disestablishments in Tennessee
National Register of Historic Places in Hamblen County, Tennessee
American Civil War cemeteries

Bethesda Presbyterian Church (Russellville, Tennessee)


Buron is a village in France about 6 kilometres north-west of Caen, in the communes of Cairon, Rosel and Saint-Contest in Calvados.

History

Buron was the site of two major battles, one on June 7, 1944, and another during Operation Charnwood on July 8, 1944, when the Highland Light Infantry of Canada liberated the town from defending elements of the 12th SS Panzer Division.

References

External links
1944, The Battle of Normandy: Buron

Villages in Normandy

Buron


V Sport is a group of Swedish sports channels owned by Viaplay Group, broadcasting from the United Kingdom and constituting a part of the pan-Nordic V Sport offering. The Swedish V Sport channels except V Sport Motor and V Sport Extra are also distributed in Finland.

History

The channel was launched in 1999 as a pan-Scandinavian channel. It was launched to make use of the many sports rights in the MTG portfolio that weren't shown on TV3 and therefore were unused.

In January 2002, Viasat Sport Denmark (later replaced by TV 2 Sport) was launched and the original version would now target Sweden and Norway. This continued until SportN for Norway launched in 2005. When Viasat launched two new sports channels in 2004, Viasat Sport 2 and Viasat Sport 3, the first channel got the name "Viasat Sport 1".

In March 2008, Viasat received a licence to broadcast Viasat Sport 1 in the terrestrial network. As of August 2009, the terrestrial broadcasts were yet to begin since the infrastructure to broadcast the new channels hadn't been put in place.

On October 17, 2008, Viasat relaunched their sports channels in Sweden, Norway and Finland. This meant that Viasat Sport 1 reverted to its old name Viasat Sport. Most soccer-related programmes were moved to Viasat Fotboll. Contact sports programmes that were formerly on Viasat Sport 3 was moved to Viasat Sport.

The launch of Viasat Hockey on September 1, 2009, meant that most hockey broadcasts were moved to a separate channel, including the Ice Hockey World Championships, HockeyAllsvenskan, the NHL and KHL. Sports remaining on Viasat Sport are tennis, basketball, American football and contact sports.

Viasat acquired the rights of football's English Premier League in April 2010 and announced, that they will create a new channel for the league. It was launched on August 13, 2010, and it is called Viasat Premier League HD.

On September 7, 2010, MTG  launched the new free-to-air sports channel TV10. The purpose was to take over much the sports previously broadcast on Viasat Sport, TV6 and TV8. Viasat Sport would remain, but should become an overflow channel for the other sports channels.

In 2020, all Viasat-branded channels owned by Nordic Entertainment Group have been renamed V, with Viasat Sport being renamed to V Sport accordingly.

V Sport Premium

V Sport Premium is a high definition channel, that broadcasts only Premier League football in high definition. It broadcasts Premier League-related magazines, studio programs, live, delayed and classic matches every day around the clock in English and Swedish. The channel was created, when Viasat acquired the Premier League rights in Sweden, other Scandinavian countries and the Baltics in spring 2010. It was also planned to start broadcasts in Norway and Denmark, but Viasat resold the rights to both countries TV2 channels, which created their own versions of Premier League HD (which are actually kept on the air by Viasat).

V Sport Football

V Sport Football is a channel broadcasting only football. The origins of the channel are as far away as the year 2004, when Viasat launched Northern Europe's first football channel, Viasat Sport 2. De facto, the channel still exists today, but with different programming and the name Viasat Fotboll, which has been the channel's on-the-air name since October 2008.

The channel was launched after a series of hired football experts, like Glenn Strömberg, Ola Wenström and Ola Andersson. The head of Viasat Sport channels, Per Tellander explained, that a pay channel was necessary to finance those hirings. The launch brought mixed reactions on the various forums on the Internet. Some felt that an effort was necessary, while others were annoyed at the fact, that the Champions League was moved from a free-to-air channel TV6 and existing customers had a large increase in subscription prices.

Shortly after the launch, the channel began to show a program called Avspark (literally translated to Kick-off) with Ola Wenström and Bosse Pettersson. The program showed highlights from Allsvenskan mixed with interviews of current Allsvenskan personalities in the studio. The program was on-the-air only for a year between late October 2008 and early November 2009, then the channel heads decided not to continue the program for the next season.

The channel is available in Sweden and Finland.

V Sport Motor

V Sport Motor broadcasts motorsports. The broadcasts include series, like MotoGP, STCC, WRC and Formula 1, which the channel has made heavy investments to. In most of the race weekends, experts Frida Nordstrand, Eje Elgh and Stefan Johansson are on track, supplemented by a studio in Stockholm led by Janne Blomqvist, who is also the commentator of the race along with Elgh. During other weekends, only Elgh is in the place. The channel has also run a news magazine dedicated to motorsport (particularly F1) since 2009 together with Sportbladet.

The channel also launched a major investment in MotoGP, which includes live broadcasts of all three classes (125, Moto2 and MotoGP). Other broadcasts include the Swedish Touring Car Championship, NASCAR and F1 Powerboat.

V Sport Hockey

V Sport Hockey is a channel dedicated to ice hockey broadcasts.

The channel's broadcasts are focusing on NHL, KHL, HockeyAllsvenskan and the Ice Hockey World Championships and it broadcasts over 300 games per season from these leagues. The channel was announced to the public on May 7, 2009, during the year's Hockey World Championships.

V Sport Golf

V Sport Golf's broadcasts consist exclusively of golf. Its rights include tours such as PGA and LPGA tours, Ryder Cup and the WGC. The Swedish broadcasts are mainly commentated by Göran Zachrisson.

The channel has arisen some controversy, when viewers were upset of being forced to buy the channel, because some of them (Lübker Golf Resort) thought, they already paid for golf broadcasts, when buying the Viasat Sport package.

Programming rights in Sweden

Football
 Premier League
 UEFA Europa League
 UEFA Europa Conference League
 England national team
 EFL Championship
 English FA Cup
 EFL Cup
 Women's Super League
 Scottish Premiership
 German Bundesliga
 German Bundesliga 2
 German DFB Cup
 German Frauen-Bundesliga
 Germany national team
 Sweden national team
 Damallsvenskan
 Eredivisie

Ice hockey
 IIHF World Championships
 European Trophy
 Champions Hockey League (if organised)
 National Hockey League
 Kontinental Hockey League
 Latvian Hockey League

Motorsports
 Formula 1
 Formula 2
 Formula 3
 Porsche Supercup
 MotoGP
 Indycar
 NASCAR
 Porsche Carrera Cup Scandinavia
 F1 Powerboat World Championship

Handball
 IHF World Men's Handball Championship
 IHF World Women's Handball Championship
 European Men's Handball Championship
 European Women's Handball Championship
 EHF Champions League
 Women's EHF Champions League

Golf
 LPGA Tour
 PGA European Tour
 Ryder Cup
 Women's major championships
 Challenge Tour
 Champions Tour

Other sports
 UFC
 Euroleague of basketball
 Major League Baseball
 USFL of American football
 K-1 Grand Prix of mixed martial arts

References

External links
 Viasat Sport (in Swedish)

Television channels in Sweden
V Sport
Television channels and stations established in 1999
1999 establishments in Sweden

V Sport (Sweden)


Major General Jeffery John Sengelman,  is a retired senior officer of the Australian Army. He joined the army via the Officer Cadet School, Portsea in 1980, was commissioned into the Royal Australian Infantry Corps and spent much of his military career in special forces. He commanded the 4th Battalion, Royal Australian Regiment (Commando) (2000–01) and the 6th Brigade (2010–11), deployed on operations to East Timor and Iraq, and served as Commander Forces Command in 2011, Deputy Chief of Army from 2011 to 2012, Head of Modernisation and Strategic Planning – Army from 2012 to 2014, and Special Operations Commander Australia from 2014 until his retirement in 2017.

