Sonnet 65 is one of 154 sonnets written by the English playwright and poet William Shakespeare. It is a member of the Fair Youth sequence, in which the poet expresses his love towards a young man.

Synopsis
This sonnet is a continuation of Sonnet 64, and is an influential poem on the aspect of Time's destruction. Shakespeare also offers an escape from Time's clasp in his end couplet, suggesting that the love and human emotion he has used through his writing will test Time and that through the years the black ink will still shine bright.  Shakespeare begins this sonnet by listing several seemingly vast and unbreakable things which are destroyed by time, then asking what chance beauty has of escaping the same fate.  A main theme is that many things are powerful, but nothing remains in this universe forever, especially not a fleeting emotion such as love.  Mortality rules over the universe and everything is perishable in this world, so it is only through the timeless art of writing that emotion and beauty can be preserved.

Structure
Sonnet 65 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form, abab cdcd efef gg and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The first line exemplifies a regular iambic pentameter:

 ×      /     ×    /     ×  /       ×   /    ×    /
Since brass, nor stone, nor earth, nor boundless sea, (65.1)
/ = ictus, a metrically strong syllabic position. × = nonictus.

The tenth line exhibits a rightward movement of the third ictus (the resulting four-position figure, × × / /, is sometimes referred to as a minor ionic):

  ×    /      ×    / ×    ×   /       /    ×   /
Shall Time's best jewel from Time's chest lie hid? (65.10)

This figure may also be detected in lines eleven and fourteen, along with an initial reversal in line three.

Analysis

Relation to adjacent sonnets
Time is not an innocuous entity. Here in Sonnet 65 Shakespeare shows time's cruel ravages on all that we believe is enduring. According to Lowry Nelson Jr., Sonnet 65 is simply a continuation of Sonnet 64 and he argues that "both poems are meditations on the theme of time's destructiveness". He also explains that "Sonnet 65 makes use of the same words [brass, rage, hand, love] and more or less specific notions, but it proceeds and culminates far more impressively," in comparison to Sonnet 64. The last two couplets are Shakespeare's own summary on the theme that love itself is a "miracle" that time nor human intervention can destroy.

Shakespeare critic Brents Stirling expands on Lowry's idea by placing sonnet 65 in a distinct group among the sonnets presumably addressed to Shakespeare's young friend, because of the strictly third-person mode of address. Stirling links sonnets 63-68 through their use of "uniform epithet, 'my love' or its variants such as 'my beloved' ". In sonnet 65, the pronoun 'his' directly references the epithet. "Sonnet 65 opens with an epitome of [sonnet] 64: 'Since brass nor stone nor earth nor boundless sea..." The opening line refers back to the 'brass,' 'lofty towers,' 'firm soil,' and 'wat'ry main' of 64. 'This rage' of 'sad mortality' calls to mind the 'mortal rage' of 64. "After its development of 64, sonnet 65 returns with its couplet to the couplet of 63: 'That in black ink my love may still shine bright' echoes 'His beauty' that 'shall in these black lines be seen'; and 'still shine' recalls 'still green' ". This "triad" of poems relates to the group of sonnets 66–68, for "Their respective themes, Time's ruin (63-65) and the Former Age, a pristine earlier world now in ruin and decay (66-68), were conventionally associated in Shakespeare's day," suggesting that the sonnets were written as a related group meant to be distinctly categorised.

Verbal patterns
Shakespearean scholar Helen Vendler characterises Sonnet 65 as a "defective key word" sonnet.  Often, Shakespeare will use a particular word prominently in each quatrain, prompting the reader to look for it in the couplet and note any change in usage.  Here, however, he repeats the words "hold" and "strong" (modified slightly to "stronger" in Q1), but omits them in the couplet, thus rendering them "defective."  Vendler claims that these key words are replaced by "miracle" and "black ink" respectively in the quatrain, citing as evidence the shift of focus from organic to inorganic, which parallels the same shift occurring more broadly from the octave to the sestet, as well as the presence of the letters i, a, c, and l visually yoking miracle to black ink.  Stephen Booth supports this line of criticism, noting the juxtaposition of "hand" and "foot" in line 11, suggesting someone being tripped up and perhaps mirroring the shift to come in the couplet.

Barry Adams furthers the characterisation of Sonnet 65 as somehow disrupted or defective, noting the usage of "O" to begin the second and third quatrains and the couplet, but not the first quatrain.  He also notes the paradoxical nature of this device:  "The effect of this last verbal repetition is to modify (if not nullify) the normal 4+4+4+2 structure of the English or Shakespearean sonnet by blurring the distinction between couplet and quatrain.  Yet the argumentative structure of the poem insists on that distinction, since the concluding couplet is designed precisely to qualify or even contradict the observations in the first three quatrains.".

Joel Fineman treats Sonnet 65 as epideictic.  He injects cynicism into the Fair Youth sonnets, claiming that the speaker does not believe fully in the immortalising power of his verse; that it is merely literary and ultimately unreal.  He treats the "still" in line 14 as wordplay, reading it to mean "dead, unmoving" rather than "perpetual, eternal".  There is some scholarly debate over this point, though.  Carl Atkins, for example, writes that the reader is "not to take the couplet's 'unless' seriously.  We are not expected to have any doubt that the 'miracle' of making the beloved shine brightly in black ink has might.  Of course it does - we have been told so before.  'Who can hold back time?' the speaker asks.  'No one, except me,' is the answer". Philip Martin tends toward agreement with Atkins, but refutes the suggestion that the reader is "not to take the couplet's 'unless' seriously," asserting instead that, "the poem's ending is...deliberately and properly tentative". Murray Krieger agrees with Martin's point that, "the end of 65 is stronger precisely because it is so tentative". "The soft, almost non-consonantal 'how shall summer's honey breath hold out' "  offers no resistance to Time's 'wrackful siege of batt'ring days'. Krieger suggests that while the sonnet does not resist Time through an assertion of strength, the concession of weakness by the placement of hope solely on a 'miracle,' offers an appeal against Time: "May there not be a strength that arises precisely from the avoidance of it?".

Connection to The Tragedy of Julius Cæsar
Time is a natural force from which none of us is immune. This theme pervades the sonnet; the speaker recognises that time will strip the beloved of his beauty and by saying that implies that time will take his beloved from him. Eventually, time will consume everyone in death, and, whether one chooses to recognise it or not, he will not have any control over exactly when that consumption will take place. This theme translates to Julius Caesar as well. Caesar is unfazed by the soothsayer's proclamation in act one, and even though Calpurnia seems for a time to have succeeded in keeping Caesar home on the day of his eventual murder, he goes to Senate anyway. Caesar walks into his own death, much less literally than Brutus, who does actually walk into the sword that kills him. But in these deaths in the context of the play serve to elucidate the truth that death (or 'Time', as the sonnet refers to it) will consume you regardless of your ambitions or future plans; it does not take you into consideration. Obviously, Caesar would not have gone to Senate if he knew he would be stabbed upon entering, just as Brutus and Cassius would not have engaged in a full-blown war if they knew they would be dead before it was over.

It is coincidental enough that the speaker suggests that the only way to immortalise his beloved as he is, is through his writing. And the way that Caesar and the others are kept alive is through writing, through history, and in some senses through Shakespeare himself.

It is rather universally accepted that a body of Shakespeare's sonnets, including 65, are addressed to a young man whose beauty the poems make known. The young man is like Caesar, then, in that Shakespeare recognises the presence of feminine qualities in a man. But the common theme is more than recognition, it is an acknowledgment of tension created by that recognition. Especially by Cassius, Caesar is made out to be rather feminine, as is the young man in descriptions of his beauty. In that the speaker does not directly refer to the addressee of the sonnets as a man, and in that Brutus and the others find discomfort in Caesar's ruling ability because of his appeared weaknesses, shows that Shakespeare recognises an anxiety about men with feminine qualities, or women with masculine qualities, like Queen Elizabeth, of whom Caesar may or may not be representative.

Interpretations
Jonathan Pryce, for the 2002 compilation album, When Love Speaks (EMI Classics)

References

Further reading

External links
Analysis

British poems
Sonnets by William Shakespeare

Sonnet 65


Aaron Nikolai Burkart (born 20 September 1982) is a German rally driver. He is the 2010 Junior World Rally Champion.

Career
Burkart began rallying in 2002. In 2006, he began competing in the Junior World Rally Championship (JWRC) in a Citroën C2 S1600. In Burkart's first event in the championship the 2006 Rally Catalunya, his co-driver Jörg Bastuck was killed after being hit by the Ford Fiesta of Barry Clark while changing a wheel on Burkart's car. Undeterred by these events, Burkart completed the season with another co-driver. In 2008, Burkart finished second in the JWRC standings behind fellow Citroën driver Sébastien Ogier. Burkart switched to a Suzuki Swift S1600 for the 2009 season, taking his first JWRC victory on Rally Ireland, finishing the season in third position. Burkart made his debut in a World Rally Car on 2009 Rally GB for the Citroën Junior Team, finishing in 12th. On the 2010 Rally of Turkey, Burkart won the JWRC division and also finished in tenth place overall, scoring himself a WRC point. He went on to score two further JWRC podiums and won the Junior World Rally Championship for Suzuki by four points over Citroën driver Hans Weijs, Jr. in a thrilling, down-to-the-wire battle at the final rally in Spain.

WRC results

JWRC results

PWRC results

References

External links

1982 births
Living people
People from Singen
Sportspeople from Freiburg (region)
German rally drivers
World Rally Championship drivers
Racing drivers from Baden-Württemberg
Citroën Racing drivers
M-Sport drivers

Aaron Burkart


Julianne Ethel Beckett (née O'Connell; November 9, 1949 – May 13, 2022) was an American teacher and disability rights activist. She lobbied for changes to Medicaid that allowed hundreds of thousands of disabled children to be cared for by their families at home. Her efforts, and those of other activists, led to the legislation and establishment of the Katie Beckett Medicaid waiver, named for her daughter Mary Katherine Beckett (1978–2012), who used a ventilator after surviving viral encephalitis in infancy. The waiver was included as a provision of the Tax Equity and Fiscal Responsibility Act of 1982.

Early life and education
Julianne O'Connell was born in Cedar Rapids, Iowa, one of the eight children born to John Joseph O'Connell and Barbara Jane Ryan O'Connell. Her family was Roman Catholic; her father was a World War II veteran and a lumber salesman. She graduated from Regis High School in 1967, and from Clarke College in Dubuque in 1971; she earned a master's degree in history from the University of Dayton.

