Emil of Lönneberga (from Swedish: Emil i Lönneberga) is a series of children's novels, written by Astrid Lindgren in 1963, 1966 and 1970 respectively, about the prankster Emil Svensson who lives on a farm in the Lönneberga parish of Småland, Sweden.

In total twelve books were written between 1963 and 1997, which have appeared in 44 languages (2014), in most cases with the original Swedish illustrations by Björn Berg. There are three Swedish movie adaptations, released in 1971–1973.

Emil the character
Emil Svensson lives on the farm Katthult ("Catholt"), set in the village of Lönneberga in Småland around the year 1900, with his younger sister Ida, mother Alma and father Anton, the farmhand Alfred who shows great affection towards Emil and the farm maid Lina who, however, is unable to tolerate Emil's pieces of mischief ("hyss"). Sometimes Krösa-Maja ("Lingonberry-Maia") comes to Katthult to help with domestic work and tell Emil and Ida stories about "mylingar", ghosts, murders and similar nasties. Emil does more "hyss" than there are days of the year, which one day brings the inhabitants of the village to such irritation that they collect money for Emil's mother to send Emil to America, but she gets angry and refuses, stating that "Emil is a nice little boy, we love him just the way he is". Alma writes down all Emil's "hyss" in blue notebooks, in order to let Emil remember what he has done as a child when being an adult.  Emil is very resourceful and handy with all types of farm animals.

In the three novels, written in 1963, 1966 and 1970 respectively, one may follow some of Emil's many pieces of mischief ("hyss"), for example:

One day when meat soup is served at Katthult, Emil puts his head into the big soup bowl, which gets stuck over his head.
A day in June, when a party is to be held at Katthult, Emil manages to raise up his little sister in the flagpole, and gets shut up by his father into the toolshed, as a punishment for his prank ("hyss"), where Emil always carves a wooden figure while waiting for being released. However, this time, Emil manages to escape on a plank he puts between the open windows in the toolshed and the food shed on the opposite side, and has his own party in the food shed with sausages, except the last sausage, with is served to Mrs Petrell who has traveled all the way from Vimmerby just to eat Alma's sausage.
One day in July, Emil traps his father in a rat trap, and later heaves both betters of palt and raggmunk on his father's face, and carves his 100th wooden figure.
On the last day of October, an autumn market is held in Vimmerby and a comet is expected to hit the Earth. In Vimmerby, Emil manages to scare Mrs Petrell as well as the mayor of Vimmerby and the inhabitants of the town overall - but also acquires the horse Lukas without charge.
On the day after Christmas Day, Alfred's grandfather Stolle-Jocke comes to Katthult, along with Lill-Klossan, from the poorhouse, to tell that they haven't got any Christmas food ("julmat") to eat and Jocke hasn't got any snus, even though Emil's mother sent Emil to the poorhouse with a big basket of Christmas food and a little box of snus for Jocke, because Kommandoran ("the commanderess (of the poorhouse)") sabotaged everything by taking all of the Christmas food (and Jocke's snus) for herself. Emil manages to invite everyone from the poorhouse except Kommandoran to Katthult for a Christmas party, later referred to as the Big Tabberas in Katthult ("Stora Tabberaset i Katthult"), with the Christmas food left in the food shed which, however, was for the next day when the relatives in Ingatorp are invited for Christmas party (but Emil thinks they are "fat enough" and the poorhouse people need the food better). When Kommandoran comes to Katthult, in order to force them home to the poorhouse, she accidentally gets captured in a wolf pit Emil managed to dig in order to capture a possible wolf. Emil think it was a necessary punishment for Kommandoran, for her sins towards Stolle-Jocke and the other poor people. Finally, Emil forgives Kommandoran and tells Alfred to help her up from the wolf pit, upon which she escapes from Katthult forever.
In June the following summer, when the people of the Backhorva farm plan to emigrate to America, they hold an auction in which Emil manages to make several ludicrous but eventually successful deals which, however, make his father angry. The next day, Emil pretends Ida having typhus by painting her face blue. One summer night, the pig sow Emil's father bought in the auction gives birth to eleven piglets, but bites ten of them to death before Emil luckily rescues the eleventh. A few days later, the sow dies of some strange illness. Emil decides to raise the little piglet, as he were its mother.
One summer day, when Emil's mother brews cherry wine for Mrs Petrell, Emil and the piglet accidentally eat the brewed cherries which make them drunk so that they cause terrible problems. The next day, they have recovered, and are invited to Lönneberga Good Templar Association, to swear a promise to be sober forever, and thereafter keeps the whole Katthult in soberness, firstly by crushing the bottles with Mrs Petrell's cherry wine. In late August, it is time for Emil to start school, where he proves to be the best one in his class.
A Sunday in November, a "husförhör" (a "house interview" in which the priest examines the household's knowledge of the Bible and Luther's Small Catechism) is held at Katthult, during which Emil's mother feels angry for Lina, who just gives wrong answers to the priest's questions mainly about Adam and Eve. After the end of "husförhöret", it is a great dinner with ostkaka ("cheesecake") as dessert. After eating ostkaka, Emil's mother tells Emil to go out and lock the hen shed, but Emil also manages to lock the outhouse, without any awareness that there is someone inside, and then shuts up his own father, who gets furious and attempts to get out through the window above the door, but gets stuck and can't get away before Alfred finally comes with a hand saw and cuts him free.
In the final chapter of the book series, Alfred cuts himself in the left thumb when carving räfsepinnar ("rake sticks") along with Emil, and becomes seriously ill in what is believed to be sepsis shortly before Christmas, when Småland is hit by a heavy snow storm. Despite the storm, and his parents' word that it's impossible to go to doctor, Emil desires one early morning, before anyone has woken up, to take Alfred on a sleigh to the doctor in Mariannelund, where Emil and the horse Lukas finally arrive after a tough struggle through the heavy snow and finally thanks to help from a snowplow. The day before Christmas Eve, Alfred may travel back home, still with bandage over his thumb, and everyone in Lönneberga feels happy over Emil for his heroic act.

In other languages
In Denmark, Emil is known as Emil fra Lønneberg.

In Germany, Emil is known as Michel aus Lönneberga for marketing reasons, as another "Emil" was established on the children's book market both in East and West Germany in the 1960s: the boy Emil Tischbein from Erich Kästner's Emil und die Detektive from the 1920s.

In Iceland, the books are known as Emil í Kattholti and have gained considerable success.

In Italy, Emil is known as Emil, and his Swedish movies were shown on RAI TV in 1974.

In Poland, the books are known as Emil ze Smalandii.