Military career
Sengelman entered the Officer Cadet School, Portsea, in 1980 and, on graduation, was commissioned a second lieutenant in the Royal Australian Infantry Corps on 13 June 1981. He occupied a series of regimental, staff and training appointments in infantry and special forces units during his early career, including as a Freefall and Counter Terrorist Troop Commander and unit adjutant in the Special Air Service Regiment (SASR). He was promoted to lieutenant on 13 December 1982, made an acting captain on 1 July 1984, and advanced to substantive captain from 1 February 1986.

As a major, Sengelman was Officer Commanding 2nd Sabre Squadron, SASR during the early 1990s. For his performance in the role, he was awarded the Conspicuous Service Cross in the 1995 Birthday Honours. Sengelman assumed command of the 4th Battalion, Royal Australian Regiment (Commando) (4RAR) in January 2000. 4RAR had not long come through a complete restructure to transition from a light infantry battalion to a commando special forces unit in order to supplement the capability of the SASR. Three months into Sengelman's command, however, 4RAR was tasked to deploy with the United Nations Transitional Administration in East Timor and had to be rapidly reorganised as light infantry to meet its operational requirements. Sengelman led 4RAR in East Timor from April to October 2000, working with the East Timorese to ensure local security, gather intelligence and conduct regular patrols. Sengelman relinquished command of 4RAR in Sydney in December 2001, but in recognition of his "distinguished command and leadership" on operations in East Timor he was awarded the Distinguished Service Cross in the 2002 Birthday Honours.

Sengelman was subsequently appointed Staff Officer (Policy) to the Chief of the Defence Force, was Director of Military Art at the Royal Military College, Duntroon from 2003 to 2005, and served in the Iraq War. As a brigadier, he was Deputy Special Operations Commander Australia, chief of staff to Special Operations Command, and commanded the re-raised 6th Brigade from 2010. For his "exceptional service" in these roles, he was appointed a Member of the Order of Australia in the 2011 Birthday Honours. Promoted to major general, Sengelman was made Commander Forces Command in June 2011, reposted as Deputy Chief of Army in October, and appointed as Head of Modernisation and Strategic Planning – Army in February 2012. In December 2014, Sengelman assumed his final military posting as Special Operations Commander Australia (SOCAUST). As SOCAUST, he was responsible to both the Chief of Army and Chief of Joint Operations for the training, capability development, and operations of Australia's special forces. Sengelman was succeeded as SOCAUST by Major General Adam Findlay in June 2017, and retired from the army after a career of 37 years.

Sengelman holds a Bachelor of Arts, a Master of Arts in International Relations and a Master of Arts in Strategic Studies. He is a graduate of the Australian Command and Staff College and the United States Army War College.

Personal life and later career
Following his retirement from the army, Sengelman joined the board of the communications company EM Solutions in October 2017. He currently serves as Chairman of the Board for a publicly traded, multinational communications technology company, and a human performance optimisation company. Sengelman also mentors veterans with PTSD in his local community and serves as a  Board Director of the Australian Capital Territory, Domestic Violence Crisis Service.

Sengelman is married to Julie, with whom he has a son and a daughter. He enjoys reading, Rugby Union, hiking and surfing.

Footnotes

Bibliography

|-

|-

Australian generals
Australian military personnel of the Iraq War
Graduates of the Officer Cadet School, Portsea
Living people
Members of the Order of Australia
Officers of the Legion of Merit
Recipients of the Conspicuous Service Cross (Australia)
Recipients of the Distinguished Service Cross (Australia)
United States Army War College alumni
Year of birth missing (living people)

Jeff Sengelman


Robert Bonnet (February 17, 1851 – October 13, 1921) was a German anatomist born in Augsburg.

In 1876 he received his doctorate at Munich, where in 1880 he began work as an assistant at the anatomical institute. The following year, he was appointed professor at the Königliche Centraltierarzneischule in Munich. In 1889 he became an associate professor at the University of Würzburg, and two years later was appointed full professor of anatomy and director of the anatomical institute at Giessen. Later in his career, he served as a professor at the Universities of Greifswald (from 1895) and Bonn (from 1907).

Bonnet was the author of many scientific works, including numerous studies dealing with the anatomy and embryology of domesticated animals. He was co-editor of Ergebnisse der Anatomie und Entwicklungsgeschichte ("Results on anatomy and historical development"), and collaborated with Friedrich Sigmund Merkel (1845-1919) on Anatomische Hefte ("Anatomical books").

References
 Robert Bonnet @ Who Named It

External links

1851 births
1921 deaths
Academic staff of the University of Greifswald
Academic staff of the University of Giessen
Academic staff of the University of Bonn
Academic staff of the University of Würzburg
German anatomists
Physicians from Augsburg
Members of the Göttingen Academy of Sciences and Humanities

Robert Bonnet (physician)


Black Waters is a 1929 British/American horror sound film produced by Herbert Wilcox and directed by Marshall Neilan. It was the first British-produced talking picture ever shown in England, but it was actually made in Hollywood since that is where the needed sound equipment was at that time. Wilcox sent Neilan to the U.S. to film the picture there, using a mostly American cast and crew. (Alfred Hitchcock's Blackmail (1929) is often said to be the first British talking picture, but it was actually released after Black Waters.)

Wilcox went on to star American actors in many of his later British films as well, to make them more appealing to British filmgoers, a practice that Hammer Films did away with after 1957.

Black Waters was written by American John Willard, based on his play Fog. Willard was the writer of the successful play The Cat and the Canary (1922), which was filmed several times and ripped off by a number of other filmmakers, and he was trying to repeat his success with this film, only replacing the "old dark house" setting with that of an "old dark houseboat". The cast featured Hollywood actor Noble Johnson (of King Kong fame).

Black Waters is today considered a lost film.

Plot
A weird night watchman lures a group of people onto a rundown old yacht at a San Francisco pier at midnight. Once the boat sets sail, the passengers are murdered off one by one, until only two of them (Charles and Eunice) remain, along with a kindly old reverend who turns out to actually be the murderer, a crazy ship's captain named Tiger Larabee who disguises himself as a reverend to pull off a succession of murders.

Cast
 John Loder as Charles, the hero
 Mary Brian as Eunice, the heroine
 James Kirkwood as the reverend Eph Kelly
 Frank Reicher as Randall
 Robert Ames as Darcy
 Noble Johnson as Jeelo
 Hallam Cooley as Chester
 Lloyd Hamilton as Temple
 Ben Hendricks Sr. as Olaf

Production
Herbert Wilcox produced the film after visiting Hollywood to see the development of sound. He rented a soundproofed studio from Charles and Al Christie in Hollywood for five days at £1,000 a day. Wilcox claimed it was the fifth talking picture ever made. He later obtained a license from Western Electric to equip the first sound studio in Europe. Photoplay magazine noted that the film had a titular theme song, but it is not known to survive today.

Reception
Wilcox struggled to get the film exhibited in England, as only a few British cinemas were equipped to handle sound pictures. Historian Chris Howarth stated "The film was long thought to have  received scant attention upon its initial release, though some modern film critics who have studied the original reviews suggest that it might have been more inventive than originally assumed....".