Career

Julie Beckett was a part-time teacher and worked in a record store, before becoming her only child's full-time caregiver. She was also state director of Sick Kids Need Involved People (SKIP), and later co-founder and policy coordinator for Family Voices, a national lobbying organization. She testified before Congressional hearings several times. She remained active in Medicaid reform work after the Katie Beckett waiver was established; "my goal is that no child will ever have to go through what my child had to go through," she told a newspaper in 1995. She was honored as a child advocate in 2000, and as a local hero at the Cedar Rapids Freedom Festival in 2005.

Personal life
Julie O'Connell and Mark Beckett married in 1978; they divorced in 1990. Their daughter Katie was born prematurely in 1978, and died in 2012. Beckett died from a heart attack in May 2022, at the age of 72. "Thanks to Julie's tireless advocacy, millions of Americans, including hundreds of thousands of children with complex medical needs, have been able to receive the care and support they need in their homes rather than in institutional settings", said Daniel Tsai of the Centers for Medicare & Medicaid Services, a federal agency.

References

External links
 An interview with Julie Beckett, posted to YouTube by the Iowa Family Leadership Training Institute in 2022
 Julie Beckett (July 24, 2017). "I Fought for My Daughter to Live at Home, And Congress Wants to Take That Away From People With Disabilities" an essay posted to the ACLU website
 Beckett's appearances on C-Span (three videos from 2005)

1949 births
2022 deaths
Schoolteachers from Iowa
American disability rights activists
People from Cedar Rapids, Iowa
Clarke University alumni
University of Dayton alumni
20th-century American women educators
20th-century American educators
21st-century American women educators
21st-century American educators
Activists from Iowa

Julie Beckett


Easy Living is a 1937 American screwball comedy film, directed by Mitchell Leisen, written by Preston Sturges from a story by Vera Caspary, and starring Jean Arthur, Edward Arnold, and Ray Milland. Many of the supporting players (William Demarest, Franklin Pangborn, Luis Alberni, Robert Greig, Olaf Hytten, and Arthur Hoyt) became a major part of Sturges' regular stock company of character actors in his subsequent films.

Ralph Rainger and Leo Robin composed the song "Easy Living" for the film, and it has since become a jazz standard, made famous by Billie Holiday, Ella Fitzgerald, and many other jazz singers.

The film is unrelated to a 1949 RKO drama by the same name.

Plot
J.B. Ball, the third richest banker in America, has a fight with his son John Jr. over breakfast. It ends with the son leaving, determined to prove that he can make his own way. Ball becomes infuriated after learning that his wife Jenny bought a $58,000 sable fur coat, and he decides it has to be returned. After finding many fur coats in her closet, Ball grabs the sable coat. Jenny takes it from him, and a chase takes them to the roof of their New York City penthouse. He throws it over the edge.

It lands on Mary Smith while she is riding to work on a double-decker bus. When she tries to return it, he tells her to keep it, without telling her how costly it is. He also buys her an expensive new hat to replace the one damaged in the incident, causing Van Buren, the owner of the shop, to mistake her for Ball's mistress. Van Buren loses no time in spreading the word. When Mary shows up for work, her straitlaced boss suspects her of behaving improperly to get a coat she obviously cannot afford and fires her to protect the reputation of the Boy's Constant Companion, the magazine he publishes.

Mary is nearly penniless, but she begins receiving offers from people eager to cash in on her notoriety. Hotel owner Mr. Louis Louis installs her in a luxury suite, hoping that this will deter Ball from foreclosing on his failing establishment. When Mary goes to an automat for a meal, she meets John Jr., who is working there anonymously. However, he is fired for giving Mary free food and starting a food fight. When Mary finds out he has no place to stay, she invites him to share her enormous suite while he looks for a new job. They quickly fall in love. Meanwhile, J.B.'s wife goes to Florida, he moves into the Hotel Louis, and reports of a nonexistent affair make their way into gossip columns. The hotel instantly becomes popular with the elite, and various luxury firms begin giving Mary jewelry, clothes, and a sixteen-cylinder car.

Mary's supposed connection to J.B. has disastrous consequences for the stock market. Stockbroker E.F. Hulgar asks her for inside information about steel from Mr. Ball. The only Ball the confused Mary knows is John Jr., so she consults him. He jokingly tells her it is going down, and she passes this along to Hulgar. As a result, everybody begins selling just as J.B. starts buying, causing his firm to teeter on the brink of bankruptcy. Jenny returns from Florida. When Mary, John, and J.B. finally get together and figure out what is going on, John comes up with a bright solution: Mary tells Hulgar that J.B. has cornered the market on steel. Prices shoot up, rescuing the beleaguered financier. The delighted J.B. gives his son a job, and John Jr. asks Mary to be his wife.

Cast
Jean Arthur as Mary Smith
Edward Arnold as J.B. Ball
Ray Milland as John Ball Jr.
Luis Alberni as Mr. Louis Louis
Mary Nash as Mrs. (Jenny) Ball
Franklin Pangborn as Van Buren (the hat shop proprietor who starts the misunderstanding)
Barlowe Borland as Mr. Gurney
William Demarest as Wallace Whistling (the gossip columnist who makes Mary famous)
Andrew Tombes as E.F. Hulgar
Esther Dale as Lillian (J.B.'s secretary)
Harlan Briggs as Office Manager
William B. Davidson as Mr. Hyde
Nora Cecil as Miss Swerf
 George Cowl as Bank President
Robert Greig as Butler (Graves, J.B. Ball's butler)
Robert Homans as Private Guard (uncredited)
Olaf Hytten as Houseman (uncredited)

Cast notes:
Jean Arthur and Edward Arnold starred together in 1935's Diamond Jim, also written by Sturges.
This was the second film written by Preston Sturges that William Demarest appeared in, after Diamond Jim, and he would go on to do eight others.
Franklin Pangborn, another member of Sturges' de facto stock company, first worked with the writer on Imitation of Life (1934). In 1937, before working on Easy Living, he appeared in Hotel Haywire, and subsequently in seven other of Sturges' productions.

Production
Preston Sturges had signed a deal with Paramount in 1936, and Easy Living was his first assignment for them. Although putatively based on a story by Vera Caspary, Sturges in fact supposedly kept almost nothing of it except the fur coat. When a studio executive rejected the script because "1936 was not the time for comedies", Sturges took the script directly to Mitchell Leisen, of which Sturges said "going to a director over the head of my producer was not a sagacious move".

Preston based the Hotel Louis on the Waldorf Towers, which was a financial flop when it first opened.

Adolphe Menjou was to have been in the cast of Easy Living, but was forced to withdraw due to illness. The minor surgery of director Leisen caused production to be postponed a week to 5 April 1937.

Leisen said that Ray Milland got stuck in the tub while shooting the bathtub scene, and although the incident wasn't in the script, Leisen kept the camera rolling and inserted the bit into the film. The phone gag with Esther Dale as the secretary was based on the behavior of Leisen's secretary, who got the phones on her desk mixed up.

Under the belief that an actress needs to be satisfied with the way she will look in order to devote all her attention to her acting, Leisen personally directed all of Arthur's wardrobe and hair tests, and went so far as to style her hair himself. (Leisen had come to directing from the world of costume design and art direction).

Leisen's pains paid off – the shy and nervous Jean Arthur had a reputation for being difficult, but the director had no trouble with her on Easy Living, which was all the more surprising since Arthur was in the middle of a bitter dispute with Columbia Pictures' Harry Cohn. Dissatisfied with the films Columbia was putting her in, she wanted out of her contract. (Arthur was contractually able to do two outside pictures a year, which is why she could do Easy Living for Paramount).

It has been reported in Jean Arthur's biography and elsewhere (Bob Dorian on American Movie Classics a few years ago) that the jewels and furs Arthur wore in the film were genuine, and that guards were posted during the filming.

A legal dispute between Twentieth-Century Fox and Paramount over the source for the film threatened to hold up its release. Fox asserted that the film was based on a Hungarian play called Der Komet by Attila Orbok, which they owned and had used as the basis for My Lips Betray (1933) and were planning to use as the basis for an upcoming Sonja Henie film, Thin Ice. Fox eventually backed off their claim of infringement, and Easy Living was released as scheduled on July 7, 1937.

Reception
Variety called Easy Living a "poor imitation [of My Man Godfrey]", adding that "[unlike the latter, this one lacks] spontaneity and cleverness".

On review aggregator website Rotten Tomatoes, the film has an approval rating of 100 percent based on 10 critics, with an average rating of 7.9/10.

Home media

References

External links

1937 romantic comedy films
1930s screwball comedy films
American business films
American romantic comedy films
American screwball comedy films
American black-and-white films
Films directed by Mitchell Leisen
Films set in New York City
Paramount Pictures films
Films with screenplays by Preston Sturges
1930s business films
Films based on works by Vera Caspary
1930s American films
1930s English-language films
English-language romantic comedy films

Easy Living (1937 film)


is a series of fighting games created by Hudson Soft, and developed together with Eighting. The series has been published by multiple companies including Activision, Konami, and Virgin Interactive. Konami holds the rights to the franchise after Hudson Soft was absorbed into the former company in 2012.

The series began in 1997 under the name Beastorizer. The game incorporates anthropomorphism as its main feature and theme, where the playable characters are Zoanthropes (the name comes from the clinical term, 'zoanthropy', which is similar to lycanthropy), humans who have the ability to transform into half-human, half-animal hybrid creatures (anthropomorphic animals). This form is called a beast form. Zoanthropes are capable of switching between their human and beast forms. The game would appear under the name "Bloody Roar" when it was ported to the PlayStation in 1998, which would become the permanent title for the series thereafter.

Games

Gameplay
Bloody Roar has kept somewhat the same controls over the series. A button each for both punch and kick, the beast (transform/attack) button and a fourth button that has been either a throw button, a block button, an evade button (introduced for some characters in Bloody Roar 4) and a rave button (an early version of the Hyper Beast in the original Bloody Roar only).

The Bloody Roar series is a 3D fighting game in the same vein as Tekken, Soulcalibur and  Virtua Fighter. Although some of the characters have remained almost identical through all four games, others have changed completely. For example, Yugo has a completely different move set in the fourth title compared to his original in the first and Bakuryu has stayed almost the same apart from a few extras which are relevant to the games' evolution over time and generations.

 in Bloody Roar have command moves and standard moves. Standard moves are the combination style moves from games such as Tekken, where the player must press different buttons to create "combos", sometimes pressing the directional pad in one of the eight directions at the same time. Command moves are special moves that require a rolling technique and inputting certain commands with the directional pad, like Street Fighter. Each character has around fourteen "suggested" combination techniques listed in the manual, most of these can be varied into many different ways, allowing nearly forty to seventy combination techniques with each character. Every character also comes with at least eight command moves, which can be incorporated into cancel points in these standard moves or combos. These cancel points, from character to character, can be around twenty to forty in each character's combo palette. These cancel points, when utilized with command moves, can then be cancelled once more, allowing the player to begin a new strategy with adequate timing. As well as this, the combat system has three types of dodging techniques: a heavy and light block that spans over three parts of the body, instead of the typical two in most fighting games; and "Scratch" techniques, which can break guards from dead angles and is a series of command counters, throws and vanishing attacks. Bloody Roar 4, the latest game in the series, may be the most complex of the series, with the largest fighter roster of seventeen characters, and the ability to earn more moves by earning experience in "Career Mode".

