Coreopsis bigelovii is a species of flowering plant in the daisy or sunflower family, Asteraceae, with the common names Bigelow coreopsis and Bigelow's tickseed. It is endemic to California.

The plant is known from the southern California Coast Ranges, southwestern Sierra Nevada, Transverse Ranges, and the Mojave and Colorado deserts. It is widespread in a number of habitat types from Merced and Inyo Counties south to San Diego County.

Description
Coreopsis bigelovii is annual herb that produces one to many stems with erect, stemlike inflorescences 10 to 30 centimeters tall. The leaves are divided into narrow lobes which are sometimes subdivided, and most of the leaves are located at the base of the plant.

The many inflorescences bear solitary flower heads, each with a bulbous involucre of rough phyllaries. The flower head has a center of many yellow disc florets and a fringe of five to ten ray florets up to 2.5 centimeters (1 inch) long.

The fruit is a small achene. The fruit of the ray floret is rough and bumpy and lacks a pappus; that of the disc floret is more slender, shiny, edged with hairs, and tipped with a pappus of scales.

Coreopsis bigelovii may be distinguished from Coreopsis calliopsidea by its linear outer phyllaries. Coreopsis calliopsidea has triangular to ovate outer phyllaries. The outer phyllaries of Coreopsis californica are narrowly lanceolate and have yellow or red hairs at their base.

Uses
This plant was eaten as a raw or cooked green vegetable by the native Kawaiisu and Tübatulabal peoples of California.

References

External links

Coreopsis bigelovii — Calphotos Photo gallery, University of California

bigelovii
Endemic flora of California
Flora of the California desert regions
Plants described in 1857
Flora of the Sierra Nevada (United States)
Edible plants
Flora without expected TNC conservation status
Taxa named by Andreas Voss
Taxa named by Asa Gray

Coreopsis bigelovii


A bus stop is a place where buses stop for passengers to get on and off the bus. The construction of bus stops tends to reflect the level of usage, where stops at busy locations may have shelters, seating, and possibly electronic passenger information systems; less busy stops may use a simple pole and flag to mark the location. Bus stops are, in some locations, clustered together into transport hubs allowing interchange between routes from nearby stops and with other public transport modes to maximise convenience.

Types  of service

For operational purposes, there are three main kinds of stops: Scheduled stops, at which the bus should stop irrespective of demand; request stops (or flag stop), at which the vehicle will stop only on request; and hail and ride stops, at which a vehicle will stop anywhere along the designated section of road on request.

Certain stops may be restricted to "discharge/set-down only" or "pick-up only". Some stops may be designated as "timing points", and if the vehicle is ahead of schedule it will wait there to ensure correct synchronization with the timetable. In dense urban areas where bus volumes are high, skip-stops are sometimes used to increase efficiency and reduce delays at bus stops. Fare stages may also be defined by the location of certain stops in distance or zone-based fare collection systems. Sunday stops are close to a church and used only on Sundays.

History
From the 17th to the 19th century, horse drawn  stage coaches ran regular services between many European towns, starting and stopping at designated Coaching inns where the horses could be changed and passengers board or alight, in effect constituting the earliest form of bus stop.  The Angel Inn, Islington, the first stop on the route from London to York, was a noted example of such an inn.  A seat in a Stage coach  usually had to be booked in advance.

John Greenwood opened the first bus line in Britain in Manchester in 1824, running a fixed route and allowing passengers to board on request along the way without a reservation. Landmarks such as Public houses, rail stations and road junctions became customary stopping points.

Regular   Horse drawn buses started in Paris in 1828 and  George Shillibeer started his London horse Omnibus service in 1829. running  between  stops at   Paddington (at a pub - The Yorkshire Stingo) and  the Bank of England to a designated route and timetable. By the mid 19th Century guides were available to London  bus routes including maps with routes and the main stops.

In the  UK National  National Public Transport Access Node  database of all UK stops, developed by the Department of Transport in 2001, stops are classified as marked  or custom and usage (i.e. unmarked stops where the driver will stop the vehicle on request).  Use of a marked stop may be changed - the bus will always stop, or by request only.

Design

Bus stop infrastructure ranges from a simple pole and sign, to a rudimentary shelter, to sophisticated structures. The usual minimum is a pole mounted flag with suitable name/symbol. Bus stop shelters may have a full or partial roof, supported by a two, three or four sided construction. Modern stops are mere steel and glass/perspex constructions, although in other places, such as rural Britain, stops may be wooden brick or concrete built.

The construction may include small inbuilt seats. The construction may feature advertising, from simple posters, to complex illuminated, changeable or animated displays. Some installations have also included interactive advertising. Advertising may be the primary reason for the shelter and the advertising pays for the bus shelter.  Design and construction may be uniform to reflect a large corporate or local authority provider, or installations may be more personal or distinctive where a small local authority such as a parish council is responsible for the stop. The stop may include separate street furniture such as a bench, lighting and a trash receptacle.

Individual bus stops may simply be placed on the sidewalk next to the roadway, although they can also be placed to facilitate use of a busway. More complex installations can include construction of a bus turnout or a bus bulb, for traffic management reasons, although use of a bus lane can make these unnecessary. Several bus stops may be grouped together to facilitate easy transfer between routes. These may be arranged in a simple row along the street, or in parallel or diagonal rows of multiple stops. Groups of bus stops may be integral to transportation hubs. With extra facilities such as a waiting room or ticket office, outside groupings of bus stops can be classed as a rudimentary bus station.

Convention is usually for the bus to draw level with the 'flag', although in areas of mixed front and rear entrance buses, such as London, a head stop, and more rarely a tail stop, indicates to the driver whether they should stop the bus with either the rear platform or the drivers cab level with the flag.

In certain areas, the area of road next the bus stop may be specially marked, and protected in law. Often, car drivers can be unaware of the legal implications of stopping or parking in a bus-stop.

In bus rapid transit systems, bus stops may be more elaborate than street bus stops, and can be termed 'stations' to reflect this difference. These may have enclosed areas to allow off-bus fare collection for rapid boarding, and be spaced further apart like tram stops. Bus stops on a bus rapid transit line may also have a more complex construction allowing level boarding platforms, and doors separating the enclosure from the bus until ready to board.

Traffic signs
The bus stop flag (bus stop pole) is usually not only a carrier of information for passengers, but it also fulfills the role of a road sign that indicates the beginning (front) of the stop. Somewhere they prevail more archaic or informal practices, so the flag may not indicate exactly the front of the stop, but is placed anywhere within the stop area.

In some countries (e.g. Czechia and Slovakia), there is also a different road sign that is intended to mark the end of the stop and thus indicate its length. The use of such a sign may be limited to only certain types of stops, for example only to stops located in a continuous traffic lane, or only to stops that can be used by more than one vehicle at the same time, or if the stop is located in an interruption of the parking lane.

There are also various types of horizontal traffic markings of bus stops on the road. Some consist only of writings that draw attention to a stop or a dedicated stop lane, some can precisely define the space and length of the stop, including the space designated for entering and exiting the stop.

In dangerous places, another warning sign can be placed in front of the bus stop, or a sign prohibiting from going around the bus in the bus stop, etc.

In rare cases, traffic signals may also be placed to allow the bus to exit the stop lane or to stop traffic while the bus is at the stop. The mutual position of the opposite stops and their position in relation to the pedestrian crossing should be designed in such a way that the danger to pedestrians is minimized.

Information

Public facing information

Most bus stops are identified with a metal sign attached to a pole or light standard. Some stops are plastic strips strapped on to poles and others involve a sign attached to a bus shelter. The signs are often identified with a picture of a bus and/or with the words "bus stop" (or similar in non-English-speaking places).

The bus stop "flag" (a panel usually projecting from the top of a bus stop pole) will sometimes contain the route numbers of all the buses calling at the stop, optionally distinguishing frequent, infrequent, 24-hour, and night services. The flag may also show the logo of the dominant bus operator, or the logo of a local transit authority with responsibility for bus services in the area. Additional information may include an unambiguous, unique name for the stop, and the direction/common destination of most calling routes.

Bus stops will often include timetable information, either the full timetable, or for busier routes, the times or frequency that a bus will call at the specific stop. Route maps and tariff information may also be provided, and telephone numbers to relevant travel information services.

The stop may also incorporate, or have nearby, real time information displays with the arrival times of the next buses. Increasingly, mobile phone technology is being referenced on more remote stops, allowing the next bus times to be sent to a passenger's handset based on the stop location and the real time information. Automated ticket machines may be provided at busy stops.

Data model
Modern passenger information systems and journey planners require a detailed digital representation of stops and stations. The CEN  Transmodel data model, and the related IFOPT data interchange standard, define how transport systems, including bus stops, should be described for use in computer models. In Transmodel, a single bus stop is modeled as a "Stop Point", and a grouping of nearby bus stops as a "Stop Area" or "Stop Place". The General Transit Feed Specification (GTFS) standard, originally developed by Google and TriMet, defines a simple and widely used data interchange standard for public transport schedules. GTFS also includes a table of stop locations which for each stop gives a name, identifier, location, and identification with any larger station that the stop may be a part of.  OpenStreetMap also has a modelling standard for bus stops.

The United Kingdom has collected a complete database of its public transport access points, including bus stops, into the National Public Transport Access Nodes (NaPTAN) database with details of 350,000 nodes and which is available as open Data from data.gov.uk.

Safety

Bus stops enhance passenger safety in a number of ways:
 Bus stops prevent passengers from trying to board or alight in hazardous situations such as at intersections or where a bus is turning and is not using the curb lane.
 A bus driver cannot be expected to continuously look for intending passengers.  A bus stop means that the driver only needs to look for intending passengers at the approach to each bus stop.
 Having bus stops requires passengers to group themselves prior to boarding, which reduces time spent at boarding.
 At night, when passenger numbers are lower, restrictions are sometimes relaxed and passengers may be allowed to exit the bus anywhere within reason.
 Bus turnouts, or lay-bys, allow buses to stop without impeding the flow of traffic on the main roadway.

Bus stop shelters

Cooling
In countries with hot climates, air-conditioned bus stop shelters are sometimes used, for example in Dubai in United Arab Emirates, Hyderabad in India, Eilat in Israel, Ashgabat in Turkmenistan.

As an alternative to air conditioning, passive daytime radiative cooling has been used to cool bus stop shelters. Bus stops at Arizona State University and the surrounding areas of Tempe, Arizona used a 3M film to lower shelter temperatures by 4°C. A bus shelter in a mid-rise area of Tehran used passive cooling to cool a bus shelter by up to 10°C.

Regulation

Some jurisdictions have introduced particularised legislative controls to foster safer bus stop design and management.  The State of Victoria, Australia, for example, has enacted a Bus Safety Act which contains performance-based duties of care which apply to all industry participants who are in a position to influence the safety of bus operations - what is called the "chain of responsibility". The safety duties apply to all bus services, both commercial and non-commercial, and to all buses regardless of seating capacity.  Breach of the duty is a serious criminal offence which carries a heavy penalty.