See also
 List of early sound feature films (1926–1929)

References

Sources
 Wilcox, Herbert; "Twenty Five Thousand Sunsets" (1967)

External links

 Black Waters at Silent Era
 Black Waters at BFI

1929 films
British horror drama films
1929 drama films
British black-and-white films
Transitional sound films
Lost British films
1929 lost films
Lost drama films
Films directed by Marshall Neilan
1920s English-language films
1920s British films

Black Waters


The medieval runes, or the futhork, was a Scandinavian runic alphabet that evolved from the Younger Futhark after the introduction of stung (or dotted) runes at the end of the Viking Age. These stung runes were regular runes with the addition of either a dot diacritic or bar diacritic to indicate that the rune stood for one of its secondary sounds (so an i rune could become an e rune or a j rune when stung). The medieval futhork was fully formed in the early 13th century. Due to the expansion of its character inventory, it was essentially possible to have each character in an inscription correspond to only one phoneme, something which was virtually impossible in Younger Futhark with its small inventory of 16 runes.

Medieval runes were in use throughout Scandinavia during the Middle Ages, and provided the basis for runology beginning in the 16th century.

History

Towards the end of the 11th century, the runic alphabet met competition from the introduced Latin alphabet, but instead of being replaced, the runes continued to be used for writing in the native Old Norse language. The Latin alphabet, on the other hand, was mainly used by the clergy for writing in Latin, but also Latin prayers could be written down with runes. Whereas the Latin letters were written with quill and ink on expensive parchment, the runes were carved with sharp objects on prepared wooden staffs that were cheaper (see e.g. the Bryggen inscriptions).

Although, it may at first appear that the church did not provide a congenial environment for tradition of writing in medieval runes, there are many known church objects that were engraved with runes, such as reliquaries, bells, baptismal fonts, iron work on church doors, church porches and church walls. In fact, one of the last runestones was raised in memory of the archbishop Absalon (d. 1201).

Most of the runes in the medieval runic alphabet can be traced back to forms in the Younger Futhark as the runemasters preferred to use, or modify, old runes for new phonemes rather than invent new runes.

At the end of the 10th century, or the early 11th century, three stung runes were added in order to represent the phonemes in a more exact manner. Rather than create new runes for the ,  and  phonemes, stings were added to the i, k and u runes.

Around the mid-11th century, the ą and the ʀ runes took on new sounds. In Western Scandinavia, the sound of the ʀ rune merged with the sound of the r rune. Since the ʀ rune's name was yr, and since this name began with /y/, it was no stretch to begin using the rune to stand for /y/. The practice of using the ʀ rune to stand for /y/ then spread to the rest of Scandinavia. Meanwhile, when the nasal  changed into , this became the new phoneme for the ą rune.

Towards the end of the 11th century and in the early 12th century, new d and p runes were created through the addition of stings to the t and b runes. A second /p/ rune with a shape similar to an uppercase K, and transliterated as ᴘ, begins to appear around the 13th century. This rune may have been invented because stinging a consonant rune usually marks it as voiced, and the stung b rune violated this norm by being unvoiced.

When the medieval runic alphabet was fully developed in the early 13th century, it mixed short-twig and long-branch runes in a novel manner. The short-twig a rune represented /a/, while the long-branch one represented /æ/. The short-twig ą rune represented /o/, whereas the long-branch form represented /ø/.

As the two alphabets were used alongside each other, there was a mutual influence. The Latin alphabet early borrowed the þ rune to represent the /θ/ and /ð/ phonemes, but in Denmark it was rarely used. In the 15th century, Norwegians and Swedes also stopped using the þ letter, but the Icelanders still retain it in their Latin alphabet. Due to the Latin alphabet the m and the l runes changed places so the rune row read fuþorkniastblmy (note that the last rune had come to represent the /y/ phoneme). In addition, Scandinavians began to double spell runes for consonants, influenced by this use in the Latin alphabet.

In the oldest Scandinavian manuscripts that were written with Latin letters, the m rune was used as a conceptual rune meaning "man". This suggests that the medieval Scandinavian scribes had a widespread familiarity with the names and the meanings of the individual runes. In the oldest preserved manuscript of the Poetic Edda from 1270, and which is written with the Latin alphabet, the m is used as a conceptual rune meaning "man" and in Hávamál it appears 43 times.

In the early 13th century, the runes began to be threatened by the Latin letters as the medieval Scandinavian laws were written. Until then, the laws had been memorized and recited by the lawspeakers. Still, when the runes began to experience competition, they went through a renaissance. A thorough reformation of the runes appeared and the medieval runes reached their most complete form. This may be because the laws were written down, and the oldest manuscript with a Scandinavian law, the Codex Runicus, was written entirely in runes.

Early modern legacy

The Latin letters were introduced officially during the 13th century, but farmers, artisans and traders continued to write with runes to communicate or to mark goods. It appears that in many parts of Sweden, people considered Latin letters to be a foreign practice throughout the Middle Ages. Still in the 16th century, the runes were engraved on official memorials or as secret writing in diaries. In the mid-16th century, the parson of the parish of Runsten on Öland wrote a sign on the chancel-wall of the church that said "The pastor of the parish should know how to read runes and write them". It is likely that the text represented the general opinion of the parishioners. Since the runes were still actively known and used in the 16th century, when the first runologists began to do scholarly work on the runes, the runic tradition never died out. Many manuscripts written in Iceland through the 16th to 19th centuries featured Medieval runes, Rune Poems and secret rune sets.

When Linnaeus visited the province Dalarna in 1734, he noted the common use of runes, and this province has been called "the last stronghold of the Germanic script". In Dalarna as in the rest of Sweden, the medieval tradition of using runic calendars was almost universal until the 19th century. A notable case of a runic calendar is the calendar from Gammalsvenskby in Ukraine. It was made on Dagö in 1766 before the Swedish settlement was deported on a forced march to the steppes of Ukraine. During 134 years, the people of Gammalsvenskby in Ukraine used it to calculate the passage of time, until 1900 when a member of the community brought it to Stockholm.

The prominent Swedish runologist Jansson commented on the use of runes in his country with the following words:
We loyally went on using the script inherited from our forefathers. We clung tenaciously to our runes, longer than any other nation. And thus our incomparable wealth of runic inscriptions also reminds us of how incomparably slow we were – slow and as if reluctant – to join the company of the civilised nations of Europe.

Letters

The above continues the younger futhark rune order. Although this order was still used in the medieval period, it became increasingly common to arrange the runes in the order of the Latin alphabet. The names listed come from the manuscripts Stowe MS 57 and AM 461 12o with slight alteration. The name meanings are inferred from the Norwegian and Icelandic rune poems.

A hallmark of medieval runes was the optional sting or bar diacritic which was often used to indicate when a rune stands for a secondary sound; ᚡ gave /v/, ᚤ gave /y/ and /ø/, ᚧ gave /ð/, ᚵ gave /g/ and /ɣ/, ᛂ gave /e/ and rarely /j/, ᛑ gave /d/, ᛔ gave /p/. Of these, ᚡ and ᚧ were rarer than the other stung runes, and show up later in the timeline.

It was common for additional runes beyond the stock sixteen to be used. ᛕ existed as an alternative to ᛔ. Although originally the same rune, ᚮ and ᚯ split, and so did ᛆ and ᛅ, thereby increasing the number of vowel runes.

Three additional stung runes are found on Gotland, though two of them are only attested in one inscription.

See also
List of runestones

Notes

References
Enoksen, Lars Magnar (1998). Runor: historia, tydning, tolkning. Historiska Media, Falun.
Jansson, Sven B. F. (1997 [1987]). Runes in Sweden. Stockholm, Gidlund.
Nordic Medieval Runes

Medieval Sweden

it:Fuþork

Medieval runes


Frederick James Buttsworth (29 May 1927 – 12 May 2021) was an Australian rules footballer who played for West Perth in the Western Australian National Football League (WANFL) and briefly for Essendon in the Victorian Football League (VFL). He was the younger brother of footballer Wally Buttsworth.