Characters

Other media
Bloody Roar was adapted into a manga drawn by Maruyama Tomowo. It was originally published in Monthly Shōnen Jump. A few themes were used from the games but the scenarios and characters in Maruyama's version were completely new, though a few of his characters looked a lot like the original game characters. The main stars of the manga were a loner wolf zoanthrope, Fang, and a rabbit girl named Mashiro. Their adventures had them fighting out-of-control beast men and trying to stop an evil creature being released by the gathering of talismans. The manga was released in two volumes during 2001.

In the first three games, artwork by artist Naochika Morishita, also known as CARAMEL MAMA, was used for concept artwork and in game cut scenes.

For their 2000 single "My Console", the Italian eurodance group Eiffel 65 include Bloody Roar along with several other popular PlayStation titles in the song's lyrics.

Yūgo appears as a playable character in the 2003 crossover fighting game DreamMix TV World Fighters.

References

External links
Eighting site

Video games about ninja
Video games about shapeshifting
Fighting games
Video game franchises
Konami franchises
Video game franchises introduced in 1997

Bloody Roar


Colour sergeant (CSgt or C/Sgt) is a rank of non-commissioned officer found in several armies and marine corps.

Australia
In the Australian Army, the rank of colour sergeant has only existed in the Corps of Staff Cadets at the Royal Military College, Duntroon.

Canada

Colour sergeant is a rank in the Foot Guards regiments of the Canadian Army, specifically in the Governor General's Foot Guards and the Canadian Grenadier Guards and also previously in The Canadian Guards. It is the equivalent to warrant officer; a colour sergeant wears the rank insignia of a warrant officer (a royal crown) on all uniforms except No. 1 Ceremonial Dress, on which a special rank badge is worn: three chevrons, point down, surmounted by an image of regimental colours.

Canadian colour sergeants are addressed in the same manner as their British counterparts.

United Kingdom
Colour sergeant (CSgt or C/Sgt) is a non-commissioned title in the Royal Marines and infantry regiments of the British Army, ranking above sergeant and below warrant officer class 2. It has a NATO ranking code of OR-7 and is equivalent to the rank of staff sergeant in other branches of the Army, flight sergeant or chief technician in the Royal Air Force, and chief petty officer in the Royal Navy. The insignia is the monarch's crown above three downward pointing chevrons.

The rank was introduced into British Army infantry regiments in 1813 during the Napoleonic Wars to reward long-serving sergeants; a single colour sergeant was appointed to each company as the senior NCO. From 1 October 1913, British infantry battalions were reorganised from eight companies to four, leaving two colour sergeants in each new company. The senior of the pair was appointed to the new rank of company sergeant major and the junior to that of company quartermaster sergeant. Although the rank of colour sergeant was then abolished, the CQMS of an infantry company continued to be generally addressed as "Colour Sergeant" and the rank was later reintroduced, probably during the Second World War, with CQMS becoming an appointment of it. The Royal Marines retained the rank throughout.

Historically, colour sergeants of British line regiments protected ensigns, the most junior officers who were responsible for carrying their battalions' colours to rally troops in battles. For this reason, to reach the rank of colour sergeant was considered a prestigious attainment, granted normally to those sergeants who had displayed courage on the field of battle. This tradition continues today as colour sergeants form part of a colour party in military parades. During ceremonial events, it is from a colour sergeant that the ensign collects the colour of the battalion or regiment.

Colour sergeants are referred to and addressed as "Colour Sergeant" or "Colour" ("Colour Sergeant Hewitt" or "Colour Hewitt", for instance) in the Army, or as "Colour Sergeant" or "Colours" in the Royal Marines, and never by the more junior rank of "Sergeant". Unusually, NCOs with the rank of colour sergeant who hold the appointment of company quartermaster sergeant are still addressed and referred to by their rank, not their appointment. In Foot Guards regiments, colour sergeants are addressed as "Sir" and afforded the respect and privileges normally accorded to warrant officers. In The Rifles, the spelling "colour serjeant" is used, in common with other Rifles ranks and appointments including the word serjeant.

In the Royal Marines Band Service, the bandmasters of the seven Royal Navy Volunteer Bands usually hold the rank of band colour sergeant. The senior playing musician in a Royal Marines band also holds this rank, which replaced the rank of bandmaster in 1969.

Colour sergeants and warrant officers form an important part of the instructor cadre at the Royal Military Academy Sandhurst.

United States

Color sergeant is an NCO rank that was used historically in the United States Army, most recently during World War I. Within the United States Military Academy at West Point, the term is used to distinguish second class cadets who are assigned to a colour party (one bearer per colour plus two guards).. In the Virginia Tech Corps of Cadets, the rank is given to 3rd year cadets that are members of the Regimental Color Guard, with the exception of the guard's NCO-in-command, who holds the rank of cadet command color sergeant. All color sergeants in the VTCC must go through the guard's joining process (Tap) again, even if they served as cadet color corporals on the guard as sophomores.

The term is used in the US Marine Corps as a billet for sergeants who carry the colours. Additionally, there is a billet of Color Sergeant of the Marine Corps, a sergeant (E5) who is the Commandant of the Marine Corps' ceremonial representative and the platoon sergeant of the Marine Corps Battle Colors Detachment.

See also
 Comparative military ranks

References

Military ranks of the British Army
Military ranks of Canada
Military ranks of the Royal Marines

Colour sergeant


Angelica Catalani (10 May 178012 June 1849) was an Italian opera singer, the daughter of a tradesman. Her greatest gift was her voice, a dramatic  soprano of nearly three octaves in range. Its unsurpassed power and flexibility made her one of the greatest bravura singers of all time. She also worked as a singing teacher. Her pupils included Laure Cinti-Damoreau and Fanny Corri-Paltoni. She was a close friend to both Beethoven and Rossini.

Biography
Catalani was born on 10 May 1780, at Sinigaglia, where her father was a tradesman.
About the age of 12 she was sent to the convent of Santa Lucia at Gubbio, near Rome, where her beautiful voice soon became a great attraction.
In its full freshness, according to Fétis and all other authorities, it must have been one of extraordinary purity, force, and compass, going as far as G in altissimo, with a sweet clear tone. This exquisite quality was allied to a marvellous truth and rapidity of execution.
No singer has ever surpassed, or perhaps equalled, her in chromatic scales, whether in velocity or precision.

On leaving the convent, into which she had been introduced by the Cardinal Onorati, and where the congregation could frequently not be prevented from openly applauding her splendid notes in the services, she found herself, owing to the sudden impoverishment of her parents, compelled to perform in public.
Her musical education had been but ill cared for in the convent, where she passed three years; and she had contracted bad tricks of vocalisation, which she never entirely overcame, even after hearing such great models as Luigi Marchesi and Girolamo Crescentini.
One of her faults was that she could never execute certain passages without a very perceptible oscillation of the lower jaw, which made them, instead of being even and smooth, sound like a succession of staccato passages on the violin.
In spite of this fault, which was indeed more within the criticism of connoisseurs than of the public generally, her voice was so full, powerful, and clear, her intonation so pure and true, and her instinctive execution of difficult and brilliant music so easy and unfaltering, that her singing had a charm which has scarcely ever been equalled, and her very first steps in a theatrical career were marked by the most extraordinary success.
When she began, the favourite style was that of expressive and pathetic song, and in this she never produced the effect which she subsequently made in bravura.
Thus at Paris she failed comparatively in a tender song of Piccini's, 'Se'l ciel mi divide,' though shortly after, she created the greatest enthusiasm by her 'Son regina,' by an air of Rode's with variations, concerti for the voice, and other pieces of the most florid execution.

In 1795, at the age of 16, she obtained her first engagement at La Fenice at Venice, and made her début as Lodoiska in the opera of that name by Mayer. Her face, figure, and voice, assured her success, a success which grew day by day, and lasted for nearly thirty years. In the season of 1798, she sang at Leghorn with Crivelli, Marchesi, and Mrs. Billington; the year after, at La Pergola in Florence, in Nasolini's 'Monima e Mitridate'; and, in 1801, at Milan, in the 'Clitemnestra' of Zingarelli, and Nasolini's 'Baccanali.' In these early efforts her effect was not due to method or skill; it was her superb voice that carried all before her. From Milan she went to Florence, Trieste, Rome, and Naples, exciting everywhere the same astonishment and admiration.

Her reputation now reached the ears of the Prince Regent of Portugal, who engaged her, with Elisabetta Gafforini and Crescentini, to sing at the Italian Opera there, and she arrived about the end of the year 1804. Her salary was 24,000 cruzados (£3,000) - the equivalent of £292,458.41 in 2018.

Some writers have said that she derived very great advantage from the instruction of Crescentini, which, indeed, seems more than likely; but Fétis, on the authority of Crescentini himself, contradicts this statement categorically, affirming that Crescentini told him that he had endeavoured to give her a little advice, which she had seemed incapable of understanding.
During her stay in Portugal, Catalani made the acquaintance of Paul Valabrègue, the French attaché at Lisbon and former French captain, and they married in 1804.
Her husband, appears to have had no ideas beyond helping his talented wife to gain the utmost possible amount of money on every occasion, and spending it for her afterwards.
From their marriage dates one of the worst of the many speculations that have been based on the capital of a grand voice and great personal charm.
They went first to Madrid, and then to Paris, where she sang only in concerts, but where she gained even more fame than before.

On October 26, 1805, Mme. Catalani signed her first engagement (in the possession of the writer) with F. Goold and W. Taylor, manager and proprietors of the King's Theatre in the Haymarket, for the season from September 15, 1806, to August 1807, at a salary of £2,000 sterling, with 'a further sum of £100 sterling to defray the expenses of her journey to London,' and also 'one Benefit Night free of expense in the month of March, at which a new opera shall be performed.'
Before crossing, however, she gave concerts at Madrid and Paris, by which she gained large sums of money, and created a deep impression; indeed, Napoleon offered her an engagement from which she had some difficulty in escaping, in order to fulfil that at the King's Theatre.
At the moment of her arrival in London, Grassini and Mrs. Billington had just retired; and, as Lord Mount Edgcumbe says,
The opinions of all good judges were nearly the same with the above; but the public was led completely away by her marvellous powers. She made her début December 15, 1806, in the 'Semiramide' of Portogallo, composed for her expressly.