In France, Emil was rechristened Zozo la Tornade ("Zozo Tornado").

In Finland, Emil is known as Vaahteramäen Eemeli, "Eemeli of Vaahteramäki". Vaahteramäki is a direct translation of Lönneberga ("Maple Hill").

In Lithuania, Emil is known as Emilis iš Lionebergos.

In Russia, Emil is known as Эмиль из Лённеберги (Emil' iz Lyonnebergi).

In The Netherlands, Emil is known as Michiel van de Hazelhoeve.

In Portugal, Emil is known as Emilio de Lönneberga.

In Spain, Emil is known as Miguel el travieso.

In Hungary, Emil is known as Juharfalvi Emil.

Film adaptations
 Emil i Lönneberga (1971)
 Nya hyss av Emil i Lönneberga (1972)
 Emil och griseknoen (1973)
 Michel aus Lönneberga, a German-Swedish TV series based on the three films.
 Emīla nedarbi (1985), Latvian TV film
 That Boy Emil (2013)

Notes

External links
 Emil i Lönneberga on astridlindgren.se
 Emil in the Soup Tureen video with English subtitles (13 minutes)
 Emil in the Soup Tureen sample chapter in Portuguese (Emílio Dentro da Terrina)

Astrid Lindgren characters
Swedish children's novels
Novel series
Novels set in Småland
Swedish children's literature
Fictional Swedish people
Child characters in literature
Male characters in literature
Comedy literature characters
1963 Swedish novels
Literary characters introduced in 1963
Fictional tricksters
1963 children's books
Book series introduced in 1963
Children's books set in Sweden

Emil i Lönneberga


"The Host" is the second episode of the second season of the science fiction television series The X-Files, premiering on the Fox network on September 23, 1994. It was written by Chris Carter, directed by Daniel Sackheim, and featured guest appearances by Darin Morgan. The episode is a "Monster-of-the-Week" story, unconnected to the series' wider mythology. "The Host" earned a Nielsen household rating of 9.8, being watched by 9.3 million households in its initial broadcast. The episode received positive reviews, praising the creepiness of the antagonist.

The show centers on FBI special agents Fox Mulder (David Duchovny) and Dana Scully (Gillian Anderson) who work on cases linked to the paranormal, called X-Files. In the episode, Mulder and Scully investigate a body found in sewage after being reassigned to different sections. Their inquiry results in the discovery of a bizarre fluke-like man—the product of the Chernobyl disaster—that soon goes on a rampage in the sewers of New Jersey.

Carter claimed to have been inspired to write the episode based on three incidents; his dog having worms, his research into Chernobyl, and the extinction of species during the 1990s. The Flukeman character was portrayed by Darin Morgan, brother of executive producer Glen Morgan. Darin would become a staff writer for the show later in the second season. In addition, "The Host" also introduced the character of X, the successor of Mulder's former Syndicate informant Deep Throat.

Plot
On a Russian freighter off the coast of New Jersey, a crewman trying to fix the ship's toilets is pulled into the septic system. His half-eaten body appears in the sewers of Newark days later. Fox Mulder is assigned the case and visits with a Detective Norman in Newark, being shown the still-unidentified body. He angrily confronts Assistant Director Walter Skinner, feeling he has been given this seeming "wild goose chase" as a form of punishment. That night, Mulder talks to Dana Scully, telling her that he's thinking of leaving the FBI. Scully performs the autopsy on the crewman's body, finding a Russian language tattoo on his arm and a flukeworm inside his liver.

In a Newark sewer, a city sanitation worker named Craig is rescued when an unseen creature pulls him underwater. Believing he was attacked by a python, he visits a doctor with Mulder observing. An examination of his back reveals an abnormal four-pointed wound. Shortly afterwards, Mulder receives a call from a mysterious man, telling him he has a friend at the FBI. Scully shows Mulder the flukeworm, whose mouth, though much smaller, matches the wound on Craig's back. That night, Craig dies in his shower after coughing up a flukeworm. Mulder visits a sewage processing plant and along with plant foreman Ray, finds a large humanoid mutant with a fluke-like mouth.

At Quantico, someone slips a newspaper article under Scully's door enabling her to identify the original body. Mulder and Scully meet at the processing plant and observe the "Flukeman". Skinner wants to prosecute the creature and subject it to a psychiatric evaluation, which Mulder thinks would be difficult. Skinner tells Mulder of Craig's death and admits that this would have been an X-file had they still been open. Mulder insists that the death could have been prevented if the X-files had remained open, but Skinner implies that the decision came from higher up the chain of command.

That night, the Flukeman is being transported by van, it escapes its restraints and kills the driver. It hides in a portable toilet, is soon suctioned into a septic truck, and is brought back to the sewage processing plant. Meanwhile, Mulder receives another call from the mysterious man, telling him that the X-files must be reopened. Scully tells Mulder that the flukeworm she discovered is a larva, revealing that the Flukeman is capable of asexual reproduction. Meanwhile at the plant, the Flukeman is spotted in a storm drain overflow pipe, with Mulder realising the Flukeman is using the drain to make an escape back to the ocean. Mulder and Ray then investigate the overflow pipe, but Ray is pulled underwater by the Flukeman. Mulder saves him, bisecting the Flukeman at the waist with a sewer grate.

Scully concludes her investigation, hypothesising that the creature was brought to the U.S. by a Russian freighter that was hauling salvage material from the Chernobyl disaster, and that the creature was created in a 'soup' of radioactive sewage. Elsewhere in the drains beneath the city, the Flukeman's remains open its eyes.

Continuity
In the 2013 comic continuation of The X-Files called Season 10, a two-issue story, "Hosts", continues the story almost twenty years later after the events of this episode. According to the comics, the Flukeman escaped to Martha's Vineyard and began to multiply, abducting multiple beach-goers. The Flukeman and its offspring were nearly all killed, however, by a man revealed to be one of the Chernobyl liquidators. In addition, the story expanded upon the Flukeman's backstory, revealing that he was a liquidator named Gregory, who, after being locked in a sewage tanker truck at Chernobyl, gestated the mutated flukeworm that grew into the original Flukeman after he was exposed to irradiated cooling water from the still-burning nuclear reactor and to flatworms in the sewage tank.