Buttsworth started his career with West Perth during the Second World War and was their best and fairest winner in 1944. He joined the navy in 1945 and was posted in Melbourne which gave him a chance to play in the VFL with Essendon, playing eight games and kicking nine goals.

In 1946 he returned to West Perth and established himself as one of the best centre half backs in the competition. He was a member of premiership sides in 1949 and again in 1951 when he won another best and fairest as well as a Sandover Medal.

Buttsworth regularly represented Western Australia at interstate football, winning a Simpson Medal for his performance in the 1951 Carnival. He also represented his state at cricket, appearing in eight first class matches from 1947–48 to 1949–50.

He was just 25 years of age when he retired, finishing with a tally of 182 WANFL games. Buttsworth died at the age of 93 on 12 May 2021.

References

External links

1927 births
2021 deaths
West Perth Football Club players
Essendon Football Club players
Sandover Medal winners
Australian cricketers
Western Australia cricketers
Sportsmen from Western Australia
Cricketers from Perth, Western Australia
Australian rules footballers from Perth, Western Australia
West Australian Football Hall of Fame inductees

Fred Buttsworth


Infanta Elena, Duchess of Lugo (Elena María Isabel Dominica de Silos de Borbón y de Grecia; born 20 December 1963), is the first child and eldest daughter of King Juan Carlos I and Queen Sofía. As the eldest sister of King Felipe VI, Elena is the third in the line of succession to the Spanish throne. She has another younger sister, Infanta Cristina.

On 3 March 1995, on the occasion of her marriage to Jaime de Marichalar y Sáenz de Tejada, Lord of Tejada, she was created Duchess of Lugo by her father, King Juan Carlos. The title, as part of the titles belonging to the Spanish crown, was granted to her for life and her descendants will not be able to inherit it.

Since the ascension of her younger brother to the Spanish throne, Elena is not part of the royal family. However, just as she did during her father's reign, she currently represents the Crown when required by the monarch. She has also represented her family abroad on several occasions, having travelled to Germany, the United Kingdom, the United States, Argentina, Japan, Peru, and the Philippines.

Early life and family

Infanta Elena was born on 20 December 1963 at Our Lady of Loreto Hospital, now known as ORPEA Madrid Loreto, in Madrid. She is the first member to be born in hospital from King Juan Carlos I's family and she is eldest child of King Juan Carlos I, the former Spanish monarch, and his wife, Queen Sofía (born Princess of Greece and Denmark). She has one sister and one brother.

Elena studied at Santa María del Camino School in Madrid and got a diploma as teacher of secondary school in 1986, with a specialty in English studies.  She later moved to Paris in order to study French literature; it was during this time that she met her future husband. After working as an English teacher at her childhood school, she graduated in Education Sciences by the Comillas Pontifical University in 1993.

Equestrianism
Since she was a child, Elena showed a special preference for horse riding, a passion that she inherited from her grandmother, Princess María de las Mercedes, Countess of Barcelona. It was during her adolescence that she began to make a name for herself in the world of show jumping. She debuted in an official competition in 1982 at the Club de Campo Villa de Madrid.  After this, in the late 1980s King Juan Carlos ordered the construction of stables and a riding arena at the Royal Palace of Zarzuela so that her daughter could practice her hobby in the palace. As of 2022, although she no longer resides in Zarzuela nor is she part of the royal family, she continues to use these facilities that she upholds financially.

Elena was described by fellow equestrian Luis Jaime Carvajal y Salas, 5th Duke of Aveyro, as a "very good [rider]" but he pointed that her problem was that it "requires time and she doesn't have it" (as member of the royal family.

Among the most notable horses of the Infanta are Qant (her favorite horse since 2011) and Jordano EB (Qant successor), a chestnut-bred horse that she bred herself. As of 2016, Elena owned, at least, eight different horses.

Elena has had several equestrian teachers; since she left the royal family, she has not had an official one. The most relevant are Felipe de Zuleta y Alejandro from 2006 to 2015, an official of the Royal Guard and brother of the Duke of Abrantes, private secretary of Queen Letizia, and Luis Astolfi Pérez de Guzmán, a former boyfriend and currently a close friend to the infanta. Luis and Elena relinked their friendship in 2013 after many years without contact.

She shares this hobby with her daughter, Victoria, Grandee of Spain, as well as watching bullfighting.

Marriage and children

Elena met Jaime de Marichalar y Sáenz de Tejada, Lord of Tejada, son of the Amalio de Marichalar y Bruguera, 8th Count of Ripalda, for the first time in 1987 in Paris. Elena was studing french literature at the French capital while Jaime was working for the Swiss bank Credit Suisse. Soon after that meeting, they started a relationship but it was not until 1993 that the press got the first photographs of the couple and during 1994, the wedding rumors increased. On 23 November 1994, the Royal Household made official their engagement.

The formal marriage proposal was made on 26 November 1994 at the Royal Palace of Zarzuela. The engagement ring was a diamond ring part of a tiara belonging to the groom's mother, María de la Concepción Sáenz de Tejada y Fernández de Bobadilla, Lady of Tejada. In addition to the immediate royal family, Princess María de las Mercedes, Countess of Barcelona (the bride's grandmother), Infanta Pilar, Duchess of Badajoz (the bride's aunt) and the Duchess and Duke of Soria (the bride's aunt and uncle) were also present.Their wedding took place on 18 March 1995, in the Seville Cathedral. This was the first royal wedding in Spain since the wedding of King Alfonso XIII and Princess Victoria Eugenie of Battenberg in 1906. Around 1,500 guest, including representatives of 39 royal houses, attended the event. 150,000 citizens filled the streets around the Cathedral. Also, to celebrate the occasion, King Juan Carlos created Infanta Elena as Duchess of Lugo.

The couple have two children: Felipe de Marichalar y Borbón (born 17 July 1998) and Victoria de Marichalar y Borbón (born 9 September 2000) were born at Ruber International Hospital in Madrid . On 26 June 2003, a few days later after the king announced the third pregnancy of his daughter, Elena suffered a miscarriage. As children of an Infanta of Spain, Elena's children are Grandees of Spain.

On 13 November 2007, it was announced that Elena had separated from her husband. In November 2009, the Spanish media reported that she and her husband would divorce, although a rumour to that effect had been circulating for a year before the announcement was made. Their divorce papers were signed on 25 November 2009. The Duchess and Duke consort of Lugo were divorced in December 2009. On 21 January 2010, the divorce was registered at the Civil Registry of the Spanish Royal Family and it was officially announced on 9 February 2010; Jaime de Marichalar was no longer permitted to use the ducal title and that he was no longer considered to be an official member of the Spanish Royal Family.

Activities and personal work
Elena started to attend official events at very young age. One of the first official events she attended was the proclamation of his father in November 1975. Since finishing her most basic education in 1983, Elena, along with her sister Cristina, supported their parents representing the Crown at official events such as the National Day, the wedding of Princess Astrid of Belgium, the re-burial of Queen Victoria Eugenia at El Escorial, the state visit of Mexican president Miguel de la Madrid to Spain, and the 1984 Prince of Asturias Awards ceremony, among others.

Since the ascension of her brother in June 2014 and the consequent departure from the royal family, Elena has reduced her public appearances. Exceptionally, that year she represented the Crown in some events, such as the funeral of Cayetana Fitz-James Stuart, 18th Duchess of Alba in November 2014 and the delivery of the National Sports Awards in December 2014. Since then, Elena has limited her institutional activity to annually presiding over the awards ceremony for the Patrimonio Nacional's Children's and Youth Painting Contest.