The primary duty holder under the Bus Safety Act is the operator of the bus service, as the person who has effective responsibility and control over the whole operation. However, the Act also contains a safety duty covering "people with responsibility for bus stops", including people who design, build, or maintain the stop, plus those who decide on its location.

This duty was introduced in response to research showing that the most serious hazard associated with bus travel occurs when passengers, especially children, are crossing the road after alighting from the bus. The location and layout of a bus stop is therefore a factor in the level of risk.

Safety duties are also imposed by the Bus Safety Act on a range of other people including -
 "bus safety workers" including drivers, schedulers who set bus timetables, and mechanics and testers who repair or assess vehicle safety
 "procurers" - people who procure the bus service, known as the "customer" in the commercial charter sector.

All of these persons can clearly affect bus safety.  They are required by the Bus Safety Act to ensure that, in carrying out their activities, they eliminate risks to health and safety if 'practicable' - or work to reduce those risks 'so far as is reasonably practicable'.  This familiar practicability formula is borrowed from Victoria's Rail Safety Act (and a subsequent national model Rail Safety Bill) and the Occupational Health and Safety Act 2004.

In Europe, as a rule, the design of roads and the placement of road signs are subject to detailed technical standards, the requirements of which should ensure the safety of local traffic regulation, and is subject to official approval. As a rule, it is permissible to place a stop of a bus line only in a place that is approved and marked as a bus stop.

Research
Many transit agencies have developed guidelines for preferred bus stop spacing. In most US cities, however, the typical bus stop spacing is between 650 and 900 feet (200–275 m), well below the optimal.

Bus stop capacity is often an important consideration in the planning of  bus stops serving multiple routes within urban centers. Limited capacity may mean buses queue up behind each other at the bus stop, which can cause traffic blockages or delays. Bus stop capacity is typically measured in terms of buses/hour that can reliably use the bus stop. The main factors that affect bus stop capacity are:
 Number of loading areas (or number of buses that can stop at one time)
 Average dwell time (How much time it takes a bus to load/unload passengers)
 G/C ratio of nearby traffic signal (green time / cycle length)
 Clearance time (time it takes bus to re-enter the traffic stream)
Detailed procedures for calculating bus stop capacity and bus lane capacity using skip stops are outlined in Part 4 of the Transit Capacity and Quality of Service Manual, published by the US Transportation Research Board.

Transit agencies are increasingly looking at consolidation of possibly previously haphazardly placed bus stops as a way to improve service cheaply and easily. Bus stop consolidation evaluates the bus stops along an established bus route and develops a new pattern for optimal bus stop placement. Bus stop consolidation has been proven to improve operating efficiency and ridership on bus routes.

Fakes

Some nursing homes and hospitals have built fake, imitation bus stops for their residents who have dementia. Some of these bus stops are even fitted with old advertisements and timetables to give a sense of familiarity. The residents will sit at the bus stop waiting for a bus to take them to their imagined destination. After some time, a staff member comes to escort the clients back to the home.

In popular culture
Bus stops are common tropes in popular culture. In 1956, there was a Marilyn Monroe film called Bus Stop. A famous scene in the movie Forrest Gump takes place at a bus stop and almost all episodes of South Park series start by presenting the main characters in a bus stop.

In Japanese culture, the movie My Neighbor Totoro featured a bus stop, both for ordinary buses and a cat bus. The opening scene of the anime Air shows the main character getting off at a bus stop. The Japanese movie Summer Wars features a rural bus stop.

Renowned rabbis have taught lessons in Judaism from their interaction and experience with bus stops.

Gallery

See also

 Automatic vehicle location
 Bus bulb
 Bus Safety Act
 Bus station
 Bus terminus
 Hail and ride
 Intermodal passenger transport
 Metro station
 Street furniture
 Train station
 Tram stop
 Ticket (admission)
 Wait/walk dilemma

References

External links

 Bus stop design guidance from the National Association of City Transportation Officials Transit Street Design Guide

Bus terminology
Stop
Street furniture

zh:巴士车站

Bus stop


Desert War is an Australian two-part documentary series screened in 2013 portraying segments of the North African Campaign in World War II. The first episode covers the Siege of Tobruk from 10 April to September 1941, when the 9th Australian Division provided the backbone of the defence against attacks by Italian and German forces under Lieutenant General Erwin Rommel. The second episode covers the preparations for the major Allied counter-attack and victory under Bernard Montgomery in the Second Battle of El Alamein. It is demonstrated that extensive and accurate military intelligence, which greatly empowered Rommel for a long period, was gained through the copying of a burgled code book and regular indiscreet radio transmissions from the American embassy in Cairo. When these transmissions were terminated, advantage shifted overwhelmingly to the Allies. The series combines docudrama footage shot in a desert landscape in Western Australia with retouched archive film and interviews with British and Australian veterans of the campaign.

References

2010s Australian television miniseries
2013 Australian television series debuts
2013 Australian television series endings
English-language television shows
Australian military television series
Television series based on actual events
World War II television drama series
Cultural depictions of Erwin Rommel
Documentary television series about World War II

Desert War (miniseries)


Australopithecus garhi is a gracile australopithecine species discovered in Ethiopia. The remains of this hominin are believed to be a human ancestor species, and perhaps the ancestor of the human genus Homo. The fossils were found in 1996 in the Bouri Formation. This is in the Middle Awash of Ethiopia's Afar Depression.

Earliest stone tools
Some primitive shaped stone tool artifacts closely resembling Olduwan technology were discovered with the A. garhi fossils, dating back roughly 2.5 and 2.6 million years old.  The tools are thought to be older than those found with Homo habilis, which may be a direct ancestor of more modern hominins.

For a long time anthropologists assumed that only members of early genus Homo had the ability to produce sophisticated tools. At another site in Bouri, Ethiopia, roughly 3,000 stone artifacts had been found to be about 2.5 million years old in age. Australopithecus garhi may have been the species responsible for making and using these earliest stone tools.

References

Australopithecines

Australopithecus garhi


Francis Aickin (died 1805),  was an Irish actor, who worked at the Edinburgh Theatre in Scotland, and the between 1765 and 1792 in theatres in the West End of London.

Francis Aickin first appeared in London in 1765 as Dick Amlet in John Vanbrugh's The Confederacy at Drury Lane.  He acted there, and at Covent Garden, until 1792.  His repertory consisted of over eighty characters, and among his best parts were the Ghost in Hamlet and Jaques in As You Like It. His success in impassioned declamatory roles obtained for him the nickname of "Tyrant".

Biography
Francis Aickin was born in Dublin and brought up to the trade of his father, a weaver in that city; but, following the example of his younger brother, James Aickin, he became a strolling player. Having appeared as George Barnwell and sustained other characters in various country towns, he joined the manager of the Smock Alley Theatre, Dublin.

Aickin the shared the management of the Edinburgh Theatre in Scotland's capital with Mr. John Jackson, before moving to London.

He made his first appearance at Drury Lane as Dick in The Confederacy on 17 May 1765. He continued a member of the Drury Lane Company until the close of the season of 1773–1774. In the following year he carried his services to Covent Garden, and appeared there every year until the close of the season of 1791–1792.

Aickin had commenced business as a hosier in York Street, Covent Garden, and obtained the patronage of certain members of the Royal family. He closed his shop in 1787 on the death of his first wife, an Irish lady of family and some fortune, and entered upon the management of the Liverpool Theatre. His success was not great, but he prospered by a second marriage with a widow dowered with £800 a year.

Genest gives a list of upwards of eighty characters which Francis Aickin was accustomed to assume. Both Atckins and his brother James were members of the School of Garrick, a club composed of actors who were contemporaries of David Garrick.

Assessment
He was of pleasing person, good judgement, his voice was sonorous and distinct, and from his success in the impassioned declamatory parts of tragedy he obtained the nickname of "Tyrant Aickin"—"a character in private life no man was more the reverse of, either in temper or the duties of friendship".

Nor did all his merit lie in tragedy; in the serious parts of comedy, such as Sir John Flowerdale in the School for Fathers, the pleasing harmony of his tones, and his precision of expression were of great service to the performance.

Notes

References

 Endnotes:* Endnotes:
Secret History of the Green Rooms, 1790
Thespian Dictionary, 1805
Genest's History of the Stage, 1832
Hitchcock's History of the Irish Stage, 1794

Irish male stage actors
Year of birth missing
18th-century births
1805 deaths
Male actors from Dublin (city)
Place of death missing
18th-century Irish male actors
Irish emigrants to Kingdom of Great Britain

Francis Aickin


The National Center of High Performance Athletics (known as Ce.N.A.R.D. for its initials in Spanish: Centro Nacional de Alto Rendimiento Deportivo) is the sports complex where most Argentine sportspeople (especially athletes) who compete internationally are trained.

The CeNARD is located at 1050 Crisólogo Larralde Avenue, in the Núñez district of Buenos Aires, Argentina. The area where it is located, facing the Río de la Plata, was the site of the Carl Diem Gymnasium from 1954 until 1960, and the CeNARD was built between 1973 and 1980. The establishment occupies an approximated land area of .

The center also houses the Argentine Sports Secretariat and a gymnasium with a seating capacity for 2,000 spectators. The smaller Humberto Selvetti Gymnasium hosts amateur boxing competitions, and the center also houses numerous tennis courts, track and field, javelin and field hockey venues, indoor arenas, an olympic-sized swimming pool and a fully equipped medical center.

It was the main sports site of the 2006 South American Games and one venue of the 2018 Summer Youth Olympics.

See also

Sport in Argentina

References

External links
Argentine Sports Secretariat

Sports venues in Buenos Aires
Buildings and structures completed in 1980
Badminton venues
Venues of the 2018 Summer Youth Olympics
Youth Olympic futsal venues

CeNARD


Wulfstan (d.1023) is known to be an influential monk and a remarkable writer of homilies.

It is speculated that he was born in York, not far from the Ship of the Fens, namely the Ely Cathedral. His date of birth remains a mystery to this day. It is also speculated that he was born into a family that owned lands which they lost upon the arrival of the Danish Warrior, King Cnut, in England in 1016. King Cnut is often described as the most effective king in Anglo-Saxon history.

Wulfstan received a Benedictine education at Winchester (a foundation that houses the relics of the saint who founded Western monasticism in the 7th century). Winchester became known as the center of the Benedictine reform in England in the late 10th century. Wulfstan was later elevated to bishop of London in 996-1002, and then he became the archbishop of York from 1002 to 1016. Wulfstan was familiar with the Benedictine Reform movement. This movement sought to free monasteries from secular control and to establish a more committed discipline among monks. Wulfstan was the student and the disciple of Æthelwold of Winchester, which allowed him to write The Life of St. Æthelwold in 1000.