She appeared also in 'Mitridate,' 'Elfrida,' and most unwillingly in 'La Clemenza di Tito,' for the strict time required in Mozart's music, and the importance of the accompaniments, were not suited to her style.
She was, however, the singer who introduced to the English stage his 'Nozze di Figaro,' in which she played Susanna to admiration.
In the 'Orazi' she performed the part of the first soprano, Curiazio, that of the first woman being filled by Ferlendis.
In 'Didone' she caused the rôle of Enea to be sung by Madame Dussek, who was entirely unfitted for it; and, in another opera, she made Madame Dussek act the first woman's part, choosing for herself that of the primo uomo. Subsequently, she assumed also the place of prima buffa, and succeeded equally well in that line; singing with greater simplicity and ease, she was by some preferred in comic opera.
Her face and figure suited both styles; for her handsome countenance was capable of great varieties of expression. Her gains soon became enormous. She was the great attraction of Goold's management, and her engagements entailed on the theatre an expense surpassing anything before experienced.

Mr. Waters, in a pamphlet which he published, gives the total amount received by her from the theatre in 1807, including benefits, at £5,000, and her total profits that year, with concerts, provincial tour, etc., at £16,700,—an immense sum to be received in such a period for the services of a single artist.
That she sometimes found a difficulty in getting payment is not surprising, especially from such a manager as Taylor.
Ebers relates that, on one occasion, she refused to sing unless a debt of £1,000 due to her was paid; and that he gave security for this, of which he had ultimately to pay every farthing. She received as much as 200 guineas for singing 'God save the King' and 'Rule Britannia,' and at a single festival £2,000.
Had she practised the least economy she must have amassed a very great fortune; but this she did not do.
It is said, for example, that the consumption of beer by her servants during a single year amounted to £103.
More serious causes, however, contributed to dissipate these riches as fast as she gained them; for her husband was passionately addicted to gambling, and lost vast sums at play. She remained seven years in England, where she finally succeeded in becoming the only singer of eminence, and led in both lines; but one singer does not constitute an opera, though Valabrègue used to say 'Ma femme et quatre ou cinq poupées,—voilà tout ce qu'il faut.'
Neither would her disposition endure the possibility of rivalry, nor the extravagance of her increasing demands allow any manager to engage other singers.

She quit the theatre at the end of the season of 1813, having first endeavoured (unsuccessfully) to purchase it, and so become sole proprietor, sole manager, and sole singer. After leaving this stage, she for many years never trod any other, except at Paris, where she obtained the management of the Italian opera, with a subvention of 160,000 francs; but the undertaking was not fortunate.
On the return of Napoleon, in 1815, she left Paris, going first to Hamburg, and afterwards to Denmark and Sweden, and exciting everywhere the wildest admiration and enthusiasm.
She returned to France, after the Restoration, by the Netherlands and Belgium.
On her arrival at Paris, she resumed the direction of the Théâtre Italian, and established the same ruinous system which had destroyed, for a time, opera in London.
Every expense of scenery, orchestra, and chorus, was curtailed, and every singer of worth excluded, in order that the entire receipts might go, with the subvention, into the purse of Valabrègue.
This was not all.
To suit this state of things the operas were arranged in such a manner that little of the original but the name remained.
The rest consisted of variations by Rode, and similar things, with the famous 'Son regina,' interpolated in place of the concerted pieces and songs which had been cut out.
In May 1816, Catalani left her opera in the hands of managers, and went to Munich to give some concerts and representations.
Thence she proceeded to Italy, and only returned to Paris in August 1817.

In the next April she left her opera entirely, and resumed her wanderings.
Having engaged Mme. Gail to accompany her, as Pucitta had done in London and Paris, she started for Vienna.
No sooner had they arrived than she quarrelled with her companion, who returned to Paris. Catalani continued her tour alone, and it lasted nearly ten years.
In 1824, she returned to London, performing a certain number of nights with no regular engagement.
She reappeared in 'Il Nuovo Fanatico per la Musica,' an opera by Mayer, arranged for her. 'Her powers were undiminished, her taste unimproved.'
She next continued her wanderings on the continent.
In 1826, an attempt was made by Ebers to engage her, but the terms proposed by her were so exorbitant that it was impossible to consider them seriously.
Her voice was, however, no longer what it had been, especially in the highest part of her register.
Though still beautiful, flexible, and strong, it was losing gradually a little of these qualities.
In turn she visited Germany, Italy, and Paris once more, where she sang without success; then Poland, Russia, and the north of Germany again in 1827.
About this time she sang for the last time at Berlin, and resolved to cease singing in public.

But she revisited England once more in 1828, and sang at the York Festival. Lord Mount Edgcumbe heard her the same year at Plymouth, and describes her as having lost, perhaps, a little in voice, but gained more in expression: as electrifying an audience with her 'Rule Britannia;' and as still handsome, though somewhat stout.
After a time, she retired to a villa which she had bought in the neighbourhood of Florence.
On the stage, she is described as having always produced an unnatural impression, owing to an invincible nervousness, which made her exaggerate the effects she wished to create. She said herself, that it was as painful to her to sing in the theatre as it was delightful to perform at a concert.

She never lost her simplicity and purity of manners, nor her piety, modesty, and generosity. Her charitable deeds were innumerable, and the amount of money earned by her in concerts for such purposes alone has been estimated at 2,000,000 francs.
At her residence she founded a school of singing for young girls.

Catalani died of cholera at Paris, June 12, 1849.

Catalani's sister-in-law, Adelina, was also a soprano, though of far less note. She was known variously as la cognate della famosa and la Catalani juniore to distinguish her from her far better-known relative.

Publications
 Henry Sutherland Edwards, The Prima Donna: Her History and Surroundings from the Seventeenth to the Nineteenth Century, volume i (two volumes, London, 1888)
 George T. Ferris, Great Singers (New York, 1893)
 Ellen Creathorne Clayton, afterwards Mrs. Needham, Queens of Song (London, 1863)
 Henry Charles Lahee, Famous Singers of To-Day and Yesterday (Boston, 1900)

References

Attribution

 Gustaf Hilleström: Kungl. Musikaliska Akademien, Matrikel 1771-1971 (The Royal Academy of Music 1771-1971) (Swedish)

External links

Interpretations

 , David McGuinness, piano

1780 births
1849 deaths
Deaths from cholera
Italian operatic sopranos
Infectious disease deaths in France
People from Senigallia
19th-century Italian women opera singers

Angelica Catalani


Olav Løchen Kielland (16 August 1901 in Trondheim – 5 August 1985 in Bø, Telemark) was a Norwegian composer and conductor.

Early life and education
Olav Løchen Kielland was born the son of Gabriel Kielland (1871–1960) and Margit Løchen (1875–1951).  He took his final exams at the Trondheim Cathedral School in 1919. He studied to become an architect like his father at the Norwegian Institute of Technology from 1919 until 1921. He then moved to Leipzig where he studied conducting, composition, piano and bassoon at the Music Conservatory. In 1929 he attended Felix Weingartner's masterclass for conductors in Basel, Switzerland.

Career
Kielland had his debut as a conductor and pianist in Trondheim in 1923. He was repetiteur with the Casino Theatre in Oslo, and conductor with the Stora Teatern in Gothenburg. In 1931, he became the conductor for the Filharmonisk Selskap, now the Oslo Philharmonic), and served as artistic director from 1933 until 1945.
In 1939, Kielland was offered the position as chief conductor by the New York Philharmonic Orchestra, but was hindered by the outbreak of World War II and could not travel and accept the position.

During the war, Kielland was for a short period a member of the Cultural Department's temporary consultative council (Departementets midlertidige konsultative råd i kunstneriske spørsmål), which led to accusations of cooperation with the occupying force. Kielland was suspended from several organisations, such as the Norwegian Composer's Union (Komponistforeningen). Even if he already in 1945 was acquitted of the charges, by a committee appointed by the government, Kiellands career was badly damaged, and as late as in 1962, Kielland still had to defend himself against Nazi accusations.

Gradually, Kielland started focusing more and more on the composing, and less on the conducting. He preferred being a guest conductor and only take on shorter engagements. He therefore rejected the offer to return to Filharmonisk Selskap in 1946, but the position was held open until 1949, in case he would reconsider.

Kielland was elected to reorganise the Trondheim Symphony Orchestra in 1946 and was music director of the Bergen Philharmonic Orchestra 1948-52 and artistic director of the Iceland Symphony Orchestra 1952–55. He was guest conductor for a number of other orchestras, such as the Berlin Philharmonic, the London Symphony Orchestra, and the New York Philharmonic.

As a composer, Kielland represents the national line in Norwegian music. His music is strongly influenced by Norwegian folk music and perhaps particularly by the Hardanger fiddle. In 1955, he took up residence in Bø, Telemark, where he began to study the Hardanger fiddle dances, in particular the polyphonic elements. The melody, rhythm and timbre of this instrument have given expression to many of his compositions. Kielland's music has a prominent polyphonic tendency, with penetrating dissonant lines. Music which, at its best, performs a synthesis of the folk music's national accent and a contemporary musical idiom.

Kielland composed eight larger symphonic works, amongst those the Violin concerto (1942), the music to the play "Brand" of Ibsen, the Concerto Grosso Norvegese (1952) and the Piano Concerto (1978). He also composed several songs with orchestra, choir songs, psalms, chamber music, and piano works.

Awards and honors
At his death, he had been awarded The King's Medal of Merit in gold (Kongens fortjenstmedalje i gull) and was a Knight of the Order of St. Olav and a Commander (Grand Knight) of the Icelandic Order of the Falcon (Hin íslenska fálkaorða).

References

External links

1901 births
1985 deaths
Norwegian classical composers
Norwegian conductors (music)
Male conductors (music)
Musicians from Trondheim
People from Bø, Telemark
Composers awarded knighthoods
Conductors (music) awarded knighthoods
Recipients of the King's Medal of Merit in gold
Grand Knights of the Order of the Falcon
20th-century conductors (music)
20th-century classical composers
Norwegian male classical composers
20th-century Norwegian male musicians

Olav Kielland


Metronatural is a trade-marked tourism slogan created for the City of Seattle by the Seattle Convention and Visitor's Bureau.  It was unveiled on October 20, 2006. According to Exclaim, the firm who developed the slogan, "metronatural is the fusion of city and nature. It is what makes Seattle unique."