Production

Writing
Chris Carter claimed to have been inspired to write the episode after his dog had worms, a situation he called "very disgusting". He also had been reading about the Chernobyl disaster and the extinction of species at the time, blending all three of these concepts when writing the episode. Carter described his mood while writing the episode: "I was in a funk when I wrote that episode. We were coming back from hiatus and I was trying to find something more interesting than just the Flukeman. I was irritated at the time and I brought my irritation to Mulder's attitude. Basically, he had become fed up with the FBI. They had given him what he felt was a low assignment, which was sending him into the city after a dead body. But lo and behold, he finds that this is a case that for all intents and purposes is an X-File. It's been given to him by a man he's never looked at as an ally, Skinner. So it's an interesting establishing of a relationship between them." Producer J. P. Finn described the episode as a departure from Carter's usual work as it did not deal with an alien subject matter.

Casting and filming

The Flukeman—also known affectionately as "Flukey" by the cast and crew—was portrayed by Darin Morgan, brother of executive producer Glen Morgan. He would become a staff writer for the show later in the second season. The Flukeman suit used by Morgan, which included flipper-like feet, yellow contact lenses and fake teeth, took six hours to put on; this process was eventually sped up. Morgan wore the suit as much as twenty consecutive hours during shooting. As a result, he was forced to go to the bathroom while still wearing the suit. Morgan was rarely on set without being in full costume, and recalled that when he met up with David Duchovny again upon joining the series' writing staff, the actor had no idea who he was despite having enjoyed an amiable relationship with the costumed Morgan previously.

The suit dissolved in water, forcing special effects artist Toby Lindala to reconstruct the suit each day. Because the suit did not permit Morgan to breathe through his nose, he was unable to eat while wearing it. Carter described the character as "the embodiment of everyone's sense of vulnerability, the idea of something that exists in the underworld of the sewer system and might in fact come to bite you in the least elegant of places". The original intention was showing even less of the Flukeman, but some angles and lighting ended up revealing more of the creature's design. Carter still felt it helped to "get more creepy", as the Flukeman is not shown fully until the final scenes.

The sewer processing plant scenes were shot at Iona Island Sewage Treatment plant in Canada. The sewer scenes were shot in a pit on the show's stage, with Carter using his father, who worked as a construction worker, as a consultant on how to build it. As no ship was available for filming the opening scenes in the Russian freighter, a hydro sub station in Surrey, British Columbia, was adapted into an engine room.

Carter had to fight with the Fox network's broadcast standards department over the scene where a victim vomits up a flukeworm while in the shower. James Wong described it as the grossest piece of television ever put on the air. As Gillian Anderson's pregnancy was getting more apparent, the producers started to shoot Scully's scenes in a way it would be disguised, with "very fancy trick angles, trench coats, and scenes where she is seated rather than standing".

Broadcast and reception
"The Host" premiered on Fox on September 23, 1994, and was first broadcast in the United Kingdom on BBC Two on September 4, 1995. This episode earned a Nielsen rating of 9.8, with a 17 share, meaning that roughly 9.8 percent of all television-equipped households, and seventeen percent of households watching television, were tuned in to the episode. It was viewed by 9.3 million households.

The episode received glowing praise from critics. Entertainment Weekly gave "The Host" a rare A+, noting that it was "a refreshing instance of a fully and satisfactorily resolved episode — like a perfect meal, although you definitely don't want to eat during this one." Reviewer Zack Handlen of The A.V. Club described the episode as "the first really, really icky X-Files", and while considering redundant the "circular" nature of the plot, with the creature coming back to the sewers after escaping, he felt that "The Host" "holds up because of the Flukeman's irreconcilable ugliness, and because it continues down the path that "Little Green Men" started on". On a more negative view, Critical Myth's John Keegan gave the episode 6/10, considering that "as fun as this episode can be, there are some places where it just doesn't quite add up", criticizing writing elements such as the lack of resolution, the explanation for the Flukeman's origins, and the "heavy-handed" introduction of X. A writer from the Vancouver Sun listed "The Host" as one of the best stand alone episodes of the show, saying that it broke the "B-movie fun at best" quality of most X-Files standalone episodes, saying that "thanks to its cinema-grade make-up effects, claustrophobic sets and chilling subject matter, this Chris Carter-penned episode not only took the show to new heights of horror and suspense, it offered a fresh alternative on network television". "The Host" was later picked for the 2008 DVD The X-Files: Revelations, with eight episodes Chris Carter considered "essential grounding" for the film The X-Files: I Want to Believe. The plot for the episode was also adapted as a novel for young adults in 1997 by Les Martin.

The Flukeman character has also attracted praise. Writing for Den of Geek, John Moore listed the Flukeman as one of his "Top 10 X-Files Baddies", writing that "the idea of a man size biter running around drains in a city near me – looking like a giant, fanged maggot – was always likely to induce a goodly amount of cheek-shifting on the sofa." The A.V. Clubs Zack Handlen described the flukeman as a "beyond icky" monster that "just looks wrong", adding that "the plain fact of its existence is horrifying enough that it doesn't need to do more". Connie Ogle from PopMatters ranked the character among the "best" monsters-of-the-week, describing it as "something of a poster boy for XF villains," and considering that "never has toxic waste seemed so dangerous as when the big slimy white fellow slithers onto the screen and starts attacking people in the sewers."

Footnotes

Bibliography

External links

 "The Host" on TheXFiles.com

1994 American television episodes
Television episodes written by Chris Carter (screenwriter)
The X-Files (season 2) episodes
Fiction about parasites
Television episodes directed by Daniel Sackheim
Television episodes set in New Jersey
Television episodes set in Virginia

it:Episodi di X-Files (seconda stagione)#L'ospite in corpo

The Host (The X-Files)


Harold G. Kiner (April 14, 1924 – October 2, 1944) was a United States Army soldier and a recipient of the United States military's highest decoration—the Medal of Honor—for his actions in World War II.

Biography
Kiner joined the Army from Enid, Oklahoma, and by October 2, 1944, was serving as a private in Company F, 117th Infantry Regiment, 30th Infantry Division. On that day, near Palenberg, Germany, he smothered the blast of an enemy-thrown hand grenade with his body, sacrificing himself to protect those around him. For this action, he was posthumously awarded the Medal of Honor eight months later, on June 23, 1945.

Kiner, aged 20 at his death, was buried at Eastern Star Cemetery in his birthplace of Aline, Oklahoma.

Medal of Honor citation
Private Kiner's official Medal of Honor citation reads:
With 4 other men, he was leading in a frontal assault 2 October 1944, on a Siegfried Line pillbox near Palenberg, Germany. Machinegun fire from the strongly defended enemy position 25 yards away pinned down the attackers. The Germans threw hand grenades, 1 of which dropped between Pvt. Kiner and 2 other men. With no hesitation, Private Kiner hurled himself upon the grenade, smothering the explosion. By his gallant action and voluntary sacrifice of his own life, he saved his 2 comrades from serious injury or death.