Life
Almost nothing is known about Wulfstan's youth, only that part of his family probably lived in the Fenland area of the East Midlands. Because of his later career and association with the Benedictine Reform, he possibly once studied and worked as a Benedictine monk at Winchester. In 996, he became the bishop of London. In 1002, he was elected Archbishop of York, and later he gained control over the district of Worcester.

Wulfstan thought that the reign of king Æthelred was full of sin and he saw it as a period of failure. That is why he wanted to create new law codes to make things better. Besides that, he also created laws for the Danish king Cnut, who took England's throne in 1016. He was an important person in England at that time, because of his control over the district of York. Wulfstan was also a prominent figure in the royal court since he was the legal craftsman for both Æthelred and Cnut.

Church reform
As a bishop – and later archbishop – Wulfstan was very active in church reform. He emphasized the importance of the church in the education of the people as well as in aiding the king. His religious efforts eventually started to include even secular matters, such as the legal writing mentioned earlier. This was partly to make sure that the church would still be able to interfere with secular matters.

Homilies
Wulfstan is known as one of the most notable and unique Old English writers.  He was best known for his religious texts (homilies, sermons, religious canon) but also for political theory and writing of laws. Wulfstan was one of the two major writers in early 11th century England. His writing of religious text was influenced by Benedictine Reform - which tried to unite the rules for monks, including the promotion of regular life for priests and a strict church order. Wulfstan used his homilies to teach priests and monks.

Wulfstan's homilies had a few specific details, his special rhythmical system being one of them. Wulfstan also used specific vocabulary and frequently repeating literary devices.

Wulfstan's works were appreciated by people living at that time as well. Wulfstan's works are so complex that they were impossible to be translated. Wulfstan knew his audience well, his works were written for an average English Christian. His writings were great in number, it is noted that he wrote over 30 sermons in Old English.

The motive of Wulfstan's works was often religious, depicting the evil of the world before the second coming of Christ, a motive that can be seen in his work Evil Days. One of his works, Secundum Lucam, describes how terrible hell is.

His works were often influenced by the political situation at that time, addressing social instability.

Wulfstan influenced other writers of homilies. Sometimes it is hard to decide whether a work was actually written by Wulfstan because they followed his composition and rhetoric. One of the most famous imitations was by Napier, as his works were essentially his version of Wulfstan's homilies. One important fact to note is that even though Wulfstan's works are often referred to as homilies, they are actually in fact sermons since Wulfstan does not present his ideas phrase by phrase, he only uses a general theme for his sermon.

Language and style
Wulfstan was a native speaker of Old English, specifically the West-Saxon dialect. He also spoke Latin and Old Norse (which was brought to England by people of Scandinavian origin).

Wulfstan wrote most of his works in Old English. Other works he wrote in Latin. In his writing, there are some particular words that no other author used. Old English words that are exclusive to Wulfstan's works are: sibleger 'incest', tōfēsian 'to rout', ægylde 'uncompensated', and morðwyrhta 'murderer'.

Wulfstan's unique words of Scandinavian origin are: þræl 'slave, servant' (Old Norse þræll, Old English þēow), bōnda 'husband, peasant' (Old Norse bóndi, Old English ceorl), eorl 'nobleman of highest rank' (Old Norse jarl, Old English ealdormann). Those words are related to the topic of social classes.  Another important word is lagu 'divine law' (Old Norse lag, Old English ǣw).

Wulfstan is known for his recognizable writing style. Wulfstan plays with sounds in his prose. He uses alliteration (repetition of sounds at the beginning of two or more successive words). Two-stress rhythm is very typical for him. Wulfstan often repeats distinctive collocations (unrihta fela 'much unlawfulness') and rhyming binominals (two words linked by conjunction, for example stalu and cwalu 'theft and murder', wær and wis 'aware and wise'), intensifiers (swyðe þearle 'very severely'). His style is close to Old English poetry. He uses punctuation to make sure his texts can be read aloud easily.

Some of his works can be recognized through his handwriting and text organization. In his homilies, he uses wide margins. His writing is perfectly aligned on the left side.

Works
Wulfstan used the Latin pen-name Lupus ('wolf') in many of his works. There are other works that are recognized as his because of his unique writing style. Twenty-six sermons are recognized as Wulfstan's based on his style.

The four categories of Wulfstan's works are: homilies, legal texts, philosophical texts, and poetry.

The Homilies focus on themes such as: eschatology (study of the end of the world, specifically related to Christianity in Wulfstan's works), the afterlife, the Judgement Day, and the Antichrist theme (Wulfstan warns about fake Christ wanting to seduce men). Wulfstan wanted to warn about possible corruptions of faith. He also encouraged loving God.

Some of Wulfstan's legal texts are law handbooks about the laws during the reigns of different rulers. His The Institutes of Polity analyses the roles of the state and the Church.

Wulfstan collected books and texts. He put many of those texts together into a collection called Wulfstan's Commonplace Book. This collection is divided into 10 blocks. Each block focuses on one theme. For example Wulfstan's Canon Law Collection contains the laws related to Christian Church.

Homilies

 De Anticristo (Latin)
 De Temporibus Antichrist (Old English)
 Secundum Lucam (Old English)
 Secundum Marcum (Old English)
 De Falsis Deis (Old English, a reworking of a homily by Ælfric)
 Sermo Lupi ad Anglos (Old English)

Legal texts

 The Laws of Edward and Guthrum (Old English)
 The Canons of Edgar (Old English)
 Wulfstan's Canon Law Collection (Latin)
 Ethelred's legislation (Latin and Old English, multiple versions)
 Cnut's legislation (Old English, multiple versions)

Philosophical texts

 The Institutes of Polity I and II (Old English)

Poetry

 Qui legis hunc titulum (Latin)
 Poem on King Edgar's Succession (Old English, a part of the Anglo-Saxon Chronicle E)
 Poem on King Edward's Succession (Old English, a part of the Anglo-Saxon Chronicle D)

Notes

Citations

References

 "Archbishop Wulfstan of York (C. 946/66 – 1023)." Medieval Histories, 12 Jan. 2023, www.medieval.eu/archbishop-wulfstan-of-york-c-946-66-1023/. Accessed 22 Jan. 2023.
 "Conference at Worcester Cathedral Explores the Anglo-Saxon World of Archbishop Wulfstan | the Past." The Past, 15 Jan. 2023, the-past.com/review/whats-on/conference-at-worcester-cathedral-explores-the-anglo-saxon-world-of-archbishop-wulfstan. Accessed 22 Jan. 2023.
 Aethelwold. The Old English Rule of Saint Benedict: With Related Old English Texts. Translated by Jacob Riyeff, Cistercian Publications, 12 Dec. 2017.
 Catch, Milton McC. Preaching and Theology in Anglo-Saxon England: Ælfric and Wulfstan. Toronto: University of Toronto Press, 1977.
 Davidson, Lucy. "Who Was Danish Warrior King Cnut?" History Hit, 8 Mar. 2022, www.historyhit.com/facts-about-king-cnut/#:~:text=King%20Cnut%2C%20also%20known%20as. Accessed 22 Jan. 2023.
 Davis-Secord, Jonathan. "Rhetoric and Politics in Archbishop Wulfstan's Old English Homilies." vol. 126, no. 1, 2008, pp. 65-96. Rhetoric and Politics in Archbishop Wulfstan's Old English Homilies
 Duggan, Margaret. "WINCHESTER: The French Connection." Church Times, www.churchtimes.co.uk/articles/2011/1-april/gazette/winchester-the-french-connection. Accessed 22 Jan. 2023.
 Elliot, Michael D. "Wulfstan's Commonplace Book Revised: The Structure and Development of 'Block 7,' on Pastoral Privilege and Responsibility." The Journal of Medieval Latin, vol. 22, 2012, pp. 1–48. JSTOR, Wulfstan's Commonplace Book Revised: The Structure and Development of "Block 7," on Pastoral Privilege and Responsibility. Accessed 8 Jan. 2023.
 Gatch, Milton McC. Preaching and Theology in Anglo-Saxon England: AElfric and Wulfstan. Toronto and Buffalo: University of Toronto Press, 1977.
 Gates, Jay Paul. "Preaching, politics and episcopal reform in Wulfstan's early writings." Early Medieval Europe, vol. 23, no. 1, pp. 93-116. Wiley-Blackwell Publishing Ltd, 2015, Preaching, politics and episcopal reform in Wulfstan's early writings: Wulfstan's early writings.
 Hollowell, Ida Masters. "Linguistic Factors Underlying Style Levels in Four Homilies of Wulfstan." Neophilologus, vol. 61, no. 2, Apr. 1977, pp. 287–296., Linguistic factors underlying style levels in four homilies of Wulfstan.
 Jost, Karl. Wulfstanstudien. A. Francke Verl., 1950.
 Knowles, David. The Monastic Order in England: A History of its Development from the Times of St. Dunstan to the Fourth Lateran Council, 940–1216 (Second reprint ed.). Cambridge, UK: Cambridge University Press, 1976.
 Kubouchi, Tadao. "Wulfstan's Scandinavian Loanword Usage: An Aspect of the Linguistic Situation in the Late Old English Danelaw." In Inside Old English: essays in honour of Bruce Mitchell, Chapter 7, 2006, p. 144.
 Lapidge, Michael. The Blackwell Encyclopedia of Anglo-Saxon England. Malden, MA: Blackwell Publishing, 1991, pp. 352, 384, 390, 515.
 Levin, Samuel R. "On the Authenticity of Five 'Wulfstan' Homilies." The Journal of English and Germanic Philology, vol. 60, no. 3, 1961, pp. 451–59. JSTOR, On the Authenticity of Five 'Wulfstan' Homilies. Accessed 22 Jan. 2023.
 Lionarons, Joyce Tally. The Homiletic Writings of Archbishop Wulfstan: A Critical Study. D.S. Brewer, 2010.
 Mack, Katharin. "Changing Thengs: Cnut's Conquest and the English Aristocracy." Albion: A Quarterly Journal Concerned with British Studies, 16:4, 1984, pp. 375-387.
 Neidorf, Leonard. "Archbishop Wulfstan's Ecclesiastical History of the English People." English Studies, 97:2, February 2016, pp. 207-225.
 Orchard, Adam. "Wulstan the Homilist". In Lapidge, Michael (ed.). In The Blackwell Encyclopedia of Anglo-Saxon England. Malden, MA: Blackwell Publishing, 1991, pp. 514-515.
 Pons-Sanz, Sara M. "Norse-Derived Vocabulary in Late Old English Texts: Wulfstan's Works, a Case Study." In North-Western European Language Evolution Supplement 22. University Press of Southern Denmark, 2007, pp. 36-124.
 Rudolf, Winfried. "Wulfstan at Work: Retrieving the Autographs of London, British Library, Additional 38651, fols. 57r–58v." In Anglo-Saxon Micro-Texts, edited by Ursula Lenker and Lucia Kornexl, pp. 267–306. Anglia Book Series 67. Berlin: De Gruyter, 2019. Wulfstan at Work: Recovering the Autographs of London, British Library, Additional 38651, fols. 57r–58v
 Smart, A. D. "Archbishop Wulfstan and the importance of paying God his dues." International Journal for the Study of the Christian Church, 16:1, 2016, pp. 24-41.
 Whitbread, L. "'Wulfstan' Homilies XXIX, XXX and Some Related Texts." vol. 81, no. Jahresband, 1963, pp. 347-364. 'WULFSTAN' HOMILIES XXIX, XXX AND SOME RELATED TEXTS
 Whitelock, Dorothy. Sermo Lupi Ad Anglos. London: Methuen And Co. Limited, 1952.
 Wilcox, Jonathan "Wulfstan". In obo in Medieval Studies, Wulfstan. Accessed 22 Jan. 2023.
 Wormald, Patrick, "Æthelred the Lawmaker." David Hill (ed.). Ethelred the Unready: Papers from the Millenary Conference, Oxford, 1978, pp. 47–80.
 Wulfstan of Winchester. Oxford Medieval Texts: Wulfstan of Winchester: The Life of St Æthelwold. Edited by Michael Lapidge and M. Winterbottom, PhilPapers, Oxford University Press UK, 1991, philpapers.org/rec/WINLOS-2. Accessed 22 Jan. 2023.