In addition to her obligations as an infanta, Elena has a personal job that allows her to compensate for the lack of public salary by not being a member of the royal family. Elena has worked at the Mapfre Foundation since 2008 and currently serves as director of social and cultural projects. From this position, Infanta Elena has helped the foundation to promote projects and give visibility to various cooperation programs in Latin America through several international tours. Most of the public appearances of the infanta are related to the social activities of this foundation.

Titles, styles, honours and arms

Titles and styles
20 December 1963  3 March 1995: Her Royal Highness Infanta Doña Elena
3 March 1995present: Her Royal Highness Infanta Doña Elena, Duchess of Lugo

Honours

National honours
:
 Dame Grand Cross of the Order of Charles III
 Dame Grand Cross of the Order of Isabella the Catholic
 Dame of the Royal Cavalry Armory of Seville
 Dame of the Royal Cavalry Armory of Zaragoza

Foreign honours
: Grand Star of the Decoration of Honour for Services to the Republic of Austria
: Grand Cordon of the Order of Leopold I
: Grand Cross of the Order of Merit
: Grand Cross of the Order of Honour
: Grand Cross of the Order of the Quetzal
: Grand Cross of the Order of the Falcon
: Knight Grand Cross of the Order of Merit of the Italian Republic
: Grand Cordon (Paulownia) of the Order of the Precious Crown
: Grand Cordon of the Order of the Star of Jordan
: Grand Cross of the Order of Adolphe of Nassau
: Member 1st Class of the Order of the Three Divine Powers
: Knight Grand Cross of the Order of Orange-Nassau
: Grand Cross of the Order of Saint Olav
: Grand Cross of the Order of the Sun of Peru
: Grand Cross of the Order of Christ
: Grand Cross of the Order of Prince Henry
: Recipient of the 50th Birthday Badge Medal of King Carl XVI Gustaf

Ancestry

See also
Line of succession to the Spanish Throne

References

External links
Her Royal Highness the Infanta Elena (official profile)

1963 births
Living people
Spanish infantas
Daughters of kings
House of Bourbon (Spain)
Dukes of Lugo
Alumni of the University of Exeter

Knights Grand Cross of the Order of Isabella the Catholic

Grand Cordons of the Order of the Precious Crown
Grand Crosses of the Order of Christ (Portugal)
Grand Crosses of the Order of Prince Henry
Grand Crosses of the Order of the Quetzal
Knights Grand Cross of the Order of the Falcon
Knights Grand Cross of the Order of Merit of the Italian Republic
Knights Grand Cross of the Order of Orange-Nassau
Members of the Order of Tri Shakti Patta, First Class
Grand Crosses of the Order of the Sun of Peru
Spanish duchesses

Infanta Elena, Duchess of Lugo


Sod is grass and the part of the soil beneath it held together by the roots, or a piece of this material. Some sod is grown agriculturally, and is sold to landscapers who use it to quickly get a lawn. Sod was used for building of fortifications in former times.

Construction

Sod


Han Na-Kyeong (also Han Na-Gyeong, ; born June 23, 1993, in Seoul) is a South Korean swimmer, who specialized in long-distance freestyle events. Han is a member of the swimming team at Sehyeon High School in Seoul.

Han qualified for the women's 800 m freestyle at the 2012 Summer Olympics in London, by eclipsing a FINA B-standard entry time of 8:50.16 from the Dong-A Swimming Championships in Ulsan. She challenged seven other swimmers on the second heat, including two-time Olympians Lynette Lim of Singapore, Khoo Cai Lin of Malaysia, and Nina Dittrich of Austria. She rounded out the field to last place by five seconds behind Lim in 8:57.26. Han failed to qualify for the final, as she placed thirty-second overall in the preliminary heats.

References

External links
NBC Olympics Profile

1993 births
Living people
Olympic swimmers for South Korea
Swimmers at the 2012 Summer Olympics
South Korean female freestyle swimmers
Swimmers from Seoul
21st-century South Korean women

Han Na-kyeong


Prasophyllum pictum is a species of orchid endemic to New South Wales. It has a single tubular, shiny dark green leaf and up to twenty two scented brown, pink, purple and white flowers. It is only known from three subpopulations on the Northern Tablelands.

Description
Prasophyllum pictum is a terrestrial, perennial, deciduous, herb with an underground tuber and a single shiny, dark green, tube-shaped leaf,  long and  wide with a purplish base. Between about nine and twenty two flowers are crowded along a flowering spike  long, reaching to a height of up to . The flowers are sweetly scented and are white with brown, pink and purple tones. As with others in the genus, the flowers are inverted so that the labellum is above the column rather than below it. The dorsal sepal is broadly egg-shaped to lance-shaped,  long,  wide and has three to five darker veins and a pointed tip. The lateral sepals are linear to lance-shaped,  long, about  wide and joined to each other, at least when the flower first opens. The petals are white with a pink to red central area, linear,  long and about  wide. The labellum is white, oblong to lance-shaped,  long, about  wide and turns sharply upwards through more than 90°. There is an egg-shaped to wedge-shaped yellow callus with a dark green base in the centre of the labellum and extending well past the bend. Flowering occurs between late November and late December.

Taxonomy and naming
Prasophyllum pictum was first formally described in 2018 by David Jones and Lachlan Copeland from a specimen collected near Ebor and the description was published in Australian Orchid Review. The specific epithet (pictum) is derived from the Latin word pictus meaning "painted" or "colored", referring to the colourful flowers of this leek orchid.

Distribution and habitat
This leek orchid grows in grassland and grassy woodland at altitudes of about . It is only known from three subpopulations containing a total of about 200 plants near Ebor.

References

pictum
Orchids of New South Wales
Endemic orchids of Australia
Plants described in 2018

Prasophyllum pictum


Mommie Dearest is a 1981 American biographical psychological drama film directed by Frank Perry and starring Faye Dunaway, Steve Forrest, Mara Hobel, and Diana Scarwid, with supporting performances from Xander Berkeley in his feature film debut along with Rutanya Alda and Jocelyn Brando. Adapted from Christina Crawford's 1978 autobiography of the same name, the film follows her and her brother Christopher's upbringing under their adoptive mother, actress Joan Crawford, depicting her as abusive, controlling, and manipulative, prioritizing her Hollywood career over her family.

The executive producers were Christina's husband, David Koontz, and Terry O'Neill, Dunaway's then-boyfriend and soon-to-be husband. The film was distributed by Paramount Pictures, the only one of the Big Eight film studios for which Crawford had never appeared in a feature film.

Released in September 1981, Mommie Dearest swiftly garnered a reputation among audiences for its highly-charged performances and melodramatic style, leading Paramount to retool their marketing campaign, presenting the film as an unintentional comedy despite its dark subject matter. The film underperformed at the box office, grossing $25 million internationally against a $10 million budget. Despite receiving mostly negative reviews from critics, the film's perceived bizarre script and performances, particularly Dunaway's, have brought a cult following to the film.

Often considered to be one of the worst films ever made, it was nominated for nine Razzies at the 2nd Golden Raspberry Awards, and won five, including Worst Picture and Worst Actress for Faye Dunaway.