The slogan's creator defined Metronatural as:
"Met-ro-nat-u-ral adj. 1. Having the characteristics of a world-class metropolis, beautiful natural surroundings. 2. A blending of clear skies and expansive water with a fast-paced city life.  n. 1. One who respects the environment and lives a balanced lifestyle of urban and natural experiences. 2. Seattle."

The slogan was developed at a cost of $200,000, that included the creation of the new tagline, new photography, promotional and collateral materials as well as publications aimed to leisure travelers, meeting planners, travel agents and tour operators and the media. As part of the unveiling, the slogan's logo (the word "metronatural" in black and green with "TM" symbol) was painted on the roof of the Space Needle, and Seattle Mayor Greg Nickels proclaimed October 20, 2006 to be "Metronatural Day".

Seattle's previous tourism slogan, "See-At-L", was created in 1999, and written with the image of an eye, the at (@) symbol, and letter "L".

References

American advertising slogans
2006 neologisms

Metronatural


A period 8 element would be an element in the eighth period (row) of the periodic table.  No period 8 elements have been proven to exist. These elements are almost certainly too big to exist in nature, so they would be synthetic elements. They would probably decay very quickly, because of radioactivity, so they would have very short half-lives. However, some scientists believe that an island of stability may exist in this range, which would be more stable and have longer half-lives. Some of these elements would be part of a new category of elements, called superactinides. These range from 120 to 153 (atomic number).

An example of a short half-life: the isotope, 260Sg, has a half-life of approximately y 4 ms (or 4 thousandths of a second); That element (seaborgium) is not a period 8 element.

References

Periodic table

Period 8 element


Cynthia is a group of colourful butterfly species that used to be considered a subgenus of the genus Vanessa, in the family Nymphalidae. Before that, it was first described as a genus. Nowadays, this group is not considered a valid taxon anymore, because it is paraphyletic. The name Cynthia Fabricius, 1807 is now a junior subjective synonym of Vanessa Fabricius, 1807.

In English, the species of the Cynthia group are sometimes collectively referred to as the painted ladies, although the name "painted lady" usually specifically refers to the near-cosmopolitan species Vanessa cardui.

The Cynthia group includes at least five species (to which some authors add other South American Vanessa species):
 the Painted lady (Vanessa cardui), which is almost global in its distribution,
 the Australian painted lady (Vanessa kershawi), mostly present in Australia,
 the American (painted) lady (Vanessa virginiensis), mostly in North America,
 the West Coast lady (Vanessa annabella) in Western North America,
 the Western painted lady (Vanessa carye) in South America.

Distinguishing features

The Painted lady (V. cardui) is a large butterfly (wing span ) identified by the black and white corners of its mainly deep orange, black-spotted wings. It has five white spots in the black forewing tips and while the orange areas may be pale here and there, there are no clean white dots in them. The hindwings carry four small submarginal eyespots on the dorsal and ventral sides. Those on the dorsal side are black, but in the summer morph sometimes small blue pupils are present.

The Australian painted lady (V. kershawi) is quite similar to V. cardui. Its four ventral eyespots are less clearly defined, and it always sports at least three (often four) blue pupil spots on its dorsal hindwing. Caterpillars are found mainly on Ammobium alatum.

The American painted lady (V. virginiensis) is most easily distinguishable by its two large hindwing eyespots on the ventral side. V. virginiensis also features a white dot within the subapical field of the forewings set in pink on the ventral side, and often as a smaller clean white dot in the orange of the dorsal side too. A less reliable indicator is the row of eyespots on the dorsal submarginal hindwing; V. virginiensis often has two larger outer spots with blue pupils. The black forewing tips have four to five white spots; usually the largest is whitish orange.

The West Coast lady (V. annabella) and the Western painted lady (V. carye) are two very similar-looking species that occur in separate ranges (North and South America, respectively). They do not have obvious ventral eyespots. On the dorsal side, they lack the white dot in the subapical orange found in V. virginiensis, and are a purer orange color. V. annabella and V. carye have a fully orange subapical band and leading edge on the forewing. Their submarginal row of hindwing spots features three or four blue pupils. Their two larger pupils are the inner spots, rather than the outer spots as in corresponding V. virginiensis.

References

External links
Butterflies and Moths of North America: Vanessa cardui, V. virginiensis, V. annabella.
Butterflies of America: Vanessa cardui, V. virginiensis, V. annabella, V. carye.

Vanessa (butterfly)
Obsolete arthropod taxa
Insect subgenera

Cynthia (butterfly)


Alexei Petrovich Strolman (1811–1898, aged 86-87), Строльман (Алексей Петрович), was a Russian mining engineer, historian and author.  He is known for his work with the commission for the emancipation of the serfs, and for his history of mining in Russia published as a series of articles in the Mining Journal (Russia) .

Strolman received his education from the mining cadet school in St. Petersburg, and began publishing on mining and geological topics as early as 1835.  He was a compatriot of Nikolay Milyutin.   In 1859, he was part the Editing Commission which worked out the text of the Emancipation Manifesto of 3 March 1861 (NS), and then he worked for four years on its implementation.

From 1870 to 1880, Strolman was the scientist member on the Imperial Mining and Mining Board Committee.  He devoted the final years of his life to writing, producing a series of articles on mining for the Mining Journal (Russia) (Горном Журнале, Gornyi Zhurnal ).   Some of Strolman's articles were translated into French and German

Notes

External links
 Мир словарей: СТРОЛЬМАН АЛЕКСЕЙ ПЕТРОВИЧ in Russian (Mir Dictionary and Encyclopedia: Strolman, Alexei Petrovich)

Mining engineers
1811 births
1898 deaths
Engineers from the Russian Empire

Alexei Strolman


Pakistan Press International (PPI) () is a Pakistani news agency first founded in June 1956 as the Pakistan Press Association (PPA).

The name Pakistan Press Association (PPA) was changed in 1968. It was first started by  Muazzam Ali, the Chief Editor of Associated Press of Pakistan (APP). The agency objective was to provide competition to APP's monopoly in Pakistan. PPA also built up a network of correspondents in the smaller cities and towns in Pakistan. This was in contrast to APP, which had news coverage only in a limited number of large cities. For foreign news, the agency signed up with the Agence France-Presse (AFP) in 1957, and a year later became the first Asian partner of DPA. PPA also posted a correspondent in the Middle East, an area of special interest to Pakistani newspapers.

Major news agencies in Pakistan
Pakistan has two major news agencies: the government-controlled Associated Press of Pakistan and the privately-owned independent news agency, Pakistan Press International (PPI).

Among the veteran journalists that once worked for PPI were Idrees Bakhtiar and Ashfak Bokhari.

Staff and news coverage
PPI has a staff of over 300 people that covers not only the major cities of Pakistan but also has an extensive coverage of rural Pakistan.

According to ASIANET website, "The agency [Pakistan Press International (PPI)] enjoys the respect of national and international media and has distinguished itself as an instrument of credible, objective, and ethical journalism."

Pakistan's major TV news channels, radio stations, magazines, newspapers and websites use Pakistan Press International (PPI) as their source to gather latest news.

References

External links
 Pakistan Press International

Companies based in Karachi
News agencies based in Pakistan
Mass media in Pakistan
Mass media in Karachi

Pakistan Press International


André Raess (German: Andreas Räss) (6 April 1794, Sigolsheim, Haut-Rhin – 17 November 1887, Strasbourg) was an Alsatian Catholic Bishop of Strasbourg.

Life
After receiving his classical training at Sélestat and Nancy, Raess studied philosophy and theology at the seminary at Mainz under Bruno Franz Leopold Liebermann and was ordained priest in 1816. At first he was a teacher in the seminary for boys at Mainz. In 1822 he received the degree of doctor from the theological faculty of Würzburg.

When Liebermann left Mainz for Strasbourg Räss was made, in 1825, director of the seminary at Mainz and professor of dogmatics at the same place. After failing to be elected Bishop of Mainz in 1828, opposed by the Government of the Grand Duchy of Hesse, he had charge for a short time of the theological seminary at Molsheim. In 1829 he became superior of the seminary for priests at Strasbourg and professor of dogmatics, theology, and homiletics. On 5 August 1840, he was made coadjutor Bishop of Strasbourg with the right of succession, and was consecrated on 14 February 1841.

In 1842 he became Bishop of Strasbourg. As bishop he devoted himself particularly to the training of the clergy and the extension of religious societies. He was one of the most determined defenders of papal infallibility at the First Vatican Council. His declaration in 1874 in the German Reichstag that the Treaty of Frankfurt was recognized by the Catholics of Alsace and Lorraine did much to shatter the great popularity he had until then enjoyed among his fellow-countrymen of Alsace.

His nephew was the positivist psychiatrist Antoine Ritti.

Work
In his earlier years, before he was raised to the episcopate, Räss was an active author. One undertaking was the founding, with Nicholas Weis, of the Katholik at Mainz in 1821.

In the years 1819-39, also with the aid of Weis, he published a large number of works, chiefly translations and revisions of French and English originals. Among the most important of these are Alban Butler's Leben der Väter und Märtyrer (20 vols., Mainz, 1823–26; 2nd ed., 23 vols., 1838–40); a brief summary of this work; Leben der Heiligen Gottes (4 vols., Mainz, 1826—); later, completely revised by J. Holzwarth (2 vols., Mainz, 1854—); 13th ed. (1903); another was the Bibliothek der katholischen Kanzelberedsamkeit (18 vols., Frankfort, 1829–36).

Räss also brought about the German translation of the Annalen der Verbreitung des Glaubens, which he edited, and in this way promoted interest in missions. During his episcopate Räss published his most important work: Die Convertiten seit der Reformation nach ihrem Leben und aus ihren Schriften dargestellt (13 vols. and index, Freiburg, 1866–80).

References

 Attribution

Bernard (pseudonym for Guerber), Andreas Räss, Bischof von Strassburg (Würzburg, 1873) in the series "Deutschlands Episcopat in Lebensbildern", I, pt. IV);
Räss, Mgr A. Räss, eveque de Strasbourg, biographical notice in Revue catholique d'Alsace, new series, XXI (1901), sqq;
Räss, Andrea Räss et l'oeuvre de la propagation de la foi (Rixheim, Strasburg, 1902).

1794 births
1887 deaths
People from Kaysersberg-Vignoble
Bishops of Strasbourg
Centre Party (Germany) politicians
Members of the 2nd Reichstag of the German Empire
19th-century French Roman Catholic bishops
Knights of the Legion of Honour
Knights Grand Cross of the Order of Pope Pius IX

Andreas Räss


The Château de Roquetaillade () is a castle in Mazères (near Bordeaux), in the French département of Gironde.