Wulfstan


Taghadoe in County Kildare in Ireland is the site of an ancient monastic settlement and round tower. The site includes a graveyard and the ruins of a 19th-century church. It is situated 5 km from Maynooth, off the Straffan Road. The name is derived from Teach Tua or 'House of Tua' in Irish, Saint Tua (Ultan the Silent) the abbot of Clonmacnoise, was responsible for founding the monastic settlement here.  The site dates back to the 6th century. The round tower was used for about 1000 years, but was left in ruins by the 17th century.
Most of the burials in the graveyard were in the 17th and 18th century and it was used by Roman Catholics.
A John Dillon of Carton had bequeathed £1,000 for the building of a church on the site; the Duke of Leinster was the executor of his will.

The church which was constructed on the site in 1831 for the Church of Ireland by a donation from the Board of First Fruits of £830. This church was only active for 40 years and, while derelict, its walls are quite intact.

The tower was declared a national monument in 1886, and the site is in the care of the Office of Public Works (OPW).

References

External links

Cemeteries in County Kildare
Maynooth
Archaeological sites in County Kildare
National Monuments in County Kildare

Taghadoe


William Eames Kirkness (22 January 1862 – 12 February 1944) was an Australian politician.

He was born in Mudgee to machinist James Flett Kirkness and Emma Eames. He worked at Gosford and Woy Woy, ran a grocery at Waverley and farmed at Wisemans Ferry and Central Colo, but he was bankrupted in 1892. On 30 June 1887 he married Mary Dunlop, with whom he had six children. Discharged from bankruptcy in 1896, he returned to Gosford, where he became a councillor around 1900. From 1898 he worked as an orchardist, becoming active in the Fruitgrowers Association. From 1927 to 1934 he was a member of the New South Wales Legislative Council, representing the Nationalist and United Australia parties. Kirkness died in Gosford in 1944.

References

1862 births
1944 deaths
Nationalist Party of Australia members of the Parliament of New South Wales
United Australia Party members of the Parliament of New South Wales
Members of the New South Wales Legislative Council
Colony of New South Wales people

William Kirkness


Scutigerella immaculata, commonly known as the garden symphylan or glasshouse symphylid, is a species of myriapod in the family Scutigerellidae. It may have originated in Europe but now has a cosmopolitan distribution and can be a pest of crops.

Description
Superficially the garden symphylan resembles a centipede.  It is white and up to  long. It has a head with three pairs of mouthparts, a pair of long antennae and no eyes. The body is segmented, the front twelve segments each bearing a pair of short legs, while the two remaining segments are limbless. The body is covered by up to 22 dorsal, slightly sclerotised tergites. The legs work in unison, the two sides alternating.

Distribution and habitat
The garden symphylan occurs in most parts of the world, having been transported inadvertently with plants: it probably originated in Europe. It lives in humus-rich soil, under stones, in leaf litter, in rotting wood, in decaying matter and in other moist places. It does not burrow but takes advantage of existing cracks. It needs high humidity levels to survive; if the relative humidity in the soil is below 75%, about 95% mortality occurs within three hours, but placing a lettuce leaf on the soil surface reduces the mortality rate considerably.

Ecology
Symphylans are rapid runners and the extra tergites give the body great flexibility, so they can twist, turn and loop, manoeuvring between soil particles rapidly in order to escape predators. They primarily feed on plant roots and detritus.

The sexes are separate in the garden symphylan. The male deposits small stalked spermatophores which the female picks up, storing the sperm in receptacles in her mouth. She produces eggs singly through a gonopore on the fourth segment, and transfers them by mouth to a frond of moss or similar location, where each is fixed and smeared with sperm. Development is direct; the newly hatched juvenile has six pairs of legs, and these increase in number as the animal grows extra segments. Moulting takes place throughout the animal's life, and it may survive for up to four years.

Large populations of garden symphylan can cause damage to crops by feeding on the root hairs, roots and tubers, the plants showing loss of vigour and reduced growth. Susceptible crops include potatoes, beetroot and maize.

References

External links

Symphyla
Myriapods of Europe
Animals described in 1845

Scutigerella immaculata


The 2009 election for the leadership of the AFL–CIO occurred following the announcement of incumbent president John Sweeney's retirement. The election took place during the 26th AFL–CIO National Convention in Pittsburgh.

The event was preceded by a 2008 speech at which then-Secretary-Treasurer Richard Trumka had blasted the perceived racism being directed against 2008 Democratic presidential candidate Barack Obama, increasing his profile both inside and outside the labor movement. Trumka, who had served as Secretary-Treasurer since first being elected in 1995, received no contest for the position of president.

Candidates
Note: Winning candidates are in bold.
 President
 Richard Trumka

 Secretary-Treasurer
 Liz Shuler
 Gregory Junemann

 Executive Vice-President
 Arlene Holt Baker

Other electees
The total number of vice-presidents of the federation was expanded from 43 (including the Executive Vice-President) to 51.

The following were elected to other vice-presidencies besides the Executive Vice-Presidency:
 Patrick D. Finley, Plasterers and Cement Masons (OP&CMIA)
 Mike Futhey, United Transportation Union (UTU)
 Newton Jones, Boilermakers (IBB)
 D. Michael Langford, Utility Workers (UWUA)
 Robert McEllrath, International Longshore and Warehouse Union (ILWU)
 Roberta Reardon, American Federation of Television and Radio Artists (AFTRA)
 John Ryan, Glass, Molders, Pottery, Plastics and Allied Works (GMP)
 DeMaurice Smith, Professional Athletes
 Baldemar Velasquez, Farm Labor Organizing Committee (FLOC)
 James Andrews, NC State AFL–CIO
 Mark Ayers, Building and Construction Trades Department
 James Boland, Bricklayers
 R. Thomas Buffenbarger, Machinists
 Larry Cohen, Communications Workers of America
 Rose Ann DeMoro, National Nurses United
 Maria Elena Durazo, LA County AFL–CIO
 Roy Flores, AFGE
 John Gage, AFGE
 Leo W. Gerard, United Steelworkers
 Vincent Giblin, Operating Engineers
 Michael Goodwin, Office and Professional Employees
 Edwin D. Hill, Electrical Workers
 William Hite, Plumbers and Pipe Fitters
 General Holiefield, AW
 Ken Howard, Screen Actors
 Richard Hughes, Longshoremen
 Frank Hurt, Bakery, Confectionery, Tobacco Workers and Grain Millers
 Lorretta Johnson, AFT
 Gregory Junemann, International Federation of Professional and Technical Engineers
 Bob King, UAW
 James Little, Transport Workers
 Matthew Loeb, Theatrical Stage Employees
 William Lucy, Postal Workers
 Gerald W. McEntee, AFSCME
 Capt. Lee Moak, Air Line Pilots
 Joseph J. Nigro, Sheet Metal Workers
 Terry O'Sullivan, LIUNA
 Fred Redmond, United Steelworkers
 Clyde Rivers, California School Employees Association
 Cecil Roberts, Mine Workers
 Fredric Rolando, Letter Carriers
 Michael Sacco, Seafarers
 Lee Saunders, AFSCME
 Robert A. Scardelletti, Transportation Communications Union
 Harold A. Schaitberger, Fire Fighters
 Veda Shook, Flight Attendants-CWA
 Bruce Smith, Glass, Molders, Pottery, Plastics and Allied Workers
 Robbie Sparks, IBEW
 Randi Weingarten, AFT
 John Wilhelm, UNITEHERE!
 James Williams, Painters and Allied Trades
 Walter Wise, Ironworkers
 Nancy Wohlforth, OPEIU
 Diann Woodard, School Administrators

References

Trade union elections
History of the AFL–CIO
2009 elections in the United States
Non-partisan elections

2009 AFL–CIO election


In law, damages are an award, usually of money. It is to be paid to a person as compensation for loss or injury.  The rules for damages can and frequently do vary based on the type of claim which is presented (e.g., breach of contract versus a tort claim) and the jurisdiction. Damages are not the same as court costs which includes the costs to bring a legal case to court. The losing party may also have to pay court costs.

Categories
In common law countries, damages are usually categorized into compensatory (or actual) damages, and punitive damages. Compensatory damages are further categorized into special damages and general damages. Special damages include economic losses such as loss of earnings, property damage and medical expenses. General damages are noneconomic damages such as pain and suffering and emotional distress. Statutory damages are those required by statute.

Compensatory damages
Compensatory damages are paid to compensate the claimant for loss, injury, or harm suffered as a result of another's negligence (tort law). Expectation damages are used in contract law. In civil law countries, these are called "ordinary damages" and may be limited to actual loss.

Punitive damages
Generally, punitive damages, which are also termed exemplary damages in the United Kingdom, are not awarded in order to compensate the plaintiff, but in order to reform or deter the defendant. They are also to intended to be an example to others not to do the same thing. Punitive damages are awarded when it is determined that compensatory damages are not enough. Punitive damages are awarded over and above the amount of compensatory damages, such as in the event of malice or intent. Great judicial restraint is expected to be exercised in their use. In the United States punitive damages awards are subject to the limitations imposed by the due process of law clauses of the Fifth and Fourteenth Amendments to the United States Constitution.

Punitive damages in most civil law countries are not awarded.

Statutory damages
Statutory damages are an amount stated within the statute rather than calculated based on the degree of harm to the plaintiff. Lawmakers will provide for statutory damages for acts in which it is difficult to determine the value of the harm to the victim. Someone breaking the law can entitle the victim to a statutory award. This is even if no actual injury happened.

For example, United States Civil Code 18 USC §§2520 provides for statutory damages to victims of various wiretapping offenses.

References

Legal terms

Damages


Bernard-Gabriel Seurre or Seurre the Elder (11 July 1795 – 3 October 1867) was a French sculptor. His younger brother Charles Émile Seurre (1798–1858) was also a sculptor.