Plot
The film's plot is loosely based upon Christina Crawford's memoir of the same title. Joan Crawford is a dedicated and career-driven actress at MGM Studios. Despite having achieved success in her career, she longs to have a child, however, she is unable to conceive, and suffers a series of miscarriages. Joan applies to adopt a child, but is denied due to the fact she is a single woman, therefore, she enlists the help of her love interest, Hollywood attorney Greg Savitt (played by Forrest). Joan adopts a baby girl and names her Christina, then later adopts a boy, naming him Christopher. In reality, Joan had four adopted children, however, her other daughters, Cathy and Cindy, are not portrayed or mentioned in the film.
Joan lavishes Christina with attention and luxury, such as an extravagant birthday party, but also enforces a strict code of discipline. When Christina later rebels against her mother, confrontations ensue.
Meanwhile, Joan resents Greg's allegiance to studio boss Louis B. Mayer, and after a quarrel between the two, they end their stormy relationship. Shortly thereafter, Joan is asked to leave MGM.

Soon, Joan's career is on an upswing when she obtains the title role in the film "Mildred Pierce," and wins the Best Actress Academy Award. Shortly afterward, Joan sends Christina to Chadwick School boarding school. A period of time passes, and teenage Christina has developed an interest in acting. When Christina is caught being intimate with a male classmate, Joan withdraws her from the school. After a fight at home, Joan sends Christina to Flintridge Sacred Heart Academy.
Another short period of time passes, and Joan has met and married Alfred Steele, president of Pepsi Cola, and moves to New York City. Shortly thereafter, Steele suddenly passes away from a heart attack, and Joan remains with Pepsi.

After graduating from Flintridge, Christina rents an apartment in Manhattan, and begins professional acting. Joan and adult Christina maintain a polite, yet strained, relationship as they lead their separate lives. When Christina is hospitalized for an ovarian tumor, she is temporarily replaced on the soap opera she is working on by Joan, who is decades older than the character. Though tensions still exist between the two, Christina believes that they have put the past behind them and that, in her way, her mother does love her. Years later, when Joan dies of cancer in 1977, Christina and Christopher attend the reading of her will and learn that Joan has disinherited them both.

Cast

Production
Christina Crawford, the writer of the memoir from which the book is based, claims to have seen the film only once, and has repeatedly stated that she had no involvement with the making of the film. Christina has categorically denounced the film as "grotesque" and a work of fiction, saying, "It's not a very good movie".  Christina has repeatedly stated that the film is highly inaccurate, and that the portrayal of her mother in the film is nothing like the real Joan Crawford, emphasizing that she never wrote in her book that Joan chopped down a tree with an axe, or beat her with a wire hanger as depicted in the film.

According to Faye Dunaway, producer Frank Yablans promised her during the casting process that he wished to portray Joan Crawford in a more moderate way than how she was portrayed in Christina Crawford's book. In securing the rights to the book, Christina's husband David Koontz was given an executive producer credit, though he had no experience producing films. Dunaway likewise demanded that her own husband,  photographer Terry O'Neill, be given a producer credit. According to Yablans, the two husbands jostled over Dunaway's portrayal of Crawford: "I had two husbands to deal with, David driving me crazy that Faye was trying to sanitize Joan, and Terry worried we were pushing Faye too far and creating a monster."
In an interview with The New York Times, Dunaway stated she prepared for the film by studying photographs of Crawford, and exercised her jaw muscles in an attempt to replicate the distinctive shape of Crawford's mouth.

In 2015, actress Rutanya Alda (Carol Ann) published a behind-the-scenes memoir, detailing the making of the film, The Mommie Dearest Diary: Carol Ann Tells All. In it, she describes the difficulty of working with Dunaway, whose method approach to playing Joan seemed to absorb her and make her difficult to the cast and crew. In an interview with the Bay Area Reporter, Alda stated, "People despised Faye...because she was rude to people. Everyone was on pins and needles when she worked, and relaxed when she didn't." Alda described the process of acting opposite Dunaway very unfavorably by claiming that she manipulated the director to deprive the other actors of screen time and required the members of the cast to turn their backs when not in the shot so she would have no audience. She also claimed that Dunaway was "out of control" while filming the scene where Joan attacks Christina (Diana Scarwid) in front of a reporter (Jocelyn Brando) and Carol Ann has to pull her off. Alda was hit hard in the chest and knocked over several times, while Brando, who was scripted to help Alda pull Dunaway off of Scarwid, refused to get near her for fear of being injured.

Release

Box office and marketing
The film opened in New York City on September 16, 1981, before the release expanded on September 18, 1981, opening in 85 theaters. It earned $905,920 during its opening weekend, accounting for approximately 4% of its budget. It expanded the following week to 930 theaters, and grossed a further $4,667,761. It earned an additional $3,208,436 during its third week of release, and another $2,009,548 during its fourth.

Roughly a month into release, Paramount executives realized the film was getting a reputation at the box office as an unintentional comedy and changed its advertising to reflect its new camp status, proclaiming, "Meet the biggest mother of them all!" Advertisements featured hanging wire hangers, a reference to the abuse sequences depicted in the film, but these were withdrawn after attorneys representing the film's producers, among them Yablans, sued the film studio.

The film ultimately grossed $19,032,000 in the United States, with an additional $6,000,000 in international markets, making for a worldwide gross of $25,032,000.

Critical response
Roger Ebert opened his one-star review with, "I can't imagine who would want to subject themselves to this movie," calling it "unremittingly depressing, not to any purpose of drama or entertainment, but just to depress. It left me feeling creepy."

About Dunaway's performance, Variety said, "Dunaway does not chew scenery. Dunaway starts neatly at each corner of the set in every scene and swallows it whole, costars and all."

Vincent Canby of The New York Times called it "an extremely strange movie" yet "a peculiarly engaging film, one that can go from the ridiculous to the sublime and back again within a single scene, sometimes within a single speech."

Gene Siskel of the Chicago Tribune gave the film two and a half stars out of four and wrote, "Mommie Dearest isn't a bad film, it's more of an incomplete story," because the script "doesn't care enough to attempt a thoughtful answer to the most obvious question of all—why? Why did Joan Crawford punish her adopted daughter with beatings and isolation? Why did Joan Crawford force her adopted son to wear, in effect, a harness to strap him in bed? I don't think you can show such extraordinary behavior in a film about a famous person and not offer some answers. It's simply not responsible filmmaking, both intellectually and dramatically."

Kevin Thomas of the Los Angeles Times wrote that Faye Dunaway "is a terrific Joan Crawford," but the film "plays like a limp parody of a bad Crawford movie. When Dunaway's Crawford, who's a seething volcano of emotions, finally erupts, the effect is laughable, rather than terrifying or pathetic, so pallid is the picture. 'Mommie Dearest' is at best campy, and at worst, merely plodding."

Pauline Kael declared that Faye Dunaway gave "a startling, ferocious performance," adding, "Dunaway brings off these camp horror scenes—howling 'No wire hangers!' and weeping while inflecting 'Tina, bring me the axe' with the beyond-the-crypt chest tones of a basso profundo—but she also invests the part with so much power and suffering that these scenes transcend camp."

Gary Arnold of The Washington Post wrote, "one doesn't envy screen writers obliged to hack a playable, coherent continuity out of the complicated chronology and simple-minded psychoanalysis that clogs the book. It's a booby-trapped source, and there are intermittent signs of both skill and wariness in the filmmakers ... But once the ugly stuff begins, all that methodical preparation and desire to be fair becomes meaningless. The movie is committed to a prolonged, exhibitionistic wallow and can't escape the trashy consequences."