See also

List of Medal of Honor recipients
List of Medal of Honor recipients for World War II

References

1924 births
1944 deaths
People from Alfalfa County, Oklahoma
United States Army soldiers
United States Army personnel killed in World War II
United States Army Medal of Honor recipients
World War II recipients of the Medal of Honor
Military personnel from Enid, Oklahoma

Harold G. Kiner


The radioactive iodine uptake test is a type of scan used in the diagnosis of thyroid problems, particularly hyperthyroidism. It is entirely different from radioactive iodine therapy (RAI therapy), which uses much higher doses to destroy cancerous cells. The RAIU test is also used as a follow-up to RAI therapy to verify that no thyroid cells survived, which could still be cancerous.

The patient swallows a radioisotope of iodine in the form of capsule or fluid, and the absorption (uptake) of this radiotracer by the thyroid is studied after 4–6 hours and after 24 hours with the aid of a scintillation counter. The dose is typically 0.15–0.37 MBq (4–10 μCi) of 131I iodide, or 3.7–7.4 MBq (100–200 μCi) of 123I iodide. The RAIU test is a reliable measurement when using a dedicated probe with a reproducibility of 1 percent and a 95%-least-significant-change of 3 percent.

The normal uptake is between 15 and 25 percent, but this may be forced down if, in the meantime, the patient has eaten foods high in iodine, such as dairy products and seafood. Low uptake suggests thyroiditis, high uptake suggests Graves' disease, and unevenness in uptake suggests the presence of a nodule.

123I has a shorter half-life than 131I (a half day vs. 8.1 days), so use of 123I exposes the body to less radiation, at the expense of less time to evaluate delayed scan images. Furthermore, 123I emits gamma radiation, while 131I emits gamma and beta radiation.

Contraindications
The test is inappropriate for patients who are pregnant or breastfeeding.

Additional images

LMP BNUKSEA 4000+60000

References

Diagnostic endocrinology
Nuclear medicine
Thyroid disease
Thyroidological methods

Radioactive iodine uptake test


This is a list of generations of wireless network technologies in mobile telecommunications.

* latest and optimal iteration of technology
** originally not considered 4G, only after a revision of 4G specification

0G

0G systems did not use cellullar systems. Referred to as pre-cellular (or sometimes zero generation, that is, 0G mobile) systems.

1G

1G or (1-G) refers to the first generation of cellular network technology. These are the analog telecommunication standards that were introduced in 1979 and the early to mid-1980s and continued until being replaced by 2G digital telecommunications. The main difference between these two mobile telephone generations is that in 1G systems the audio was encoded as analog radio signals (though call set-up and other network communications were digital), while 2G networks were entirely digital.

1.5G

2G

2G (or 2-G) provides three primary benefits over their predecessors: phone conversations are digitally encrypted; 2G systems are significantly more efficient on the spectrum allowing for far greater mobile phone penetration levels; and 2G introduced data services for mobile, starting with SMS (Short Message Service) plain text-based messages. 2G technologies enable the various mobile phone networks to provide the services such as text messages, picture messages and MMS (Multimedia Message Service). It has 3 main services: Bearer services is one of them which is also known as data services and communication.

Second generation 2G cellular telecom networks were commercially launched on the GSM standard in Finland by Radiolinja (now part of Elisa Oyj) in 1991.

The North American Standards IS-54 and IS-136 were also second-generation (2G) mobile phone systems, known as (Digital AMPS) and used TDMA with three time slots in each 30 kHz channel, supporting 3 digitally compressed calls in the same spectrum as a single analog call in the previous AMPS standard. This was later changed to 6 half rate time slots for more compressed calls. It was once prevalent throughout the Americas, particularly in the United States and Canada since the first commercial network was deployed in 1993 on AT&T and Rogers Wireless Networks.

IS-95 was the first ever CDMA-based digital cellular technology. It was developed by Qualcomm using Code Division Multiple Access and later adopted as a standard by the Telecommunications Industry Association in TIA/EIA/IS-95 release published in 1995. It was marketed as CDMAOne and deployed globally including China Unicom in 2002 and Verizon in the United States, competing directly with GSM services offered by AT&T and T-Mobile.

2.5G

2.5G denotes 2G-systems that have implemented a packet-switched domain in addition to the circuit-switched domain. It does not necessarily provide faster service because bundling of timeslots is used for circuit-switched data services (HSCSD) as well. Also called General Packet Radio Service or GPRS

2.75G

GPRS networks evolved to EDGE networks with the introduction of 8PSK encoding.

3G

3G technology provides an information transfer rate of at least 144 kbit/s. Later 3G releases, often denoted 3.5G and 3.75G, also provide mobile broadband access of several Mbit/s to smartphones and mobile modems in laptop computers. This ensures it can be applied to wireless voice telephony, mobile Internet access, fixed wireless Internet access, video calls and mobile TV technologies.

CDMA2000 is a family of 3G mobile technology standards for sending voice, data, and signaling data between mobile phones and cell sites. It is a backwards-compatible successor to second-generation cdmaOne (IS-95) set of standards and used especially in North America and South Korea, China, Japan, Australia and New Zealand. It was standardized in the international 3GPP2 standards body,
The name CDMA2000 denotes a family of standards that represent the successive, evolutionary stages of the underlying technology. These are:
Voice: CDMA2000 1xRTT, 1X Advanced
Data: CDMA2000 1xEV-DO (Evolution-Data Optimized): Ultra Mobile Broadband (UMB)

A new generation of cellular standards has appeared approximately every tenth year since 1G systems were introduced in 1981/1982. Each generation is characterized by new frequency bands, higher data rates and non–backward-compatible transmission technology. The first 3G networks were introduced in 1998.

3.5G

3.5G is a grouping of disparate mobile telephony and data technologies designed to provide better performance than 3G systems, as an interim step towards the deployment of full 4G capability. The technology includes:
 High-Speed Downlink Packet Access
 Evolved HSPA

3.75G

Evolved High Speed Packet Access, or HSPA+, or HSPA(Plus), or HSPAP is a technical standard for wireless broadband telecommunication. It is the second phase of High Speed Packet Access (HSPA).

3.95G

4G

4G provides, in addition to the usual voice and other services of 3G, mobile broadband Internet access, for example to laptops with wireless modems, to smartphones, and to other mobile devices. Potential and current applications include amended mobile web access, IP telephony, gaming services, high-definition mobile TV, video conferencing, 3D television, and cloud computing.