Life

Born in Paris, Bernard Seurre was a student of the sculptor Pierre Cartellier. In 1818 Bernard Seurre won the Prix de Rome for sculpture with a relief on the subject Chilonis imploring mercy for her husband Cleombrotus<ref>Cleombrotus married Chilonis, daughter of Leonidas II, king of Lacedemonia, and shortly after the marriage usurped Leonidas' throne and condemned him to exile. Cleombrotus did not last long in power and the Lacedomnians, tired of his tyrannical government, recalled Leonidas. He returned and wanted to punish Cleombrotus, who took refuge in the temple of Neptune. Leonidas went to the temple with friends and soldiers intent on killing Cleombrotus, but Chilonis took one of her children to see Leonidas and asked for mercy from him. (Plutarch, Life of Agis, chapters 16-18)</ref> He then produced sculptures for the Arc de Triomphe between 1833 and 1836 and produced a design for a sculpture on top of it in 1833 (though this was never realized).

He died in Paris.

 Works

Arc de triomphe
 The Battle of Aboukir, bas-relief, stone, east façade (champs-Élysées side), above The Apotheosis of Napoleon I and The Triumph of 1810 by Jean-Pierre Cortot
 Entablature frieze, west façade (avenue de la Grande-Armée side), right half
 Entablature frieze, south façade (avenue Kléber side), left half
 Design for sculpture on top of the Arc de triomphe - allegory of France victorious (1833), drawing, Paris, musée d'Orsay

Other
 Molière standing in meditation, over-life-size, bronze, Paris, Musée du Louvre
 Molière, bronze, Paris, 1844, fontaine Molière, junction of rue de Richelieu and la rue Molière
 Jean de La Fontaine, statue, marble, Paris, palais de l'Institut
 Modesty, statue, Paris, cimetière du Père-Lachaise, tomb of Pierre Cartellier, left side
 Portrait of Nicolas Béhuchet, admiral of France, died 1340 (vers 1838), bust, plaster, Versailles, châteaux de Versailles et de Trianon

 Sources

  Pierre Kjellberg, Le Nouveau guide des statues de Paris, La Bibliothèque des Arts, Paris, 1988.
  Emmanuel Schwartz, Les Sculptures de l'École des Beaux-Arts de Paris. Histoire, doctrines, catalogue, École nationale supérieure des Beaux-Arts, Paris, 2003.
  Charles Reutlinger, Portrait de Bernard Gabriel Seurre'', photographs, Paris, musée d'Orsay

References

1795 births
1867 deaths
19th-century French sculptors
French male sculptors
19th-century French male artists

Bernard Seurre


Alan Wolf Arkin (March 26, 1934 – June 29, 2023) was an American actor and filmmaker. In a career spanning seven decades, he received numerous accolades, including an Academy Award, a BAFTA Award, a Golden Globe Award, and a Tony Award as well as nominations for six Emmy Awards.

Arkin performed in the sketch comedy group The Second City before acting on the Broadway stage, starring as David Kolowitz in the Joseph Stein play Enter Laughing in 1963, for which he won the Tony Award for Best Featured Actor in a Play. He returned to Broadway acting in the comedic play Luv (1964), and directed Neil Simon's The Sunshine Boys (1971), for which he received a Tony Award nomination.

Arkin gained stardom with his roles in the films The Russians Are Coming, the Russians Are Coming (1966), Wait Until Dark (1967), The Heart is a Lonely Hunter (1968), Popi (1969), Catch-22 (1970), Freebie and the Bean, (1974), and The In-Laws (1979). He later took on supporting roles in Edward Scissorhands (1990), Glengarry Glen Ross (1992), Grosse Pointe Blank (1997), Slums of Beverly Hills (1998), Thirteen Conversations About One Thing (2001), Sunshine Cleaning (2008), Get Smart (2008), and Argo (2012). For his performance as a foul-mouthed grandfather in Little Miss Sunshine (2006), he won the Academy Award for Best Supporting Actor. Arkin also directed three films, including the black comedy Little Murders (1971).

His television roles included Leon Felhendler in Escape from Sobibor (1987), and as Harry Rowen in The Pentagon Papers (2003) for which he earned Emmy nominations respectively for Outstanding Lead Actor in a Limited Series or Movie and Outstanding Supporting Actor in a Limited Series or Movie. From 2015 to 2016, he voiced J. D. Salinger in the Netflix animated series BoJack Horseman. From 2018 to 2019, he starred as a talent agent in the Netflix comedy series The Kominsky Method, earning two consecutive nominations for the Primetime Emmy Award for Outstanding Supporting Actor in a Comedy Series.

Early life and education
Alan Wolf Arkin was born in Brooklyn, New York, on March 26, 1934, the son of teacher, painter, writer and lyricist David I. Arkin (1906-1980) (co-writer of the hit Three Dog Night song Black and White), and his wife, Beatrice (née Wortis) (1909-1991), a teacher. The family lived in Crown Heights. He was raised in a Jewish family with "no emphasis on religion". His grandparents were Jewish immigrants from Ukraine, Russia, and Germany. His parents moved to Los Angeles when Alan was 11, but an 8-month Hollywood strike cost his father his job as a set designer. During the 1950s Red Scare, Arkin's parents were accused of being Communists, and his father was fired when he refused to answer questions about his political ideology. David Arkin challenged the dismissal, but he was vindicated only after his death.

Arkin, who had been taking acting lessons since age 10, became a scholarship student at various drama academies, including one run by the Stanislavsky student Benjamin Zemach, who taught Arkin a psychological approach to acting. Arkin attended Los Angeles State College from 1951 to 1953. He also attended Bennington College.

Career

1956–1969

He started his career in the 1950s as a singer and guitarist in the folk group, The Tarriers. They had two hits in 1956–7: "Cindy, Oh Cindy" and "Day-O (The Banana Boat Song)". They performed the latter in the 1957 musical movie, Calypso Heat Wave, and sang "Choucoune" in this too. Arkin went on to sing with another folk group, The Baby Sitters. Arkin was an early member of the Second City comedy troupe in the 1960s. In 1957, he made his feature film acting debut in a small role in the musical Calypso Heat Wave. In the early sixties, he appeared in episodes of East Side/West Side (1964) and ABC Stage 67 (1966). He also made his Broadway debut as a performer in From the Second City at the Royale Theatre in 1961.

Arkin starred in 1963 on Broadway as David Kolowitz in Joseph Stein's comedic play Enter Laughing. Critic Howard Taubman of The New York Times gave the play a mixed review but praised Arkin's performance, describing it as "a choice specimen of a shrewd actor ribbing his profession." For his performance, he received the Tony Award for Best Featured Actor in a Play, and a Theatre World Award. The following year, he returned to Broadway starring as Harry Berlin in Luv directed by Mike Nichols. Arkin starred opposite Eli Wallach and Anne Jackson.

In 1966, he starred in Norman Jewison's comedy film The Russians Are Coming, the Russians Are Coming opposite Carl Reiner and Eva Marie Saint. Robert Alden of The New York Times praised Arkin's performance describing it as his "first full-length film appearance and a particularly wonderful performance." For his performance Arkin received a Academy Award for Best Actor nomination and a BAFTA Award for Most Promising Newcomer nomination. He also received the Golden Globe Award for Best Actor – Motion Picture Musical or Comedy. The following year he appeared in the Vittorio De Sica sex comedy Woman Times Seven starring Shirley MacLaine, and in Terence Young's psychological thriller film Wait Until Dark starring Audrey Hepburn.

In 1968, he starred as Inspector Jacques Clouseau in the third installment of The Pink Panther franchise, titled Inspector Clouseau, after Peter Sellers dissociated himself from the role. The film was not well-received by Sellers' fans and critics, but Penelope Gilliatt of The New Yorker called it "an incredibly bad film, but Alan Arkin is sometimes very funny in it, especially when he doesn't try to be." That same year, he co-starred with Sondra Locke in The Heart Is a Lonely Hunter, playing a suicidal deaf mute. For his performance, he received nominations for an Academy Award for Best Actor and a Golden Globe Award for Best Actor – Motion Picture Drama, and won a New York Film Critics Circle Award for Best Actor. In 1969, he starred in Arthur Hiller's comedy Popi opposite Rita Moreno. The film focuses on a Puerto Rican widower struggling to raise his two young sons in the New York City neighborhood of Spanish Harlem. Arkin received another nomination for the Golden Globe Award for Best Actor – Motion Picture Drama.

In 1969, Arkin's directorial debut was the Oscar-nominated 12-minute children's film titled People Soup, starring his sons Adam Arkin and Matthew Arkin. Based on a story of the same name he published in Galaxy Science Fiction in 1958, People Soup is a fantasy about two boys who experiment with various kitchen ingredients until they concoct a magical soup which transforms them into different animals and objects.

1970–1985

In 1970, Arkin starred as Capt. John Yossarian in the Mike Nichols film Catch-22. The film is a satirical black comedy war film adapted from the 1961 novel of the same name by Joseph Heller. Arkin co-starred alongside Bob Balaban, Martin Balsam, Buck Henry, Bob Newhart, Austin Pendleton, Martin Sheen, Jon Voight, and Orson Welles. Arkin received a Laurel Award nomination for his performance. Arkin and his second wife Barbara Dana appeared together on the 1970–1971 season of Sesame Street as a comical couple named Larry and Phyllis who resolve their conflicts when they remember how to pronounce the word "cooperate".

He directed the black comedy film Little Murders, released in 1971 and later became a cult classic. Written by cartoonist Jules Feiffer, it is a black comedy film starring Elliott Gould and Marcia Rodd about a girl, Patsy (Rodd), who brings home her boyfriend Alfred (Gould) to meet her dysfunctional family amid a series of random shootings, garbage strikes, and electrical outages ravaging the neighborhood. The film opened to a lukewarm review by Roger Greenspan, and a more positive one by Vincent Canby in The New York Times. Roger Ebert's review in the Chicago Sun-Times was enthusiastic, stating "One of the reasons it works and is indeed a definitive reflection of America's darker moods is that it breaks audiences down into isolated individuals, vulnerable and uncertain." Arkin also directed Fire Sale (1977).

During the 1970s, Arkin starred in films of various genres including the Vernon Zimmerman road comedy Deadhead Miles (1972), the Gene Saks adaptation of the Neil Simon play of the same name Last of the Red Hot Lovers (1972) with Sally Kellerman and Paula Prentiss, the black comedy action film Freebie and the Bean (1974), the dramedy Rafferty and the Gold Dust Twins (1975) with Kellerman and Mackenzie Phillips, the 1978 TV prison film The Other Side of Hell (1978), the western comedy Hearts of the West (1975), and the British mystery The Seven-Per-Cent Solution (1976). In 1973, Arkin directed the Broadway production of Neil Simon's The Sunshine Boys. He received the Tony Award for Best Direction of a Play nomination, losing to A. J. Antoon for That Championship Season.
In 1979, he starred in and co-produced the buddy comedy film The In-Laws. Arkin starred opposite Peter Falk in a film directed by Arthur Hiller and written by Andrew Bergman.