Awards and honors

Retrospective criticism
Among retrospective reviews, Slant Magazine awarded the film four stars in the May 31, 2006 edition.  Also, Dennis Price wrote, "Faye Dunaway portrays Joan Crawford in a likeness so chilling it's almost unnatural" in his assessment of the film for DVD Review. The British Film Institute's Alex Davidson similarly praised Dunaway's performance, writing in 2017 that it is "uncanny and captures Crawford's unusual beauty and slightly wobbly smile. Her Crawford is never not performing, whether breaking up from her boyfriend or curating a cheesily flawless family Christmas for a radio show. She thrives on drama. It's an operatic performance that belongs in a better movie."

Guy Lodge of The Guardian, reviewing the film following a retrospective 40th-anniversary screening, was disturbed by it, noting: "Each time I've seen Mommie Dearest, its most violent scenes startle me anew: I find the harsh physical vigour of Dunaway's performance, combined with the piercing, uncontrolled-sounding pitch of young actor Mara Hobel's screams, profoundly uncomfortable to watch, and hear. Can I be alone in this discomfort? Or have audiences, over the years, collectively decided to override the film's gaze, making a joke of these scenes so as to make them easier to endure?" Les Brathwaite of Out evaluated the film in 2016, noting that, "if you look at Mommie Dearest as what it is—not a biographical film about one of the most captivating and complicated female stars of the 20th century, but as a gothic horror film in the mode of Crawford's own What Ever Happened to Baby Jane?, where the vultures of celebrity have picked clean the bones of a creature it created—you can truly appreciate the film and Dunaway's performance."

Writing for Collider, Luna Guthrie praised Dunaway's performance, but was critical of the film's pacing, noting that it "is not really structured like a real movie, but in a style that all too frequently permeates the biopic, rushes to condense decades of a notable person's life into two hours. It is arranged like a children's book, with an overabundance of three-page chapters that give the impression that content has been consumed. Don't look for a through-line, or any sort of linearity."

On review aggregator Rotten Tomatoes, the film holds an approval rating of 47% based on 47 reviews, with an average rating of 5.5/10. The website's critics consensus states: "Mommie Dearest certainly doesn't lack for conviction, and neither does Faye Dunaway's legendary performance as a wire-wielding monster; unfortunately, the movie is too campy and undisciplined to transcend guilty pleasure." On Metacritic, the film has a weighted average score of 55 out of 100, based on 13 critics, indicating "mixed or average reviews".

Home media
Mommie Dearest was released by Paramount Home Video on VHS in the 1990s. In 2006, a "Hollywood Royalty" bilingual Special Collector's Edition was released on DVD through Warner Home Video. Subsequent Blu-ray releases of the film have existed since 2017, facilitated through Paramount Pictures, while Amazon Prime and Paramount Plus both control the film's streaming format.

Paramount released the film on Blu-ray from a newly restored 4K film transfer for its 40th anniversary on June 1, 2021.

Legacy
Christina Crawford, the writer of the memoir on which the film is based, had no involvement with the making of the film, and denounced the film as "grotesque" and a work of fiction, specifically stating that Joan never chopped down a tree with an ax, or beat her with a wire hanger as depicted in the film.

For decades, Dunaway was famously reluctant to discuss Mommie Dearest in interviews. In her 1997 autobiography, she only briefly mentions the film by stating that she wished that director Perry had enough experience to see when actors needed to rein in their performances. She also felt the film negatively impacted her career, telling People magazine in 2016: "I think it turned my career in a direction where people would irretrievably have the wrong impression of me, and that's an awful hard thing to beat. I should have known better, but sometimes you're vulnerable and you don't realize what you're getting into."

She also claimed that the performance took a heavy emotional toll on her stating: "At night, I would go home to the house we had rented in Beverly Hills, and felt Crawford in the room with me, this tragic, haunted soul just hanging around...It was as if she couldn't rest."

The film has had an enduring reputation as a cult film, particularly heralded by gay male audiences, owing to its over-the-top camp style. Writing for the British Film Institute, Alex Davidson observed that the film "has been savagely embraced by queer audiences since its cinema release in 1981. Drag queens outdo each other for the fiercest impersonation of Faye Dunaway in Crawford mode. And who doesn't want to be part of a 'whiplash' audience, whatever that is? Well, possibly Christina Crawford, who has seen her harrowing history of child abuse transformed into a gay pantomime. Watching audiences howl with laughter as your avatar is beaten and throttled must be a sobering experience."

The film is recognized by the American Film Institute in these lists:
 2003: AFI's 100 Years...100 Heroes & Villains:
 Joan Crawford – #41 Villain
 2005: AFI's 100 Years...100 Movie Quotes:
 Joan Crawford: "No wire hangers, ever!" – #72

See also
 List of films considered the worst
 Psycho-biddy

Notes

References

Sources

External links

1981 films
1981 comedy-drama films
1980s biographical drama films
1980s English-language films
American biographical drama films
Biographical films about actors
Cultural depictions of actors
Cultural depictions of American women
Films about child abuse
Films about domestic violence
Films about dysfunctional families
Films about filmmaking
Films about mother–daughter relationships
Films about obsessive–compulsive disorder
Films based on biographies
Films directed by Frank Perry
Films scored by Henry Mancini
Films set in Los Angeles
Films set in California
Films set in New York City
Films shot in Los Angeles
Films shot in California
Films set in the 1930s
Films set in the 1940s
Films set in the 1950s
Films set in the 1960s
Films set in the 1970s
Films with screenplays by Robert Getchell
Films with screenplays by Frank Yablans
Golden Raspberry Award winning films
Joan Crawford
Paramount Pictures films
1980s American films

Mommie Dearest (film)


The Anti-submarine boom net was used to stop enemy submarines entering Sydney Harbour during World War II. The net went all the way across the harbour from Green Point, Watson's Bay to Georges Head on the other side. The boom was part of the Sydney Harbour defences which also included artillery batteries and patrol boats.

History
In January 1942, the Australian defence forces began to build the anti-submarine boom net; it was finished in August 1942. For more than three years, entry by boats, ships and ferries into Sydney Harbour was through one of three different gates that were a part of the anti-submarine boom net.

On 31 May 1942, during WWII, three Japanese submarines tried to get into the harbour. The first submarine to try and come in was the M27. Lieutenant Jahai Chuma was the man in charge of this submarine. The M27 followed a Sydney ferry through the gate on its way to Manly, but it got caught in the western end of the net's middle section. Lieutenant Chuma, tried to free his submarine by using a special tool that cuts metal, but this only made things worse. By 8:30pm the watchman for the Maritime Service Board, James Cargill, went to see what was happening. He used a boat to row across to where the submarine was stuck. Very surprised at finding a Japanese submarine, Cargill called naval headquarters with his two way radio. At first the navy did not believe that there was a Japanese Midget submarine caught in the boom net. It took him two hours to get them to believe him.

By 10:27pm, Chuma knew that he had been discovered, so he blew up the submarine using bombs, killing himself and his crew. The two other submarines got through the boom net, which at the time was not quite finished. They attacked shipping for many hours before they were destroyed as well.

In August 1945, the boom net was taken away. By early 1946, only the dolphin structure was left. The base of the winch house is the only remaining part of the anti-submarine boom net. It can still be seen at Green Point.

References

Military of Australia
World War II
1940s in Australia

Sydney Harbour anti-submarine boom net


The Mentalist is an American crime procedural television series that ran from September 23, 2008, until February 18, 2015, on CBS. The series follows Simon Baker as Patrick Jane, an independent consultant for the California Bureau of Investigation (CBI) based in Sacramento, California and later on for the FBI. He has a remarkable track record for solving serious crimes by using his amazing skills of observation. Jane also makes frequent use of his mentalist abilities and his semi-celebrity past as a psychic medium using paranormal abilities he now admits he feigned. He abandoned his pretense out of remorse when his attention-seeking behavior attracted the attention of a serial killer, Red John, who killed his wife and daughter. With the exception of "Pilot", the first episode, and up through "Red John", the eighth episode of season six, the titles of all episodes refer or allude to "red" (or some shade thereof) as a word, color, or concept. Titles of episodes after this episode refer to different colors (e.g. white, silver, violet, blue, grey, black).