LTE (Long Term Evolution) is commonly marketed as 4G LTE, but it did not initially meet the technical criteria of a 4G wireless service, as specified in the 3GPP Release 8 and 9 document series for LTE Advanced. Given the competitive pressures of WiMAX and its evolution with Advanced new releases, it has become synonymous with 4G. It was first commercially deployed in Norway and Stockholm in 2009 and in the United States by Verizon in 2011 in their newly acquired 700 MHz band.

4.5G

4.5G provides better performance than 4G systems, as a process step towards deployment of full 5G capability.

The technology includes:
 LTE Advanced Pro
 MIMO

4.5G is marketed by AT&T as 5GE.

5G

5G is the a major phase of mobile telecommunications standards beyond the 4G/IMT Advanced standards.

NGMN Alliance or Next Generation Mobile Networks Alliance define 5G network requirements as:

Data rates of several tens of megabits per second (Mbit/s) should be supported for tens of thousands of users.
1 Gbit/s to be offered, simultaneously to tens of workers on the same office floor.
Several hundreds of thousands of simultaneous connections to be supported for massive sensor deployments.
Spectral efficiency should be significantly enhanced compared to 4G.
Coverage should be improved.
Signalling efficiency enhanced.
Latency should be significantly reduced compared to LTE.

Next Generation Mobile Networks Alliance feel that 5G were  rolled out in 2021-2023 to meet business and consumer demands. In addition to simply providing faster speeds, they predict that 5G networks will also need to meet the needs of new use-cases such as the Internet of things (IoT) as well as broadcast-like services and lifeline communications in times of disaster.

3GPP has set an early revision, non-standalone release of 5G called New Radio (5G NR). It will be deployed in two ways, Mobile and Fixed Wireless. The specification is subdivided into two frequency bands, FR1 (<6 GHz) and FR2 (mmWave) respectively.

5.25G

6G
6G has been in development since 2017, and multiple specifications are being proposed. However, none of them have achieved universal acceptance. Competitors include Xiaomi and Nokia. 6G is expected to offer faster speeds than 5G but with a shorter range. The IEEE recommends the use of frequencies ranging from 100 GHz to 3 THz, as these frequencies are relatively unused and would allow for exploration of new frequency bands. The methods of deployment of cellular networks is undetermined. An option is to install a 6G tower at every building. The second option would involve integrating the functions of a 6G tower into devices like smartphones, allowing these devices to create their own cell for other users. The commercial release date is estimated to be 2028~2030.

See also
 Comparison of mobile phone standards

References

External links
What are the differences between 2G, 3G, 4G LTE, and 5G networks?

List of wireless network technologies


In Greek mythology, Nomia  (Νομία) was a nymph of Arcadia, where the local people believed the Nomian Mountains to have been named after her.

Mythology
Nomia was apparently a companion of Callisto, the daughter of Lycaon: Pausanias mentions a painting of the two, with Callisto sitting on a bearskin and her feet lying on Nomia's knees; there is also Pero portrayed next to them.
Nomia is also a name for a type of water goddess, many believe that she started off as nothing but a nymph until one day Callisto, decided to trade her love for a god status.

Nomia is also a possible name for the Sicilian nymph who loved Daphnis but was abandoned by him and, in revenge, blinded the young man and changed him into a rock.

Notes

Oreads

References

 Pausanias, Description of Greece with an English Translation by W.H.S. Jones, Litt.D., and H.A. Ormerod, M.A., in 4 Volumes. Cambridge, MA, Harvard University Press; London, William Heinemann Ltd. 1918. . Online version at the Perseus Digital Library
 Pausanias, Graeciae Descriptio. 3 vols. Leipzig, Teubner. 1903.  Greek text available at the Perseus Digital Library.

Nymphs
Arcadian characters in Greek mythology

Nomia (mythology)


A buzzword is a word or phrase, new or already existing, that becomes popular for a period of time. Buzzwords often derive from technical terms yet often have much of the original technical meaning removed through fashionable use, being simply used to impress others. Some buzzwords retain their true technical meaning when used in the correct contexts, for example artificial intelligence.
Buzzwords often originate in jargon, acronyms, or neologisms. Examples of overworked business buzzwords include synergy, vertical, dynamic, cyber and strategy.

It has been stated that businesses could not operate without buzzwords, as they are the shorthands or internal shortcuts that make perfect sense to people informed of the context. However, a useful buzzword can become co-opted into general popular speech and lose its usefulness. According to management professor Robert Kreitner, "Buzzwords are the literary equivalent of Gresham's law. They will drive out good ideas."
Buzzwords, or buzz-phrases such as "all on the same page", can also be seen in business as a way to make people feel like there is a mutual understanding. As most workplaces use a specialized jargon, which could be argued is another form of buzzwords, it allows quicker communication. Indeed, many new hires feel more like "part of the team" the quicker they learn the buzzwords of their new workplace. Buzzwords permeate people's working lives so much that many don't realize that they are using them. The vice president of CSC Index, Rich DeVane, notes that buzzwords describe not only a trend, but also what can be considered a "ticket of entry" with regards to being considered as a successful organization – "What people find tiresome is each consulting firm's attempt to put a different spin on it. That's what gives bad information."

Buzzwords also feature prominently in politics, where they can result in a process which "privileges rhetoric over reality, producing policies that are 'operationalized' first and only 'conceptualized' at a later date". The resulting political speech is known for "eschewing reasoned debate (as characterized by the use of evidence and structured argument), instead employing language exclusively for the purposes of control and manipulation".

Definition
The Concise Oxford English Dictionary defines a buzzword (hyphenating the term as buzz-word) as a slogan, or as a fashionable piece of jargon: a chic, fashionable, voguish, trendy word a la mode.

It has been asserted that buzzwords do not simply appear, they are created by a group of people working within a business as a means to generate hype. Buzzwords are most closely associated with management and have become the vocabulary that is known as "management speak": Using a pompous or magisterial term, of or relating to a particular subject employed to impress those outside of the field of expertise.

It could also be called buzz phrase or loaded word.

What this means is that when a manager uses a said buzzword, most other people do not hear the meaning, and instead just see it as a buzzword. However it has been said that buzzwords are almost a "necessary evil" of management, as a way to inspire their team, but also stroke their own egos. With that being said, a buzzword is not necessarily a bad thing, as many disciplines thrive with the introduction of new terms which can be called buzzwords. These can also cross over into pop culture and indeed even into everyday life. With media channels now operating through many media, such as television, radio, print and increasingly digital (especially with the rise of social media), a "buzzword" can catch on and rapidly be adapted through the world.