History
Charlemagne, on his way to the Pyrenees with Roland, built the first fortification there. Of this old castle, nothing remains but imposing ruins.

In 1306, with the permission of the English King Edward I, Cardinal de la Mothe, nephew of Pope Clement V built a second fortress (le Château Neuf).

This new castle was square in plan with six towers and a central keep. The entire structure was restored and transformed by Viollet-le-Duc and one of his pupils, Duthoit, between 1860 and 1870. The extraordinary interior decorations, with its furnishings and paintings, were created by Viollet-le-Duc and are listed as French Heritage.

The château park includes remains of the medieval curtain wall with the barbican, the Pesquey stream and its banks, the 19th century chalet, and the Crampet pigeon loft.

It has been listed since 1976 as a monument historique by the French Ministry of Culture and is open to the public.

Today
The castle has been lived in by the same family for over 700 years. It has been open to the public since 1956 and is the most visited in the Bordeaux region. Open all year round, visits in English with the owners are also possible.

Other activities at the castle include a famous production of white Graves wines, "Chateau Fort de Roquetaillade", and Bazadais cattle breeding.

The castle been used as a location in several films, including Fantômas contre Scotland Yard and Le Pacte des loups (Brotherhood of the Wolf).

See also
 List of castles in France

References

External links

 Official site in English
 Article and photos on the Château de Roquetaillade

Monuments historiques of Gironde
Castles in Nouvelle-Aquitaine
Historic house museums in Nouvelle-Aquitaine
Museums in Gironde

Château de Roquetaillade


Oconostota (c. 1707–1783) was a Cherokee skiagusta (war chief) of Chota, which was for nearly four decades the primary town in the Overhill territory, and within what is now Monroe County, Tennessee. He served as the First Beloved Man of Chota from 1775 to 1781.

Name
Oconostota's Cherokee name, according to Mooney, was "Aganstata," which he translated as "groundhog-sausage" (agana: "groundhog"; tsistau : "I am pounding it". His name is written as "Oconastota" (with two 'a's) on his grave marker at the site that memorializes Chota. Chota had been one of the mother towns of the Overhill Cherokee, and from the late 1740s to 1788 was the chief town of the Cherokee people. It was located in the area of present-day southeastern Tennessee.

Background
Oconostota as born around 1707, one of eleven children, and may have been a son of Moytoy of Tellico. He grew up among the Overhill Cherokee settlements. Oconostota's first wife was Oo-Loo-Sta (Polly) Ani-Wa'Di of the Paint Clan. Her maiden name was Uka of Chota. Their daughter, Nionne Ollie, married his cousin Attakullakulla, his predecessor as First Beloved Man. Some sources claim Nionne Ollie was a Natchez refugee who was adopted as the daughter of Oconostota's wife (as the Cherokee were a matrilineal society, inheritance and descent went through the mother's clan.)

Oconostota first appears in historical records in 1736. He was a prominent warrior among the Cherokee, and was called "The Great Warrior of Chota." He may have been influenced by the German utopian Christian Priber, who lived with the Cherokee from about 1735 to 1739. He transferred his allegiance from the French to the British, and in 1753 led a pro-British Cherokee force against the Choctaw during the French and Indian War. Over the next 12 years the Cherokee fought both with and against the British. But, as more European-American settlers encroached on Cherokee land, the Cherokee threw their support behind the British, who had issued a proclamation to exclude settlers from the Overhill territory.

In February 1760 Oconostata led a retaliatory attack on Fort Prince George in South Carolina, where colonists had imprisoned 29 Cherokee chiefs seeking peace and then executed them. He defeated Col. Archibald Montgomery in Macon County in June 1760 at the Battle of Echoee, and later captured Fort Loudoun near the confluence of the Little Tennessee River and Tennessee River.

Many histories state that Oconostota went to England in either 1730 or 1762, but he was not a member of either delegation. Even during years of tension, Oconostota worked to have diplomatic relations with the colonists. In an unusual honor, John Stuart, Superintendent of Indian Affairs in the Carolinas, sponsored Oconostota for membership in the exclusive St. Andrews Society of Charlestown, South Carolina, for which the headman was approved and received a certificate in 1773.

Oconostota became the First Beloved Man of the Cherokee following the death of his cousin Attakullakulla, sometime around 1775–1777. His tenure was fraught with warfare and struggle, as the American Revolutionary War broke out. In 1780 both the towns of Chota and Tanasi were destroyed by American revolutionary forces during their rebellion against the British and their allies.

Oconostota was believed to have died in either 1782 or 1783. He was buried with his hands on his chest holding a broadsword pointing down his body.

Memorial

During the late 20th-century excavations at the site of Chota, prior to the Tellico Reservoir impoundment, the remains of Oconostota were found. They were identified by a pair of his reading glasses that had been buried with him.

To memorialize this significant town site, the TVA raised land above the flood level of the reservoir, and over the grave site and former site of the Chota council house). Oconostota's remains were reinterred here in the 1970s and marked by a gravestone. It has become a tradition to place a pebble on his gravestone to symbolize the permanence of his memory and legacy, since a stone can never die. In addition, a memorial to the seven Cherokee clans and the nation overall was installed at this site (see photo above).

Notes

References

References
Litton, Gaston L. "The Principal Chiefs of the Cherokee Nation", Chronicles of Oklahoma 15:3 (September 1937) 253–270. (accessed August 28, 2006).
Mooney, James. Myths of the Cherokee, (1900, reprint 1995).
Kelly, James C. "Oconostota", Journal of Cherokee Studies 3:4 (Fall 1978), 221–238.

External links

1710 births
1783 deaths
18th-century Cherokee people
Chickamauga Cherokee
People from Chota (Cherokee town)
Native American people from North Carolina

Oconostota


Frantz Funck-Brentano (15 June 1862 – 13 June 1947) was a French historian and librarian. He was born in the castle of Munsbach (Luxembourg) and died at Montfermeil. He was a son of Théophile Funck-Brentano.

Biography
After graduating at a young age from the prestigious École Nationale des Chartes, Frantz Funck-Brentano was in 1885 named curator of the Bibliothèque de l'Arsenal, of which he never became director. His research focused especially on the Ancien Régime, primarily because this library housed the archive of documents from the Bastille, which represented an incomparable source for the history, in particular the political history of the Ancien Régime. Funck-Bentano himself compiled the voluminous and exhaustive catalogue of this archive while he was curator. The depths of this resource led him to study all aspects of the history of the Ancien Régime: its institutions, peculiarities, personalities and famous events, which he made the subject of highly referenced books that brought great success to the library.

In 1900 he became replacement professor at the Collège de France, in the chair of comparative legislative history, where he dealt with the foundation of western European cities.

In 1905 he was appointed a principal lecturer of the Alliance française to the United States. At the same time he was mandated by the French government to study the spread of French literature in the United States, Canada and Cuba. In this capacity he spoke before President Theodore Roosevelt in the White House. On his return to France, he was made a knight of the Légion d'honneur.

In 1909 he spoke before French circles of Austria-Hungary, in Vienna, Prague and Budapest, on the history of France through the ages.

After this he served several times as lecturer for the Alliance française, in the Netherlands, England, Denmark, Sweden and Norway, Romania and Russia. In 1907 the Académie des inscriptions et belles-lettres awarding him the important Prix Berger for his works on the history of Paris. He was elected member of the Académie des sciences morales et politiques in 1928, and president of the Société des études historiques.

Alongside his academic work, Funck-Brentano pursued a literary career, writing plays and popular historical works, and in journalism: he contributed notably to Minerva, a nationalist and monarchist historical and critical review, to Revue d'Action française and Charles Maurras's Action Française. His involvement with extreme right-wing politics also influenced his work; a major part of his Marat ou le mensonge des mots (1941) consists of a virulent attack on Marat, whom he describes as a "semite", riddled with classic antisemitic themes of the day.

One of his sons, Christian Funck-Bentano (1894–1966) was among the founders of the newspaper Le Monde; another, Claude Théophile (born 1892) was shot down on the front at Vosges in February 1916. He is commemorated at Pair-et-Grandrupt.

Literary works
1896: Philippe le Bel en Flandre (doctoral thesis)
1900: Le drame des poisons
1903: Grandeur et Décadence des Aristocraties
1912: Rosette, ou l'Amoureuse conspiration (novel, with André de Lorde)
1922: The National History of France: The Middle Ages (English translation: Elizabeth O'Neill, M.A.)
1926: L'Ancien régime
1926: Les lettres de cachet
1932: Les secrets de la Bastille

External links

19th-century Luxembourgian historians
20th-century French historians
Members of the Académie des sciences morales et politiques
French librarians
1862 births
1947 deaths
People from Schuttrange
French male non-fiction writers
École Nationale des Chartes alumni
19th-century French historians
Luxembourgian emigrants
Immigrants to France

Frantz Funck-Brentano


The Franklin-5 Representative District is a two-member state Representative district in the U.S. state of Vermont.  It is one of the 108 one or two member districts into which the state was divided by the redistricting and reapportionment plan developed by the Vermont General Assembly following the 2000 U.S. Census.  The plan applies to legislatures elected in 2002, 2004, 2006, 2008, and 2010.  A new plan will be developed in 2012 following the 2010 U.S. Census.

The Franklin-5 District includes all of the Franklin County towns of Sheldon and Swanton.

As of the 2000 census, the state, as a whole, had a population of 608,827. Being that there are a total of 150 representatives, there were also a total of 4,059 residents per representative (or 8,118 residents per two representatives). The two member Franklin-5 District had a population of 8,193, in that same census, which was 0.92% above the state average.

District Representatives
 Lisa Hango, Democratic
 Charen Fegard, Democratic

See also
Members of the Vermont House of Representatives, 2005-2006 session
Vermont Representative Districts, 2002-2012

External links
Vermont Statute defining legislative districts
 Vermont House districts -- Statistics

Vermont House of Representatives districts, 2002–2012
Sheldon, Vermont
Swanton, Vermont

Franklin-5 Vermont Representative District, 2002–2012


C̈, c̈ in lower case, also called C with diaeresis, is a letter in the Chechen language. It represents the voiceless postalveolar affricate /t͡ʃ/, like the English pronunciation of ch in the word chocolate.

The original letter representing the voiceless postalveolar affricate consonant in Chechen was ç, but was changed to c̈ just as ş was changed to s̈.

It is also used in the digraph c̈h in the Yanesha' language; c̈h represents /t͡ʂ/, and ch (without the diaeresis) represents /t͡ʃ/.

Latin letters with diacritics

C̈


Dolittle (Japanese ドリトル doritoru) is a programming language developed at the Osaka Electro-Communication University . Unlike the majority of programming languages it uses keywords based on Japanese and is written in Japanese script. It is named after the character Dr. Dolittle. It is easier for learners whose native language is Japanese to make early progress in understanding programming.