Series overview

Episodes
With the exception of the pilot episode and season 2, episode 21, ("18-5-4" = "R-E-D")  each Mentalist episode title incorporated various colors.  Up to and including the sixth season's "Red John", the titles always included direct or indirect allusions to the color red, including various shades of red or items normally associated with red (e.g. blood, roses, fire).  These "red" references served as a reminder of Red John, the mysterious figure responsible for the murder of Patrick Jane's wife and daughter.  After the Red John storyline was resolved in "Red John," episode titles would allude to colors outside of red.

Season 1 (2008–09)

Season 2 (2009–10)

Season 3 (2010–11)

Season 4 (2011–12)

Season 5 (2012–13)

Season 6 (2013–14)

Season 7 (2014–15)

Home video releases

References

External links

Mentalist
The Mentalist seasons

List of The Mentalist episodes


Carlos César Sánchez Hernández (November 6, 1961 – May 28, 2020), known professionally as Charlie Monttana, was a Mexican rock urbano musician and singer-songwriter. He was born in Mexico City.

Sánchez began his career as a singer in Mexico City's rock urbano scene in the 1980s. After that invited by Rodolfo León "León Vago" he joined Vago. In 1987 he was invited by musician Toshiro Midori to be the vocalist of Mara. In 1989 he separated from Mara.

In 1992 Monttana launched his solo career releasing hits such as "Vaquero Rocanrolero" (Rock And Roll Cowboy), "Por Qué El Amor Apesta" ("Why Love Stinks") and "Mi Terrible Soledad" ("My Terrible Loneliness"), among others. He was also a philanthropist.

Monttana died of a heart attack caused by a heatstroke on May 28, 2020 at the age of 58.

References

1961 births
2020 deaths
Deaths from myocardial infarction
Deaths from stroke
Mexican singer-songwriters
Mexican guitarists
Philanthropists
Singers from Mexico City
Musicians from Mexico City

Charlie Monttana


Dreamland Recording Studios is a residential recording studio located in the town of Hurley, New York. Opened in 1986 as a recording facility, the studio is housed in what was once St. John's Church built in 1896.

Some of the artists that recorded and produced at Dreamland include The B-52's, Joan Jett, Ace Frehley, Misfits, Bad Brains, The Breeders, Nick Cave and The Bad Seeds, Fleet Foxes, Yo-Yo Ma and Bobby McFerrin, Suzanne Vega, Dinosaur Jr., Buffalo Tom, 10,000 Maniacs, Jack DeJohnette, Joe Jackson, The Mighty Mighty Bosstones, Sunny Day Real Estate, The Connells among many others, and more recently The National, Parquet Courts, Jack and Amanda Palmer, Beach House, Kurt Vile and many more.

All of the vintage recording gear and instruments that were used from the time of the studio foundation are still in use today. The centerpiece of the control room is a custom built 48 channel in-line API Legacy fit with Neve Flying Faders II.

Dreamland still includes its full accommodation facilities for large groups, which enabled many artists to hold residency sessions at the studio.

Today, the studio is managed by renowned drummer and composer Jerry Marotta.

References

External links

Recording studios in New York (state)
1986 establishments in New York (state)

Dreamland Recording Studios


Negra Efendić (born 29 October 1980) is a Swedish journalist and author. She was born in Bosnia and grew up in the town of Brezovo Polje. She and her family fled the Bosnian War and came to Sweden in 1993. She studied to become a journalist at Bona folkhögskola in Motala and started working for Borås Tidning in 2006. In 2007, she started working for Svenska Dagbladet, where she now covers immigration and integration issues after covering the Swedish labor market for several years. In May 2016, Efendić published her first book, the autobiographical Jag var precis som du. The book consists of three parts: In the first part, she depicts her life in rural Brezovo Polje in the northeast part of Bosnia, near the Croatian border; The second part is about her refuge to Croatia and then Sweden, and her first years in the country; the third part takes place in present Stockholm, and depicts her life as a journalist.

For her work she won the journalist award Stora Journalistpriset in the category Storyteller of the Year.

On June 26, 2017, she was one of this year's Sommar i P1 hosts.

Bibliography
2016 - Jag var precis som du

References

External links

Living people
1980 births
Swedish women writers
Yugoslav emigrants to Sweden
Swedish people of Bosnia and Herzegovina descent

Negra Efendić


In probability theory, conditional probability is the probability of an event occurring, given that another event has occurred. Usually this is written as . This is read as "probability of A given B". The two events need not be related. They also need not occur at the same time. In the most general case,

Expressed in words: The conditional probability of A occurring given B is the probability of both events occurring, divided by the probability of B occurring. As a division by zero is not defined, the probability of B occurring must not be zero.

Probability theory

Conditional probability


Bermuda Hill, also known as the Liver House, is a historic plantation house in Hale County, Alabama, near Prairieville, Alabama. It was added to the National Register of Historic Places on July 7, 1994, as a part of the Plantation Houses of the Alabama Canebrake and Their Associated Outbuildings Multiple Property Submission.

The vernacular Greek Revival structure that exists today is an example of the I-house form, with an earlier two-story log dogtrot house incorporated within its weather-boarded exterior. The Manning family first owned the property. The Mannings were early settlers and planters in Prairieville and owned large land tracts in the original French grants of the Vine and Olive Colony. In 1845, William W. Manning sold the land to William Weeden of Madison County.  It is unclear whether Manning or Weeden built the house.  It had been acquired by Dr. James Daniel Browder, owner of nearby Hawthorne by the time of the Confederate-era Assessment of Taxes on Real Estate in Marengo County for 1863.  Bermuda Hill has had some alterations over time, one of which was the removal of the second floor balcony under the portico.  It was placed on Alabama's Places in Peril in 2011, but new owners purchased the home and completed a full restoration in 2013.

References

National Register of Historic Places in Hale County, Alabama
Houses on the National Register of Historic Places in Alabama
Greek Revival houses in Alabama
I-houses in Alabama
Houses completed in 1845
Plantation houses in Alabama
Houses in Hale County, Alabama

Bermuda Hill


Adon P. Brown (October 12, 1873 – April 22, 1942) was an American lawyer and politician from New York.

Life
He was the son of Henry Brown (1830–1888) and Jennie L. (White) Brown.

He practiced law in Leonardsville.

Brown was a member of the New York State Senate from 1917 to 1920, sitting in the 140th, 141st (both 37th D.), 142nd and 143rd New York State Legislatures (both 39th D.); and was Chairman of the Committee on Agriculture in 1920.

He died on April 22, 1942, in Tampa, Florida; and was buried at the Leonardsville Cemetery.

New York Solicitor General Wendell P. Brown (c.1884–1966) was his brother.

Sources
 STATE MILK CONTROL BILL INTRODUCED in NYT on January 29, 1920
 DOWNING THREATENS TO CHASTISE BROWN in NYT on April 3, 1920
 ADON P. BROWN; Ex-State Senator at Albany Dies at 68 in Tampa, Fla. in NYT on April 24, 1942 (subscription required)
 WENDELL BROWN, STATE AIDE, DEAD, his brother's obit, in NYT on March 1, 1966 (subscription required)

External links

1873 births
1942 deaths
Republican Party New York (state) state senators
People from Brookfield, New York

Adon P. Brown