Origin
The origin of buzzwords can be seen in  as coming from business students studying at Harvard University as a way to help them gain better results from their studies. Such language terms were collated and then became what is known today as "buzzwords". During the early years of buzzwords, buzzwords were used by students as a means to enable them to quickly recall items of importance. As an example, "If his analysis does not highlight the most important problems he has 'poor focus', and if he fails to emphasize important recommendations he will be accused of 'tinkering'. If the sequence for the 'implementation' of the recommendations is not good it is a matter of 'poor timing'. To succeed, the student must 'get on top of the problem'. He must 'hit the problem' and not 'shadow box' it. If he cannot do these things he might just as well 'turn in his suit'".

Students have used many different buzzwords to describe the situation that they are in, and how this might affect a moment in their everyday life. From studying these business students,  noticed that business students could speak with apparent authority. It also seemed as if using the right buzzword was more important than what the student came up with as an answer. Buzzwords have a strong influence on business culture and are commonly used in business speak.

In popular culture
Jon Keegan of the Wall Street Journal has published a Business Buzzwords Generator, which allows readers to use a randomizer to assemble "meaningless business phrases using overused business buzzwords" – for example, "This product will incentivize big data and demonstrate innovative performance in the playing field."

Forbes hosts an annual "Jargon Madness" game, in which 32 of "corporate America's most insufferable expressions" are played off against each other in a bracketed, basketball-style tournament to determine the buzzword of the year.

LinkedIn publishes an annual list of buzzwords to avoid in creating résumés (British English: CVs) – "trite, empty words that may sound good to your ear but say almost nothing". The 2014 list: motivated, passionate, creative, driven, extensive experience, responsible, strategic, track record, organizational, and expert.

When people are approaching a meeting where they expect the presenters to use many buzzwords, they may prepare a game of buzzword bingo, where players score points each time a particular buzzword is used.

Patch Products has published a board game called Buzz Word.

The "Weird Al" Yankovic album Mandatory Fun contains the song "Mission Statement", which is a long list of essentially meaningless buzzwords.

Examples

General conversation

Education

Business, sales and marketing

Science and technology

Politics and current affairs

See also

References

Sources

Further reading

External links

Propaganda techniques using words
Figures of speech

Buzzword


Hammamizade İsmail Dede Efendi (9 January 1778 – 29 November 1846) was a composer of Ottoman classical music.

Biography
He was born on 9 January 1778,  at Şehzadebaşı-Fatih in Istanbul. He started studying music with Mehmed Emin Efendi, at the age of eight. He attended rituals at Yenikapı Mevlevihanesi, a place of Mevlevi gathering. He studied with Ali Nutki Dede and learned to play ney, in Yenikapı Mevlevihanesi. He became "Dede" in 1799. Dede Efendi's music was well appreciated by Sultan Selim III and then he performed his works at the palace. He had composed hundreds of songs and mevlevi rituals. In 1846 he pilgrimaged to Mecca, but in Mina contracted cholera and died. His grave is now in Mecca.

His music
Dede Efendi gave lessons in Turkish music to Hamparsum Limonciyan who developed the Hamparsum notation, the dominant notation for Turkish music.

One of the greatest Turkish composers, he has created masterpieces in all forms and modes of Turkish music. He has also developed the composite musical modes of "sultanî yegâh", "nev-eser", "saba-buselik", "hicaz-buselik" and "araban kürdî". His greatest works are the seven Mevlevi pieces for Samah. More than two hundred of his compositions are available today.

His piece, Ey büt-i nev edâ olmuşum müptelâ, is featured as part of the theme for the Ottoman civilization in the expansion for the strategy game, Sid Meier's Civilization VI: Gathering Storm.

His museum
His house and music salon in the Istanbul neighborhood of Kumkapi has been preserved and is now a museum.

See also
 Hafız Post
 Tanburi Cemil Bey
 Tanburi Büyük Osman Bey

External links
  http://www.kultur.gov.tr

1778 births
1846 deaths
Composers from the Ottoman Empire
Composers of Ottoman classical music
Composers of Turkish makam music

Hammamizade İsmail Dede Efendi


Ruth Florence Allen (1879-1963) was an American plant pathologist.  She helped the understanding of cytology of rust fungi, which are a large cause of cereal disease.  These diseases can have a bad effect on coffee, apple and pine trees.

Allen got a PhD from the University of Wisconsin in 1909, becoming the first woman to get a PhD in the Department of Botany. She worked at the University of Wisconsin, Michigan State College, Wellesley College and the United States Department of Agriculture.

The American Phytopathological Society formed the Ruth Allen Award in 1965 to respect "individuals who have made an outstanding, innovative research contribution that has changed, or has the potential to change, the direction of research in any field of plant pathology."

References

1879 births
1963 deaths
American botanists
Pathologists

Ruth F. Allen


Philadelphus coronarius (sweet mock orange, English dogwood) is a species of flowering plant in the family Hydrangeaceae, native to Southern Europe.

Description
It is a deciduous shrub growing to  tall by  wide, with toothed leaves and bowl-shaped white flowers with prominent stamens. In the species the blooms are abundant and very fragrant, but less so in the cultivars. It may resemble, but is not closely related to, varieties of the similarly named dogwood, which is the common name for Cornus in the family Cornaceae.

The specific epithet coronarius means "used for garlands".

Cultivation
It is a popular ornamental plant for gardens in temperate regions, valued for its profuse sweetly scented white blossom in early summer. There are a large number of named cultivars.  The following cultivars have gained the Royal Horticultural Society's Award of Garden Merit:-
 P. coronarius 'Aureus'
P. coronarius 'Variegatus'

Gallery

See also
Philadelphus × lemoinei (an hybrid obtained crossing P. coronarius and P. microphyllus)

References

External links

Flora of Europe
Garden plants of Europe
coronarius
Shrubs
Plants described in 1753
Taxa named by Carl Linnaeus

Philadelphus coronarius


Maria Anna Walburga Ignatia Mozart (30 July 1751  29 October 1829), called Nannerl by her friends and family, was a musician and Wolfgang Amadeus Mozart's older sister.

Mozart toured Europe as a pianist with her brother. When she was 11 years old, she was able to play hard sonatas on the piano. Like her brother, she was very good with music. When she reached the age when she was able to marry, her father thought that her interests should change, and she should pay more attention to her family. All her music that is left are small pieces for the piano. On 23 August 1783, she married Johann Baptist Reichsfreiherr Berchtold von Sonnenburg (1736  1801). Johann Baptist was 15 years older than she was. She lived in St. Gilgen, in his apartment, in the house where her mother was born. She had five children, from two marriages. She bore him three children. When he died, she returned to Salzburg with her two surviving children, Leopold and Jeanette.