Features
The language uses Japanese keywords, although Korean and English-based versions of the language also exist. The syntax is based on Japanese word order (Subject Object Verb), which is unnatural in English. The language is prototype-based and object-oriented.

The language has native facilities for Turtle graphics, including easy-to-use collision detection, and musical output using the Sakura library and notation to generate Midi. The language has been ported to Arduino for robotic systems.

The language is implemented in Java, and so runs on a range of systems. It is distributed for free, and in an online version

Example program
This example creates two turtles and two buttons for controlling them.
  かめ太=タートル!作る。
  カメ=タートル! 作る。
  時計=タイマー! 作る 0.1秒 間隔 500回 回数。 時計! 「かめ太! 10 歩く」 実行。
  左=ボタン!"左"作る。 左:動作=「かめ太! 20 左回り」。
  右=ボタン!"右"作る。 右:動作=「かめ太! 10 右回り」。

This page includes text from Japanese Wikipedia :ja:ドリトル (プログラミング言語)

Non-English-based programming languages

Dolittle (programming language)


Albela () is an Indian Hindi-language romantic comedy film released on 20 April 2001. It was directed by Deepak Sareen and stars Jackie Shroff, Govinda, Aishwarya Rai and Namrata Shirodkar.

Upon release, the film received mixed reviews from critics and was declared a flop at the box office, despite being profitable.

Plot

Tony (Govinda) is an easy-going and popular tour guide. One day a fortune teller tells him that a blue-eyed princess from overseas will enter his life and change it forever. She is the dream girl that he has been searching for.

On the way from Austria to an intended holiday in Singapore, Sonia (Aishwarya Rai) and her nanny (Maya Alagh) stop off in Mumbai. When their connecting flight is delayed, Sonia decides instead to travel to Malaga (which is implied to be near Goa), the birthplace of her mother, who died when Sonia was very young.  Sonia has been brought up by her father (the Austrian Ambassador) (Saeed Jaffrey) since her mother mysteriously abandoned the family to return to Malaga. Although Sonia knows her father will be very angry with her – he hates India and Indians due to his wife leaving him – Sonia wants to see her mother's grave for the first time. She convinces her father to let her stay in Malaga for a few days to fulfill her wish.

Upon arrival in Malaga, Sonia meets Tony and hires him to show her the area and to help her find her mother's grave. As Sonia and Tony see the sights of Goa and find her mother's grave, Tony begins to fall in love with Sonia and it appears Sonia is very fond of him. Unbeknownst to Tony, his childhood friend, Neena (Namrata Shirodkar) is in love with him and she does not take kindly to him spending all his time with Sonia.

One day when Sonia is traveling with Tony, she sees a man in the distance. Flashbacks show that the man is Prem Arya (Jackie Shroff), an Indian journalist who Sonia met in Austria when he was interviewing her father. Prem and Sonia became friends, fell in love, and hoped to marry. When Sonia's father found out, he forbade them to marry because Prem is Indian, and although they are deeply in love, they agree to separate.

Returning to the present, Sonia is shocked to find Prem is in Malaga. When she sees that Prem has written an article about Tony and that they are good friends, she asks Tony to organize a lunch on the pretense of meeting the author of the article. Prem agrees to the meeting and is startled to see Sonia. When Tony goes to order lunch, Sonia reveals to Prem that she is still in love with him and is sorry about having to leave him to keep her father happy. Prem tells her that there is no point in having these feelings as there is nothing either of them can do about it and, overcome by emotion, he leaves. When Tony returns from ordering lunch, Sonia says she wants to leave too, resulting in a very confused Tony.

The next day, Sonia calls Prem and admits he still loves her and has not been able to stop thinking about her. They begin to spend time together and after returning from one outing with Prem, Sonia admits to her nanny that she still is madly in love with Prem and that he is a wonderful and kind person. Tony overhears this and believes Sonia is referring to her feelings for him. On another occasion, Tony and Neena join Prem and Sonia on their outing. It is obvious to both Prem and Sonia that Neena loves Tony, so Sonia attempts to tell Tony that Neena loves him. Tony mistakes her comments and, in combination with what he has already overhead, believes that Sonia is trying to tell him that she loves him.

As Sonia and Prem spend time together, Sonia realizes that her true happiness lies in being with Prem. Unfortunately, Sonia's father travels to Malaga to surprise her and discovers that Sonia has been seeing Prem again. He believes that she intentionally traveled to Malaga to see Prem and does not believe that it was a coincidence. He forbids Prem to see Sonia and orders, Sonia, to pack, intending to take her back to Austria straight away.

Sonia tells Tony that she will be returning to Austria and he is devastated. Sonia invites Tony to join her in Austria and Tony willingly accepts. Neena is extremely upset, but Tony thinks this is because he is leaving her alone in Malaga – he assures her that he will find a job for her once he is settled in Austria and continues happily packing in preparation for his journey.

Sonia makes one last trip to the cemetery and is met by a priest, who tells her the true reason for her mother's return to Malaga. When she gets to the airport, she is met by Tony, who tells her that he cannot go with her to Austria anymore. He has discovered a message left for him by Neena, revealing her feelings and wishing him happiness in his new life. He tells Sonia that he knows she loves him and although he loves her in return, he realizes that Neena relies on him and will not cope if he leaves. Achieving his dream of being with Sonia will be at the expense of Neena, and he is not prepared to do this.

Sonia tries to tell Tony that she does not love him, but he leaves quickly, not wanting a sad farewell. Sonia's father makes derogatory comments about Indians and about Tony not joining them, but Sonia defends Tony and tells her father of his sacrifice. After seeing this sacrifice, Sonia realizes that she cannot give up Prem just to keep her father happy and begs him to let them marry. Her father still refuses and makes further derogatory comments about Indians and her mother, and this is when Sonia reveals the truth – that her mother was diagnosed with a contagious disease, so she made the sacrifice to leave the two of them and die alone in India so that they would not get sick. She gives her father letters written by her mother (but never sent) and he apologizes to Sonia and tells her to go to Prem.

Tony and Neena are happily sitting in a restaurant when Tony notices Sonia at another table with Prem. Tony believes Sonia has not left Malaga because she wants to be near to him (Tony). Tony comments that although she looks quite pale and sad, Sonia will eventually get over her feelings for him. At Sonia and Prem's table, Sonia suggests to Prem that they should thank Tony because it was he who brought them together, and she also wants to clarify with Tony that she never had feelings for him. Prem stops her and advises that some dreams are so beautiful that they should not be broken – that it is better for Tony to believe that he gave up a princess for an ordinary girl.

Cast
Jackie Shroff as Prem
Govinda as Tony
Aishwarya Rai as Sonia
Namrata Shirodkar as Neena
Sanjay Mishra as Gabru
Saeed Jaffrey as Sonia's Father
Maya Alagh as Nanny

Production
The film was shot in Bangalore (interiors), Mauritius and Austria.

Reception
Taran Adarsh from IndiaFM gave the film 1 out of 5, writing "On the whole, ALBELA has just one factor going in its favour; the fresh combination of Govinda and Aishwarya Rai which has helped the film take a good start, but the poor direction and a poorer script will mar its prospects after the initial craze declines. Its fall is inevitable!".
Ziys Us Salam of The Hindu cited "Albela brings Govinda and Aishwarya together for the first time. While Govinda attempts to step beyond the ribald street entertainer with his portrayal of the suave English-speaking guide, Aishwarya tries to prove that she can hold her own in front of the master of comedy. In their own way, both of them succeed. While Jackie and Namrata are adequate in their relatively smaller roles, it is the music of the film which does not quite get you humming out of the hall. It may not shower the bounties of spring on the producers but it is not too bad a proposition for this summer of relatively meagre takings". Ronjita Das of Rediff wrote "The film is pleasantly enjoyable. Deepak Sareen (of Aaina fame) probably didn't think of making anything more than a family entertainer, which is exactly what this film is. Aishwarya, as usual, is a visual treat. The film is just another ramp for her to display her exquisite designer clothes. If only she paid more attention to her acting. Govinda is atrociously overweight and has a tendency to mouth his dialogues as if everyone in the theatre had lost their hearing. On the other hand, Jackie Shroff steals the show – no bulging bags under his eyes, and the actor looks good. Namrata Shirodkar is hardly present in the film. When she is, all she does is cry. So making out whether she can act or not is rather tough. The music, however, is the saving grace of the film".

Soundtrack

The soundtrack was composed by Jatin–Lalit.

References

External links

2000s Hindi-language films
Films shot in Mauritius
Films shot in Austria
2001 films
Films scored by Jatin–Lalit
Films shot in Bangalore
Indian romantic comedy-drama films
2001 romantic comedy-drama films
2001 comedy films
2001 drama films
Hindi-language comedy films
Films directed by Deepak Sareen

Albela (2001 film)


Bangor Bridge (also known as the Bangor-on-Dee Bridge) is a Grade I listed bridge crossing the River Dee in Bangor-on-Dee, Wrexham County Borough, Wales. It is situated on the community boundary between Bangor-is-y-Coed and Sesswick. Located to the west of Bangor-on-Dee, it connects the village's high street and the A525 road bypass. The narrow bridge is a one-way traffic bridge, west to east, and is downstream (north) of the Bangor by-pass bridge.

Description
The bridge crosses the River Dee, with the river currently serving as the boundary between the communities of Bangor-is-y-Coed and Sesswick within Wrexham County Borough since 1996. The River Dee at this location, historically served as the boundary between the historic county of Denbighshire to the west and Flintshire's Maelor Saesneg containing Bangor-on-Dee to the east.

The bridge is listed by Cadw, and described to have a group value with the nearby listed buildings of Bangor-on-Dee war memorial and the Church of St Dunawd.

The cambered bridge's five unequal elliptical stepped arches are mainly made of red sandstone, with some coursed rubble and finely dressed stone. The bridge has four buttresses. The parapets and full height splayed cutwaters are made of yellow sandstone with refuges on the top. The parapets are also made of large dressed slabs and are  apart.

Inigo Jones is speculated to be the bridge's architect, with similar bridges constructed in places such as Llanrwst (Pont Fawr) and Llangollen attributed to him.

A scheduled monument is also on the site, consisting of a medieval or post-medieval remains of an older bridge.

History
The earliest reports of a bridge at or near this location in historical maps date to 1036, whereas the earliest mention of a medieval wooden design bridge at this location was recorded in 1292.

The current bridge is of medieval late 15th or early 16th century origins but the current structure mainly dates to the 17th century, with a notable restoration in 1658, by Inigo Jones.