In 1980, Arkin starred in the Marshall Brickman comedy Simon which gained mixed reviews but earned him a Saturn Award nomination. The following year, he starred in three comedy films, Improper Channels, Chu Chu and the Philly Flash opposite Carol Burnett, and Full Moon High. He also voiced the magician Schmendrick in the 1982 cult animated film The Last Unicorn. During the 1980s, Arkin appeared frequently in various television programs including The Muppet Show and St. Elsewhere. In 1985, Arkin starred in the television film The Fourth Wise Man starring Martin Sheen and Eileen Brennan. He won Best Supporting Actor at the Genie Awards for his role as Reuben Shapiro in the 1985 film adaption of Mordecai Richler's semi-autobiographical novel Joshua Then and Now.

1986–2005
In 1987, Arkin appeared in the sitcom Harry, which was canceled after four low-rated episodes. Also more importantly in that same year, he starred in another television film Escape from Sobibor portraying Leon Felhendler. The film revolves around the mass escape from the Nazi extermination camp at Sobibor. Arkin received nominations for the Primetime Emmy Award for Outstanding Lead Actor in a Limited or Anthology Series or Movie and the Golden Globe Award for Best Supporting Actor – Series, Miniseries or Television Film.

In 1990, Arkin appeared in a supporting role in Tim Burton's fantasy romance Edward Scissorhands starring Johnny Depp and Winona Ryder. He also appeared in the live action Disney film The Rocketeer (1991) starring Bill Campbell and Jennifer Connelly, and the film adaptation of the David Mamet play Glengarry Glen Ross (1992) starring Al Pacino, Jack Lemmon, and Kevin Spacey. In 1993, he appeared in the comedies Indian Summer and So I Married an Axe Murderer. The following year, Arkin featured in the Rob Reiner film North.

In 1996, Arkin appeared in the film adaptation of the Kurt Vonnegut novel Mother Night starring Nick Nolte, Sheryl Lee, John Goodman, and Kirsten Dunst. The following year Arkin appeared in the comedy Grosse Point Blank starring John Cusack as well as the dystopian science fiction film Gattaca with Ethan Hawke. In 1998, he starred in the lead role of Tamara Jenkins' comedy Slums of Beverly Hills with Natasha Lyonne. Arkin also directed Samuel Beckett Is Coming Soon (1993) and Arigo (2000). In 2001, he appeared in the comedy America's Sweethearts starring John Cusack, Julia Roberts, Billy Crystal, and Catherine Zeta-Jones.

He also starred in the Jill Sprecher drama Thirteen Conversations About One Thing with Matthew McConaughey, John Turturro, and Clea DuVall. For his performance, he received the Boston Society of Film Critics Award for Best Supporting Actor. In 2003, he starred in the television film The Pentagon Papers starring James Spader and Paul Giamatti for which he received a Primetime Emmy Award for Outstanding Supporting Actor in a Limited or Anthology Series or Movie nomination. That same year, he starred in another television film And Starring Pancho Villa as Himself with Antonio Banderas. In 2005, he appeared as Marty Adler in the NBC sitcom Will & Grace in the episode "It's a Dad, Dad, Dad, Dad World".

2006–2023

In 2006, Arkin appeared in a supporting role in the ensemble comedy-drama Little Miss Sunshine with Greg Kinnear, Steve Carell, Toni Collette, Paul Dano, and Abigail Breslin. His role in the independent film as a foul-mouthed grandfather with a taste for snorting heroin won him the Independent Spirit Award for Best Supporting Male; the BAFTA Award for Best Actor in a Supporting Role; and the Academy Award for Best Actor in a Supporting Role. At 72 years old, Arkin was the sixth oldest winner of the Best Supporting Actor Oscar. On receiving his Academy Award on February 25, 2007, Arkin said:

In 2006–2007, Arkin was cast in supporting roles in Rendition as a U.S. Senator and The Santa Clause 3: The Escape Clause as Bud Newman, with Ann-Margret playing his wife. In 2008, he appeared in the comedy films Sunshine Cleaning with Emily Blunt and Amy Adams, Get Smart with Steve Carell and Anne Hathaway, and Marley & Me starring Owen Wilson and Jennifer Aniston. The following year, he appeared in Rebecca Miller's The Private Lives of Pippa Lee and Raymond De Felitta's City Island (both 2010).

In 2012, he appeared in a supporting role as  Hollywood producer Lester Siegel in Ben Affleck's drama Argo with Affleck, John Goodman, and Bryan Cranston. For his performance, he received his fourth Academy Award nomination, his second for Best Supporting Actor, losing to Christoph Waltz in Django Unchained. He also received nominations for the Golden Globe Award, the BAFTA Award, and Screen Actors Guild Award. He did receive the Screen Actors Guild Award for Outstanding Performance by a Cast in a Motion Picture. That same year, he appeared in the crime drama Stand Up Guys, opposite Al Pacino and Christopher Walken. The following year he appeared in the comedy The Incredible Burt Wonderstone with Steve Carell, Steve Buscemi, Olivia Wilde, and Jim Carrey and Grudge Match with Robert De Niro, Sylvester Stallone, and Kim Basinger. He continued to act in supporting roles in films such as the sports drama Million Dollar Arm (2014) with Jon Hamm and the Christmas comedy Love the Coopers (2015).

From 2015 to 2016, Arkin voiced J. D. Salinger in the Netflix animated series BoJack Horseman. From 2018 to 2019, he starred opposite Michael Douglas in the Netflix series The Kominsky Method for which he received two Primetime Emmy Award for Outstanding Supporting Actor in a Comedy Series nominations, two Golden Globe Award for Best Supporting Actor – Series, Miniseries or Television Film nominations, and several Screen Actors Guild Award nominations.

During this time Arkin was cast in the comedy Going in Style (2017) with Morgan Freeman and Michael Caine, and Tim Burton's Dumbo (2019).

Arkin gave his final two film-acting roles in 2020 and 2022. He starred alongside Mark Wahlberg and Winston Duke in the 2020 Netflix film Spenser Confidential. His final performance was voicing the character Wild Knuckles in the animated film Minions: The Rise of Gru, which was released to critical and commercial success. In September 2022, Arkin had been cast in the independent heist thriller The Smack, which was in post-production prior to his death.

Musical career
With Erik Darling and Bob Carey, he formed the folk group The Tarriers, in which Arkin sang and played guitar. The band members co-composed the group's 1956 hit "The Banana Boat Song", a reworking, with some new lyrics, of a traditional, Jamaican calypso folk song of the same name, combined with another titled "Hill and Gully Rider". It reached No. 4 on the Billboard magazine chart the same year as Harry Belafonte's better-known version. The group appeared in the 1957 Calypso-exploitation film Calypso Heat Wave, singing "Banana Boat Song" and "Choucoune". Arkin was a member of The Tarriers when they recorded "Cindy, Oh Cindy", which also charted.

From 1958 to 1968, Arkin performed and recorded with the children's folk group The Baby Sitters. He also performed the role of Dr. Pangloss in a concert staging of Leonard Bernstein's operetta Candide, alongside Madeline Kahn's Cunegonde. In 1985, he sang two selections by Jones and Schmidt on Ben Bagley's album Contemporary Broadway Revisited.

Personal life and death
Arkin was married three times, with two marriages ending in divorce. He and Jeremy Yaffe (m. 1955–1961) had two sons: Adam Arkin, born August 19, 1956, and Matthew Arkin, born March 21, 1960. He was married to actress-screenwriter Barbara Dana from 1964 to 1994; she appeared with him in segments of Sesame Street in the 1970s. They lived in Chappaqua, New York. In 1967, they had a son, Anthony (Tony) Dana Arkin.

In 1996, Arkin married psychotherapist Suzanne Newlander, whose surname he adopted for his character Norman Newlander in The Kominsky Method. Since the late 1990s, they maintained a seasonal home on Cape Breton Island in the Canadian province of Nova Scotia. Arkin stated he "felt an energy in Cape Breton that [he] never felt anywhere in the world." In 2019, Arkin recorded his vocal performance in Minions: The Rise of Gru from a nearby recording studio in Point Aconi.

Arkin died at his home in San Marcos, California, on June 29, 2023, at the age of 89. His death was attributed to heart problems, of which he had a history.

Acting credits

Film

Television

Theater

Awards and nominations

Throughout his career he received an Academy Award, a BAFTA Award, a Golden Globe Award, two Screen Actors Guild Awards, and a Tony Award. He also received six Primetime Emmy Award nominations. In 2014, Arkin received the Gregory Peck Award for Cinematic Excellence to honor his life's work at the San Diego Film Festival.

Bibliography
Arkin was the author of many books. These include:
 Tony's Hard Work Day (illustrated by James Stevenson, 1972)
 The Lemming Condition (illustrated by Joan Sandin, 1976)
 Halfway Through the Door: An Actor's Journey Toward Self (1979)
 The Clearing (1986 continuation of Lemming)
 An Improvised Life (2011) (memoir)
 Out of My Mind (2018) (second memoir)

See also
 List of oldest and youngest Academy Award winners and nominees

References

External links

 Q&A with Arkin at Time.com
 Folkera Tarriers article
 Stephen Capen Interview on Worldguide, Futurist Radio Hour – October 10, 1995

1934 births
2023 deaths
American male film actors
American male stage actors
American male television actors
American male voice actors
20th-century American male actors
21st-century American male actors
Jewish American male actors
Best Supporting Actor Academy Award winners
Best Supporting Actor BAFTA Award winners
Best Musical or Comedy Actor Golden Globe (film) winners
Best Performance by a Foreign Actor Genie Award winners
Best Supporting Actor Genie and Canadian Screen Award winners
Independent Spirit Award for Best Supporting Male winners
Outstanding Performance by a Cast in a Motion Picture Screen Actors Guild Award winners
Tony Award winners
Drama Desk Award winners
Male actors from New York City
20th-century American comedians
21st-century American comedians
American children's writers
Jewish American writers
21st-century American Jews
Actors from Brooklyn
Filmmakers from Brooklyn
American people of German-Jewish descent
American people of Russian-Jewish descent
American people of Ukrainian-Jewish descent

Alan Arkin


Anna Barańska – (born 8 September 1976) – Polish mountaineer,  and climber of three eight-thousanders. The first Polish woman on the North Face of Mount Everest, climbed on 21 May 2009. She was born and lives in Warsaw. She obtained her master's degrees from the Warsaw School of Economics and works in financial advisory (M&A, corporate finance). She is not a member of any mountain organization and she does not perceive herself as an alpinist. She started her mountaineering adventure in 2000 by climbing Rysy from the Slovak side. The next climbings were as follows: Gerlach 2650 m – June 2000; Triglav 2864 m – September 2001; Mont Blanc 4810 m – August 2002 ; Elbrus 5642 m – unsuccessful summit trial in August 2003; Lenin's Peak 7210 m by the normal route – June 2004.