Marianne died on 29 October 1829, at 78 years, and was buried in St Peter's Cemetery, Salzburg.

1751 births
1829 deaths
Austrian musicians
Maria Anna

Maria Anna Mozart


Double Axle is a monster truck racing video game released in arcades by Taito in 1991. The object of the game is to complete every single race by coming in 3rd Place or better. If the player fails to do so, the game will end. By completing races successfully, the player will be awarded prize money depending on how well they did. This game also features the option of upgrading the monster truck, which is essential for completing harder races. Additional money can be earned by completing the bonus stages after each race. The Japanese variant of Double Axle is Power Wheels, with slightly modified gameplay.

Upgrades for the truck
Only seen in the North American version, Double Axle offered players the option to upgrade their monster truck before every race. When starting the game, the player is given a small amount of money to buy their first upgrade. However, in order to obtain more upgrades for the player's monster truck, the player must first win races for extra money. These upgrades include a bigger engine, bigger tires, and several nitro boosters. To help the player further, adding credits to the game will give the player more money to purchase these upgrades.

Sprint Race/"Main Events"

At the start of the game, the player is given a choice of three different races, plus a Car Crushing Contest.

The first race, being the easiest, is the Cross-Country Race. In this race, the player must navigate their way through a river, as well as a dense forest, and avoid falling off the side of a mountain. Most of these hazards can easily be avoided. In the North American release, the player will have to maneuver through a raging volcano eruption, dodging several falling rocks in the process.

The second race, which is moderately harder, is the Mud-Bog Race. The race begins with the player driving through a maze of giant rocks. If the player hits a giant rock, this will cause the truck to stop, which will mean the player will have to immediately put the truck in reverse and pull back. Afterwards, the player must navigate through mud bogs. Afterwards, the player will come across a diverge at the halfway point of the race, similar to the route changes in Sega's Outrun. If the player takes the left route, they must make leaps of faith across canyons. If they take the right path, they must drive through a series of tornadoes. Finally, they must drive through another maze of rocks before they reach the finish.

The third race, which is the hardest of all three races, is the Icy Road Race. The race begins with the player driving through snow and ice, while occasionally dodging large blocks of ice scattered on the road. The player will eventually race through an icy cavern, dodging several stalagmites inside. Afterwards, the player must also carefully navigate their way across a steep mountaintop while fighting a fierce blizzard, which can cause the monster truck to slip off either side of the path.

In every single race, despite the many obstacles and hazards, the player must also watch out for the rival drivers. If the player collides with any of the drivers, the truck will slow down, and sometimes cause the player to lose control. However, the player can also knock other drivers off the road by bumping them from behind, which is helpful in winning the race.

Car Crushing Contest/Demolition Derby
Once all three races have been completed, the Demolition Derby becomes available. This serves as the game's final event, where the player will have exactly two minutes to take out nine rival drivers in a single run. During this event, the player will have to navigate through mud bogs, several signs and barriers, and rows of crushed cars. This will aid the player in taking out the other drivers, but can also slow the player down if they go off course. If the player fails to take out the nine drivers before the two minutes is up, the game is over, however, the player is allowed to continue until they are successful.

Additionally, after the player successfully finishes one of the three races prior to the Demolition Derby, the car crushing contest would follow. The events take place at a stadium, a busy highway, and a beachside course. Much like the earlier version of the game, the player must score higher than the rival driver. If the player fails to score higher than the rival, the game is over, however, they'll have an opportunity to continue afterwards, unlike the earlier version.

Japanese version/Earlier release
In Japan, Double Axle was known as "Power Wheels" and the name for export release was ostensibly changed due to Kransco and their line of Power Wheels motorized toys for children. In this version, all the races ran on a 90-second countdown similar to most racing games at the time, and 60 seconds for the Car Crushing Contest. The objective in Power Wheels is to complete three laps around the selected course before time runs out. After every lap, extra time will be added to the clock. The game also pits you against a rival driver who will taunt you before the race begins, and vice versa if you pass him during the race. Power Wheels also gives the player three nitro boosters before every race, excluding the Car Crushing Contest, in which the player only gets one.

The North American version of Double Axle also featured a very different attract from Power Wheels, and gives you the right to continue, whereas Power Wheels automatically proclaims Game Over after a race. In the North American version, if the players lose a race, they will be taken to a continue screen afterward. To add a little pressure to the player, the countdown would slowly zoom in with the numbers eventually taking up the entire screen until the zero completely envelops the screen, followed by the traditional "Game Over" screen from the original game.

References
Double Axle - The Arcade Museum

1991 video games
Arcade video games
Arcade-only video games
Racing video games
Monster truck video games
Taito arcade games
Taito Z System games
Video games developed in Japan

Double Axle


Samuel E. Vázquez, styled as Samuel E Vázquez (born Samuel Enrique Vázquez Rivas, 1970), was a participant of the New York City Subway graffiti art movement of the 1980s. Today, Vázquez works on abstract expressionist paintings.

Life and career
Vázquez was born in San Juan, Puerto Rico, in 1970 to parents of African, Spanish, French, and Jewish descent. He learned to be disciplined from his father, who was in the military. His parents recognized his artistic inclination at the age of four and encouraged him to explore the arts. In 1979 the family moved to New York City where Samuel first became aware of the graffiti that covered the city's subways and walls. By 1983 Samuel began painting and writing the subways using the name "Brame." He is a member of numerous New York City graffiti crews. "He [Vázquez] was part of a generation that claimed their humanity by literally writing their own names on walls to keep from being dismissed." Vázquez was mentored by fellow graffiti artist Anthony "A-One" Clark, a collaborator of neo-expressionist painter Jean-Michel Basquiat. After the New York City subway graffiti era ended, Vázquez shifted his focus to furthering his education. He holds degrees from New York City College of Technology, part of the City University of New York (CUNY) system, and the Herron School of Art and Design, a division of Indiana University.

Art
Vázquez's abstract paintings are rooted in his urban upbringing and often incorporate the spontaneous markings commonly found in large city walls and surfaces. "...Vázquez combines his past in a now extinct New York with painting to create abstract pieces that assault your mind with color and singular visual concepts."