The bridge was repaired several times over its lifespan, including a  repair () in 1757 caused by frequent flooding. There was another repair costing  () in 1843. Although, described to be "in a state of deterioration", while still used.

It was recorded by the Royal Commission on the Ancient and Historical Monuments of Wales in 1910. The bridge connects to the village's high street.

Prior to the 1900's the bridge was mainly used by horse-drawn vehicles, farm carts and pedestrians. When motor vehicle usage on the bridge increased, it damaged the bridge, leading to the introduction of traffic lights and weight restrictions on the bridge to limit the damage. In 1970, there was a petition to construct a new bridge and by-pass in the village, with the bridge and by-pass completed in 1978 and is located south (upstream) of the medieval bridge. The Bangor-on-Dee bridge was reduced to only one-way traffic from the west, when the A525 by-pass opened. One of the bridge's parapets were destroyed by a tractor in 1996, with repairs later carried out, as well as a wider restoration works since the 1990s.

See also
 List of bridges in Wales

References

Bridges across the River Dee, Wales
Road bridges in Wales
Bridges in Wrexham County Borough
Grade I listed bridges in Wales
Grade I listed buildings in Wrexham County Borough

Bangor Bridge


A bungalow is a type of building, originally developed in the Bengal region in South Asia, but now found throughout the world. The meaning of the word "bungalow" varies internationally. Common features of many bungalows include verandas and being low-rise.

In Australia, the California bungalow associated with the United States was popular after the First World War.

In North America and the United Kingdom, a bungalow today is a house, normally detached, that may contain a small loft, many seen in Chicago and in Houston. It is either single-story or has a second story built into a sloping roof, usually with dormer windows (one-and-a-half stories).There is no security guard in the bungalow.

References
Houses

Bungalow


Grady Lamont Brewer (born December 22, 1970) is an American former professional boxer who competed from 1999 to 2015. A former IBA and International Boxing Council (IBC) Light Middleweight titleholder, he is the 2006 winner of the ESPN reality show, The Contender.  Outside the ring, he works at the Goodyear plant in Lawton to support his wife and four children.

In a family of boxers, it was natural that Brewer would also pick up the gloves. His amateur career started at age 11, and Brewer went on to win 40 of his 45 fights, the Oklahoma Golden Gloves tournament in his weight class, as well as winning a toughman tournament in Lawton, Oklahoma. His pro career has been marked with him as a professional "opponent," taking fights on short notice.

On the Contender season premiere, Brewer was picked for the Blue Team.  He won his first fight on the show against rival Vinroy Barrett, and his second fight, against Michael Stewart by unanimous decision.  In his third and possibly hardest fight, Grady defeated Norberto Bravo, after being knocked down in the opening round. On September 26, 2006 at the Staples Center in Los Angeles, California, Grady defeated Steve Forbes for the Contender title and championship by split decision.

In 2008, Brewer defeated fellow Contender contestant Cornelius Bundrage by split-decision in a 12-round IBO title eliminator. Brewer also owns "Bad Boy's Boxing and Fitness Gym" in Lawton, Oklahoma.

On August 22, 2009, Brewer defeated Albert Onolunose by knockout in the second round to capture the IBC Light Middleweight Title. He then won a knockout victory over previously unbeaten prospect Fernando Guerrero on June 17, 2011.

References

External links

1970 births
Living people
African-American boxers
Boxers from Oklahoma
Sportspeople from Lawton, Oklahoma
Reality show winners
The Contender (TV series) participants
American male boxers
Light-middleweight boxers
Middleweight boxers

Grady Brewer


McPherson Meade (born 16 February 1979) is a West Indian cricketer. Meade is a right-handed batsman who bowls right-arm off break. He also plays football for the Montserrat football team as a goalkeeper. He was born on Montserrat.

Meade appeared at Under-19 level for the Leeward Islands in 1997 and 1998, making a total of eight appearances for the team. Starting in 2004, Meade played club cricket in England for Chingford Cricket Club. In 2006, Montserrat were invited to take part in the 2006 Stanford 20/20, whose matches held official Twenty20 status. Meade made his Twenty20 debut for Montserrat in their first-round match against Guyana, with their first-class opponents winning the match by 8 wickets. Meade scored 21 runs opening the batting, before he was dismissed by Mahendra Nagamootoo.

Meade continued to play club cricket in England for Chingford, who had by 2007 been promoted to the Essex Premier League. In January 2008, Montserrat were invited to part in the 2008 Stanford 20/20, where Meade made two further Twenty20 appearances, in a preliminary round match against the Turks and Caicos Islands and in a first round match against Nevis. Against the Turks and Caicos Islands, he took the wickets of Henry Saunders and Chabbie Charlery, finishing with figures of 2/10 from four overs. He wasn't required to bat in Montserrat's nine wicket victory. Against Nevis, he took the wickets of Runako Morton and Joel Simmonds to finish with figures of 2/22 from four overs. In Montserrat's unsuccessful chase, he was dismissed for 9 runs by Tonito Willett. Later in 2008, he played for Chingford in the Essex Premier League, making seven appearances during the season. He continues to play minor matches for Montserrat and is the current captain of the team.

References

External links
McPherson Meade at ESPNcricinfo
McPherson Meade at CricketArchive

1979 births
Living people
Men's association football goalkeepers
Montserratian cricketers
Montserratian men's footballers

McPherson Meade


Gorp is a 1980 American comedy film starring Michael Lembeck and Dennis Quaid, and featuring early acting work of Rosanna Arquette and Fran Drescher in supporting roles. Directed by Joseph Ruben, with both story and screenplay by Jeffrey Konvitz and A. Martin Zweiback, the film follows in the tradition of the 1978 fraternity comedy National Lampoon's Animal House, and the 1979 summer camp comedy film Meatballs. Gorp was the penultimate film released by American International Pictures, before How to Beat the High Cost of Living two months later.

Set in a Jewish summer camp, Gorp features the kind of physical, sexual, and scatological comedy prevalent in films of this genre, while playing for comedic effect on the class distinctions between the camp's management, the camp counselors, the waiters, and the kitchen staff.

Plot
A slapstick comedy about the wacky antics of a group of waiters at a Jewish summer camp in upstate New York.

Cast
 Michael Lembeck as Kavell
 Dennis Quaid as Mad Grossman
 Fran Drescher as Evie
 Rosanna Arquette as Judy
 Philip Casnoff as Bergman
 Lisa Shure as Vicki
 David Huddleston as Walrus Wallman
 Robert Trebor as Rabbi Blowitz
 Lou Wagner as Federman
 Julius Harris as Fred the Chef

External links

1980 films
1980s sex comedy films
American screwball comedy films
1980s English-language films
1980s German-language films
Films directed by Joseph Ruben
Films about Jews and Judaism
American independent films
1980s screwball comedy films
Films about summer camps
American International Pictures films
Films scored by Paul Dunlap
1980 independent films
Teen sex comedy films
1980 comedy films
1980s American films

Gorp (film)


Preseault v. United States (U.S. Ct. of Appeals, Federal Circuit 1996) was a notable US court case involving Rail to Trails programs in the state of Vermont.  The case involved the scope of the government's ownership in public interests it had abandoned years prior to its decision to reuse the property for another task without considering the land-owners rights.

Background

Beginning in the 1980s the US government began the Rail to Trails program across the nation to alter defunct railroad lines into public trails for recreational use.  Since the rise of railroad efficiency and its conglomeration, many lines had become defunct and uneconomical.  In an effort to promote conservation, the government enacted a policy that would turn these lines into recreational trails for hiking, biking, or possibly other activities.

Preseault owned the land that a defunct Vermont rail line formerly operated.  The railroad had an easement on Preseault's land to operate the line.  In 1970 the rail line became completely unoperated and was left defunct until 1975 when the rail track was dismantled leaving the path only.  However the railroad never officially filed an abandonment order.

The railroad company had bought the land under a fee simple contract, meaning they legally owned the land.  However it was an incorrect filing and for all intents and purposes the agreement was treated as an easement and recognized as such by all parties.  Preseault bought the land aware that there was an easement on the land, but believed said easement had been abandoned since the track was dismantled and removed.

When the Rails to trails program was initiated, the Interstate Commerce Commission (ICC) gained ownership of the line and began refitting the line as a recreational trail without the permission of Preseault.  The ICC, along with the state, believed they still had rights of use under their easement agreement and that using the trail for a new recreational program was not in violation of the easement's protocol.  A trail was built and hikers and bicyclists began transgressing on Preseault's property.  Preseault filed a complaint with the ICC stating that his permission was never attained and that he was never compensated.  The ICC refused, stating that the easement of the past railroad line had carried over to its ownership.

Preseault therefore brought the case, Preseault vs. ICC (1990), to the US Supreme Court in 1990, arguing that the Rails to Trails program was unconstitutional and was ruled against.  Following this loss, Preseault sued the federal government and brought his case, Preseault vs. United States, to the Appellate Court for further review that was finally decided in 1996.

Case
The court first considered if the rights to use the land were under an easement contract, which is how it was effectively used, or if it was under a fee simple, as it nominally was.  In this regard the court found that the railroad had in fact procured an easement and not a fee simple.  The court then deliberated on the nature of the easement.

Easements can be passed from one title holder to another.  However, it generally must follow certain conditions such as:
Operations must continue and be unabandoned
The easement is for a particular purpose and must remain operable only for this same purpose.

On both of these conditions the court deliberated and made findings crucial to the case.  One, they found that when the railroad dismantled the track in 1975, they had effectively abandoned their right of easement, regardless of having not filed an abandonment order.  Therefore, any easement pertaining to the use of this rail track became void.

Secondly the function of the land in question was being used for a different purpose, and therefore could certainly not hold up under easement terms.  Fee simple terms would have permitted this, but the court had already determined that the terms of the contract were certainly under an easement.

Decision
The court found that Preseault's 5th Amendment Rights, specifically his right of just compensation, had been violated since the land in question was surely his legal property.  The easement had been abandoned by the railroad when it dismantled track and thus it never had the legal right to turn easement rights over to the ICC.

The Federal Government was required to pay Preseault compensation for the use of the land and seek his explicit permission to use the land under a new easement contract specific to a recreational trail.

Significance
This case greatly reinforces 5th Amendment rights of citizens and bars the government from transferring easements of land for different purposes without a new contract being created with the property owner.  It also establishes that the intent of a contract, such as between an easement and a fee simple, is significant and may help to alter the findings of a case.  The filing in this instance was incorrectly done and for all intents and purposes was treated as an easement.

References

1996 in United States case law
Interstate Commerce Commission litigation
United States administrative case law
Eminent domain

Preseault v. United States