Eight-thousanders

In 2005 Anna reached the top of Cho Oyu in Tibet by the normal route with Piotr Barabas on September 28.

Then in 2009 she took a part in Mount Everest North Face international expedition and summited as the first Polish woman on the North, Tibetan Face. The expedition, successful to her, was full of dramatic moments – one of the members died from a heart attack in CI, and another did not make it down from the summit and remained below the 3rd Step.

In 2013 (21 July), Anna successfully climbed Gasherbrum II as a member of an international expedition. On this expedition, she met her husband, an Australian citizen, whom she married a year after they met (19 June 2014).

External links
 Anna Barańska: The first Polish woman on the North Face of Mount Everest
 Anna Barańska: My Everest – Mt Everest North Face International Expedition 2009, part 1.
 Anna Barańska: My Everest – Mt Everest North Face International Expedition 2009, part 2.

1976 births
Polish mountain climbers
Living people
Polish summiters of Mount Everest
Sportspeople from Warsaw
Polish female climbers

Anna Barańska (climber)


112 (pronounced "one-twelve") is an American R&B group from Atlanta, Georgia. Formerly artists on Bad Boy Records, the group signed to the Def Soul roster in 2002. They had great success from the late 1990s into the early 2000s with hits such as "Only You" (featuring The Notorious B.I.G.), "Anywhere" and the Grammy Award–nominated single "Peaches & Cream". The group most notably won a Grammy Award in 1997 for Best Rap Performance by a Duo or Group, for featuring on the single by label boss Puff Daddy, "I'll Be Missing You" (alongside Faith Evans).

History

Formation and early years (1993–1997)
The group had its start when the members met while attending high school. The original group, consisting of Daron Jones, Michael Keith and Reginald Finley, sang together while Jones and Keith were in middle school and Finley was in high school. Once all three were in high school, they met fellow schoolmate Aldon Lagon, who was working at a local McDonald's in Atlanta, and they added him due to his deep bass voice. They met a high tenor vocalist, Marvin Scandrick, who sang with them in the school chorus.

Known as Forte, the group performed talent shows and performed at churches and schools around Atlanta. Not long after, hitmakers Tim & Bob heard of the group and sought them out. They started developing them from their living room to the studio in hopes of the duo producers first signing to Rowdy Records run by their then boss Dallas Austin. Also Kevin Wales was able to secure an audition for the group outside of Atlanta's Club 112 in Buckhead; the boys sang for Combs and impressed him. Following another audition for Combs in front of Bad Boy producer Chucky Thompson, Bad Boy Records artist Faith Evans and Combs' protégé Usher, and a co-sign from Thompson and Evans, Combs signed the quartet of Michael Keith, Marvin Scandrick, Daron Jones, and Quinnes Parker to Bad Boy Records. The group then changed their name from Forte to 112, the name of the nightclub where they had auditioned for Combs.

Soon afterwards, they found themselves living in New York City, recording their debut album, 112. Released in 1996, the album eventually went double platinum. The album, which was primarily produced by Tim & Bob, entered into the top 5 on Billboard's Top R&B/Hip-Hop Albums Chart, going on to sell over two million copies. It featured the hit singles "Only You" and "Cupid", both of which peaked at No. 13 on the Hot 100 and No. 3 and No. 2 on the R&B charts, respectively. The group also contributed to records by several high-profile artists, including The Notorious B.I.G., Sean Combs (as Puff Daddy) and Mase. The group eventually went on the road as the opening act for the Isley Brothers at Ron Isley's request, the first of four separate tours that saw the group criss-crossing the U.S. with Keith Sweat, New Edition, and finally Puff Daddy and the Family, over an 18-month period. In the years that followed, they toured with other performers such as Whitney Houston and Janet Jackson.

Rise to success (1997–2001)

A series of single tracks by 112 populated the charts in 1997, beginning with the Tim & Bob–produced single "Come See Me", which hit the top 40 in January. "Cupid", produced by Arnold Hennings, released in May, made the top 10 and was certified gold in the same month. By August, "Cupid" went platinum. Another 1997 single, "I'll Be Missing You", hit the top 40 in June and was certified triple platinum by July. Attaining the number-one chart position by August, the song won a Grammy Award for Best Rap Performance by a Duo or Group in 1997. "I'll Be Missing You" sat at the top of the Billboard Hot 100 for eleven weeks and spent nine weeks at the top of the Hot Singles sales. The track also topped the R&B singles, R&B singles sales, and rap singles charts for eight weeks running. The group booked tours with the Isley Brothers, Keith Sweat, and New Edition, as well as with Puff Daddy and the Family, totaling four separate tours. The group spent 18 successive months on the road fulfilling tour commitments.

Their second album, Room 112, was released in 1998 and featured the hits "Love Me", featuring Mase, and "Anywhere", featuring Lil Zane. Both the album and the song "Love Me" were certified gold. Album sales surpassed the platinum level by January 1999, and double platinum sales were recorded in 2002. To continue supporting the album further, 112 went on tour with singer Whitney Houston for her U.S. My Love Is Your Love World Tour in the summer of 1999.

A 2001 single, "It's Over Now", charted at the top of the Hot R&B/Hip Hop Songs. The group's third album, Part III, was released in 2001, spun the hit "Peaches & Cream", and earned the group their first and only Grammy nomination in the Best R&B Group or Duo category. While the group was in production on a new album for 2001, however, executive producer Combs was called to court repeatedly regarding a shooting incident. Instead of taping at the usual accommodations in Combs's studio, 112 went to Nashville, Tennessee, to record the new disc. It was a move that signaled a pending split with Bad Boy Records. The album, Part III, was released on March 20, 2001, following an intensive barrage of advance radio publicity. Even in the absence of Combs, Part III took off with a running start. It raced up the charts to debut at number two on the Billboard  200 chart. Surpassing gold sales in April, the album went platinum in May. To promote the album further, 112 joined Janet Jackson that summer for her U.S. All for You Tour. The upbeat single "Peaches & Cream"—which was credited in part to Combs—scored another crossover hit for the band. Released in June, the track soared to number one on the Rhythmic Top 40 and peaked at number four on the Hot 100. The group earned two award nominations for the song that year: an MTV Best Video nomination in September, and a Grammy nomination for Best R&B Performance by a Duo or Group.

Co-signing with Def Jam (2002–2006)
In 2002, the group members, having matured both personally and professionally, came to the realization that a split with the Bad Boy label was necessary due to the lack of interest. In search of greater creative control, 112 left Bad Boy Records in February 2002 and signed with Def Jam in July on their Def Soul imprint, insisting that the breakup was amicable. They reiterated this no-hard-feelings attitude by going to Diddy's House to record a debut album for Def Jam. Disagreements remained over ownership rights to the 112 catalog of songs, and their fourth album Hot & Wet, the Def Jam debut disc, was waylaid as a result, while negotiations ensued between Lyor Cohen of Def Jam and Bad Boy owner Combs. With both sides ultimately in agreement, Hot & Wet appeared in November 2003, with its title song breaking into Billboard 's Hot 100 and the Rhythmic Top 40 that year. In 2004, the album charted on the Billboard 200 and peaked at number four on the Top R&B/Hip-Hop Albums. The album, however, failed to make any noticeable impression on the charts. From the album, they released "Na, Na, Na", featuring dancehall legend Super Cat.

Pleasure & Pain, the group's fifth album, was released in 2005, eventually reaching platinum status and featuring the popular single "U Already Know". The album is their first to come with a parental advisory sticker, reportedly caused by a rap from Three 6 Mafia, though a few songs on the album also contain profanity. Shortly after the release of the album, though, and amidst rumors of issues regarding money, the members separated to pursue solo careers and were subsequently dropped by Def Jam.

Hiatus and solo projects (2007–2009)
In 2007, 112 formed their own label, One Twelve Music Group, and were in talks with a joint venture deal with Irv Gotti's The Inc. Records imprint to release an album in 2008. The group continued to tour nationally and worldwide whilst they embarked on their own solo projects. Daron Jones was reported to have left the group to pursue a solo career in 2007. However, in 2008, he was seen performing with the group again while overseas in Germany and Belgium.

Slim is featured along with Three 6 Mafia on 8Ball & MJG's second single "Cruzin'" off of their album Ridin High. He has signed his own label deal with Asylum/Atlantic called M3 Productions Inc. and released his solo debut album Love's Crazy in November 2008. He released his first single called "So Fly" , featuring Yung Joc and Shawty Lo.

In an interview with MiddleChildPromotions, Q. Parker confirmed that his debut album would be entitled Real Talk and was due for release in September 2008; it was scheduled for  release in 2009 however, the album never got released. He was in the studio working with Tim & Bob, The Pirates, Jammy, Bryan-Michael Cox, The Platinum Brothers and Crystal Johnson. The album was released under a joint venture between his own label, NewFam Entertainment, and Drift City Records. The first single off the album is called "Crazy Crazy" and it features Rock City.

Michael Keith decided to leave 112 and go solo. He stated that a former groupmate stole his, and member Slim's, money, causing the two to leave. Slim, however, states that he never fell out with anyone over money and is still with 112. The group now consists of members Q, Slim and Daron. Mike said his business partner showed him that he wasn't receiving his royalty checks. Mike released his debut solo album, Michael Keith, on September 30, 2008, as a digital download through iTunes and Amazon MP3. He also released two songs, "She's My Superstar" and "Sexy", under the pseudonym "Dangerus" via the internet. In 2010, Michael Keith reconciled with the other three members of 112 and signaled his intention to record with the group on their sixth studio album.

Reunion and Q, Mike, Slim, Daron (2010–2018)
In March 2010, it was announced via Q. Parker that 112 had returned to the studio and was recording new material. He broke the news via Twitter: "In the studio with my boys Mike and Daron! New 112 album comin soon!" The news of the group's reunion was also confirmed by member Daron Jones in an interview published on Sound-Savvy.com. Jones confirmed that the reunion would include Mike and Q, and possibly Slim. He commented, "Slim just didn't want to be a part of it", but there were rumors that Slim might have had a change of heart, as he had recently recorded a song with the group called "One More Try"; however, Slim would go on to collaborate on the album, although it wouldn't be released until 2017. The yet-to-be-titled album currently doesn't have a release date.

In January 2011, Q. Parker released a 12-month fitness calendar and announced that his solo project will be released sometime that year. In March 2012, Daron confirmed that all four members of the group were reconciled and had got back together for a tour titled For The Fans Tour, which kicked off in mid-2012.

In June 2015, the band reunited during the BET Awards to perform at the Bad Boy Reunion segment. Member Slim was present.

In early 2017, the band announced they were releasing a new album. In the summer of the same year, they released their single "Strawberry", followed by the single and music video for "Dangerous Games". On October 27, 2017, the band released Q, Mike, Slim, Daron, their first album in 12 years. The second and final single from the album was "Both of Us" which featured band Jagged Edge and released in 2018.

New music (2020)
On July 24, 2020, 112 released the single "Spend It All". In an interview with Rated R&B, they described the song as "an ode to women." "Spend It All" is the first single from 112's EP Forever, which they independently released on September 4.

Members

Current
Marvin "Slim" Scandrick (1991–present)
Michael "Mike" Keith (1991–present)

Former
 Reginald Finley (1991–1994)
 Aldon Lagon (1991–1994)
 Quinnes "Q" Parker (1993–2018)
 Daron Jones (1991–2018)

Discography

Studio
112 (1996)
Room 112 (1998)
Part III (2001)
Hot & Wet (2003)
Pleasure & Pain (2005)
Q, Mike, Slim, Daron (2017)
Forever (2020)

Awards and nominations
The Grammy Awards are held annually by the National Academy of Recording Arts and Sciences. 112 has one award from two nominations, so far.

References

16.
https://retroworldnews.com/legendary-group-112-take-their-recent-single-spend-it-all-to-a-whole-new-level-featuring-fatman-scoop-and-69-boyz/

External links

African-American musical groups
American boy bands
American contemporary R&B musical groups
Bad Boy Records artists
Def Jam Recordings artists
Grammy Award winners for rap music
Musical groups established in 1993
Musical groups from Atlanta
1993 establishments in Georgia (U.S. state)

112 (band)


The Bali tiger was a Panthera tigris sondaica population on the Indonesian island of Bali which has been extinct since the 1950s.

It was formerly regarded as a distinct tiger subspecies with the scientific name Panthera tigris balica, which had been assessed as extinct on the IUCN Red List in 2008. In 2017, felid taxonomy was revised, and it was subordinated to P. t. sondaica, which also includes the still surviving Sumatran tiger.

Results of a mitochondrial DNA analysis of 23 tiger samples from museum collections indicate that tigers colonized the Sunda Islands during the last glacial period 11,000–12,000 years ago.

In Bali, the last tigers were recorded in the late 1930s. A few individuals likely survived into the 1940s and possibly 1950s. The population was hunted to extirpation and its natural habitat converted for human use.

Balinese names for the tiger are harimau Bali and samong.

Taxonomic history
In 1912, the German zoologist Ernst Schwarz described a skin and the skull of an adult female tiger in the Senckenberg Museum collection, that had originated in Bali. He named it Felis tigris balica and argued that it is distinct from the Javan tiger by its brighter fur colour and smaller skull with narrower zygomatic arches.
In 1969, the distinctiveness of the Bali tiger was questioned, since morphological analysis of several tiger skulls from Bali revealed that size variation is similar to Javan tiger skulls. The hue and striping pattern of fur neither differ significantly.
A comparison of mitochondrial DNA sequences from 23 museum specimens of Bali and Javan tigers with other living tiger subspecies revealed a close genetic resemblance of the tigers in the Sunda Islands. They form a monophyletic group distinct and equidistant from tigers in mainland Asia.

In 2017, the Cat Classification Task Force of the Cat Specialist Group revised felid taxonomy, and now recognizes the extinct Bali and Javan tiger populations, as well as the Sumatran tiger population as P. t. sondaica.

Characteristics

The Bali tiger was described as the smallest tiger in the Sunda islands. In the 20th century, only seven skins and skulls of tigers from Bali were known to be preserved in museum collections. The common feature of these skulls is the narrow occipital plane, which is analogous with the shape of tiger skulls from Java. Skins of males measured between the pegs are  long from head to end of tail; those of females . The weight of males ranged from , and of females from .

Habitat and ecology
Most of the known Bali tiger zoological specimens originated in western Bali, where mangrove forests, dunes and savannah vegetation existed. The main prey of the Bali tiger was likely the Javan rusa (Rusa timorensis).

Extinction

At the end of the 19th century, palm plantations and irrigated rice fields were established foremost on Bali's rich volcanic northern slopes and the alluvial strip around the island. Tiger hunting started after the Dutch gained control over Bali.
During the Dutch colonial period, hunting trips were conducted by European sportsmen coming from Java, who had a romantic but disastrous Victorian hunting mentality and were equipped with high-powered rifles. The preferred method of hunting tigers was to catch them with a large, heavy steel foot trap hidden under bait, a goat or a muntjac, and then shoot them at close range. Surabayan gunmaker E. Munaut is confirmed to have killed over 20 tigers in only a few years.
In 1941, the first game reserve, today's West Bali National Park, was established in western Bali, but too late to save Bali's tiger population from extinction. It was probably eliminated by the end of World War II. A few tigers may have survived until the 1950s, but no specimen reached museum collections after the war.

A few tiger skulls, skins and bones are preserved in museums. The British Museum in London has the largest collection, with two skins and three skulls; others include the Senckenberg Museum in Frankfurt, the State Museum of Natural History Stuttgart, the Naturalis museum in Leiden and the Zoological Museum of Bogor, Indonesia, which owns the remnants of the last known Bali tiger. In 1997, a skull emerged in the old collection of the Hungarian Natural History Museum and was scientifically studied and properly documented.

Cultural significance
The tiger had a well-defined position in Balinese folkloric beliefs and magic. It is mentioned in folk tales and depicted in traditional arts, as in the Kamasan paintings of the Klungkung kingdom. The Balinese considered the ground powder of tiger whiskers to be a potent and undetectable poison for one's foe. A Balinese baby was given a protective amulet necklace with black coral and "a tiger's tooth or a piece of tiger bone".
The traditional Balinese Barong dance preserves a figure with the mask of a tiger called Barong Macan.

Balinese people are fond of wearing tiger parts as jewelry for status or spiritual reasons, such as power and protection. Necklaces of teeth and claws or male rings cabochoned with polished tiger tooth ivory still exist in everyday use. Since the tiger has disappeared on both Bali and neighboring Java, old parts have been recycled, or leopard and sun bear body parts have been used instead.

See also

 Tiger populations
 Mainland Asian populations
 Bengal tiger
 Caspian tiger
 Indochinese tiger
 Malayan tiger
 Siberian tiger
 South China tiger
 Sunda island populations
 Bornean tiger
 Javan tiger
 Sumatran tiger

 Holocene extinction

References

External links

Bali tiger
Extinct animals of Indonesia
Extinct carnivorans
Extinct mammals of Asia
Mammal extinctions since 1500
Mammals described in 1844
Fauna of Bali

Bali tiger


Ludmilla Azova is a soprano opera singer who studied at the New York College of Music and has appeared as a soloist with the New York Philharmonic and the National Orchestra Association, and performed the role of Fiordiligi in Mozart's Così fan tutte with the Bermuda Festival Theatre. Other operatic roles performed in New York include Mimì in La bohème, Madama Butterfly and Marguerite in Faust. In 1966, she appeared as Anna Gomez in a production of Gian Carlo Menotti's The Consul at New York City Opera. Azova has also been an active recitalist. In a review, dated October 6, 1969, in The New York Times, Peter G. Davis wrote, "Ludmilla Azova brought a bright, silvery soprano and an abundance of authoritative style to her Russian song recital at Town Hall late yesterday afternoon. Born in Europe of Russian parents, Miss Azova clearly knows where of what she sings ... In addition to the charm and elegance of her interpretations, Miss Azova's well-schooled, even, secure soprano consistently delighted the ear ... She is a beautiful woman, a charming recitalist and a singer of accomplishment."

Recording
Music From The Orthodox Liturgy – Ludmilla Azova (soprano), Tamara Bering (alto), Slavonic Cappella Ensemble, Alexis P. Fekula (conductor). Label: ESP 1065

References

American operatic sopranos
Living people
Year of birth missing (living people)
Place of birth missing (living people)
New York College of Music alumni
21st-century American women musicians

Ludmilla Azova


The Rapallo Viaduct is a buried railroad trestle in East Hampton, Connecticut which carries the Air Line Trail across Flat Brook.

The viaduct was built as part of the New Haven, Middletown and Willimantic Railroad's line from New Haven to Willimantic, forming part of a more or less direct route between Boston and New York City. The directness of the route required the railroad to cross several deep ravines, including that of Flat Brook, southeast of East Hampton, via high-level bridges; this one would be named after Charles A. Rapallo, one of the railroad's directors. When Edward W. Serrell, then the Chief Engineer of the railroad, set out to design the high iron bridge that would span the valley in about 1870, bridges constructed completely from wrought iron were still a very new technology. Despite Serrell's experience and high reputation as a bridge builder, he was not able to work out precisely what shape the bridge members should take, and their design was subcontracted to the Phoenix Iron Works, which was to build the bridge. While the structure was originally intended to carry a double track, Serrell's apprehensions about the strength of the bridge led him to reduce it to a single track before completion. Serrell was apparently discharged as Chief Engineer by the time of the bridge's completion in 1873, when he wrote to the Connecticut railroad commissioners expressing his apprehension over the design and construction of the iron bridges on the line, including the Rapallo and Lyman Viaducts. The commissioners had the bridges inspected by James Laurie, an eminent civil engineer, who pronounced them fit for use.

Although the New Haven, Middletown and Willimantic was completed in 1873, the Panic of 1873 and the high expenses of construction bankrupted it and forced its reorganization as the Boston and New York Air-Line Railroad in 1875. After a few years of attempted competition, it was leased by the New York, New Haven and Hartford Railroad in 1879, which was the operator of the viaduct thereafter. By the early 20th Century, the iron viaduct's capacity was inadequate for the New Haven's heavier freight trains, and in 1911, the New Haven submitted to the state railroad commissioners a plan to encase Flat Brook in a culvert and fill in the viaduct. The plan was approved, and from 1912 to 1913, sand was dumped from the tracks over the viaduct trestles until it was completely buried. The fill was topped with a layer of cinders, hiding and preserving the viaduct.

Passenger service over the filled viaduct ended by 1937, and the rails were abandoned entirely in 1965. The viaduct was listed on the National Register of Historic Places in 1986, when the abandoned railroad was opened as a rail trail.

The viaduct is still covered in fill, although its largely intact condition was verified in 1979 when a sewer line was buried in the fill. Part of the culvert collapsed in 2007, but was repaired and the fill restored that year. The fill covering it protected it where other iron bridges in the state have been demolished, so that the Rapallo and Lyman viaducts are the only surviving bridges in the state from the first generation of wrought iron bridge construction.

See also
National Register of Historic Places listings in Middlesex County, Connecticut
List of bridges on the National Register of Historic Places in Connecticut

References

External links

Railroad bridges on the National Register of Historic Places in Connecticut
New York, New Haven and Hartford Railroad bridges
Railroad bridges in Connecticut
Bridges in Middlesex County, Connecticut
Bridges completed in 1873
East Hampton, Connecticut
National Register of Historic Places in Middlesex County, Connecticut
Viaducts in the United States
Wrought iron bridges in the United States
Trestle bridges in the United States
Buried viaducts

Rapallo Viaduct