Culture writer Karla D. Romero of the Spanish magazine Humanize wrote, "His work embodies an ancient art, with a fresh perspective and an overall comprehension of a seemingly fictional New York City, where youth took to the streets to create art, to tag their social message and connect with their city... If you are of the Picasso mindset, 'Bad artists copy, Good artists steal,' then you will probably hate Vázquez's work, not because he doesn't use a medium that is common, but because he does so in a way that is unique, organic and graceful... If you believe in originality and the force behind doing something unlike anyone else, then you'll love Vázquez's work. I think Dalí said it best, 'The first man to compare the cheeks of a young woman to a rose was obviously a poet; the first to repeat it was probably an idiot,' Vázquez is clearly a poet."

In 2013, Vázquez made a graffiti painting on the grounds of the Indianapolis Museum of Art (IMA). The invitation to paint at the museum was in conjunction with artist Ai Weiwei's According to What? exhibition at the IMA. Early in 2014, Vázquez was a guest panelist, at the Indianapolis Public Library Central Branch, for a screening of the documentary The Wrinkles of the City - La Havana, directed by artists JR and José Parlá.

Vázquez has also curated a number of art exhibitions, including 25 Above Water, (2005-2006, Marsh Gallery-Herron School of Art and Design, Indiana University, Indianapolis, Indiana), in support of the Hurricane Katrina and Hurricane Rita relief efforts, and In An Expression of the Inexpressible, (2009, Dean Johnson Gallery, Indianapolis, Indiana) an exhibition that explored the interaction between music and art. The exhibition's title was adapted from the song of the same title, In An Expression of the Inexpressible, (1998) with permission from the alternative rock band Blonde Redhead. The album cover for Black Devil Disco Club - Eight Oh Eight created by Non-Format in collaboration with Belgium artist Géraldine Georges was used as the exhibition's marketing image. Notable artists that have participated in Vázquez-curated exhibitions include Stefan Sagmeister, Non-Format, Karlssonwilker, Mike Mills, Hannah Waldron, Si Scott, Géraldine Georges, Mike Joyce/Stereotype Design NYC, Sara Haraigue, Yokoland, Jean Jullien, and Rick Valincenti/3st.

In 2016, Vázquez was featured on the podcast Obsessed With Design, where he spoke about his artistic path from the New York City subways to gallery walls.

To date Vázquez's paintings have been the subject of over 35 solo and group exhibitions at galleries and cultural institutions such as Clowes Memorial Hall of Butler University, the Madam Walker Legacy Center, the Indiana State Museum, the Herron and Marsh Galleries of Indiana University, and the Dean Johnson Gallery – all in Indianapolis – as well as the Beard Arts Center of Indiana Wesleyan University in Marion, Indiana, and the Grace Gallery in Brooklyn, New York City, among others.

References

External links
 Artist website
 Interview by Jung Katz
 Interview by 12oz Prophet/HandSelecta
 Vázquez's Flickr feed

1970 births
Living people
American graffiti artists
Abstract expressionist artists
Artists from San Juan, Puerto Rico
Puerto Rican painters
Herron School of Art and Design alumni
New York City College of Technology alumni

Samuel E. Vázquez


In Major League Baseball, the All-Star Game is the game between the best players from the American League (AL) and the National League (NL). The game is held in July of each season.  From 2003 to 2016, The winner of the game got home field advantage in the World Series.  Prior to that, home field advantage alternated every year between the two leagues.  Starting in 2017, the pennant winner with the better regular season record now gets home field advantage in the World Series. As of 2023, the American League has won 47 times, and the National League has won 44 times. There have been two ties.

List of games and results

Major League Baseball
All-star games

Major League Baseball All-Star Game


Sir Kenneth Percy Bloomfield (born 15 April 1931) is an Irish politician. He was the former head of the Northern Ireland Civil Service.

He was later a member of the Independent Commission for the Location of Victims' Remains and for a time Northern Ireland Victims Commissioner. In addition to this, he has held a variety of public sector posts in Northern Ireland and elsewhere.

Bloomfield was born in Belfast, Northern Ireland.

Other websites
Independent Commission for the Location of Victims Remains Official Website

1931 births
Living people
British civil servants
People from Belfast

Kenneth Bloomfield


This Old Cub is a 2004 documentary film. The film is centered on former Chicago Cubs third baseman Ron Santo and both his playing days and his battle against diabetes. The film was written, co-produced, and directed by Santo's son Jeff.  It is often mentioned during Cub game broadcasts by Pat Hughes, who was Santo's partner in the WGN Radio booth.  The film was a gift from Jeff to his father as a part of the "Ron Santo Day" celebration that season after Santo had both his legs amputated and had just missed induction into the MLB Hall of Fame a few months earlier.  A portion of all proceeds from the release of This Old Cub are donated to the Juvenile Diabetes Research Foundation. The film has raised over a half-million dollars for the JDRF.  Cub first baseman Ernie Banks, Gary Sinise, Bill Murray, former Chicago Bears linebacker Doug Buffone, and many others are interviewed in the film, which is narrated by actor Joe Mantegna.

The documentary inspired an Arizona teacher and lifelong Cub fan named Bill Holden to engage a 2100-mile walk from Arizona to Wrigley Field to raise funds for the JDRF.  Holden covered at least 12 miles each day, crossed six states, and battled his arthritis during the nearly seven-month trek.  Followed by the media, Holden arrived at Wrigley on July 1, 2005 where he threw out the first pitch and joined Santo in singing "Take Me Out to the Ball Game".  The venture raised over $250,000 for the charity, and caused a dramatic spike in sales of the DVD.  Derek Schaul, the leader of Chicago Cubs Bleacher Bums, wears a shirt to every game stating, "I walk for the cure because Ronnie can't!  Go Cubbies!"

This Old Cub was co-produced by Walgreens Drug Stores and the Chicago Tribune, both heavy sponsors of the JDRF.

Reception
The Los Angeles Times called the film a "terrific character sketch" although sometimes sentimental.

See also
List of baseball films
List of films featuring diabetes

References

External links
This Old Cub Website
JDRF Website
Chicago Cubs
Walgreens

2004 films
2004 documentary films
2000s sports films
American baseball films
Chicago Cubs
Documentary films about baseball
Documentary films about sportspeople
Films set in Chicago
Films shot in Chicago
2000s English-language films
2000s American films

This Old Cub


Ingeborg Viktoria "Inge" King  (; 26 November 1915 – 23 April 2016) was a German-born Australian sculptor. She received many significant public commissions. Her work is held in public and private collections. Her best known work is Forward Surge (1974) at the Melbourne Arts Centre. She became a Member of the Order of Australia in January 1984.

Early years: Berlin to Melbourne

Berlin
Inge King (née Ingeborg Viktoria Neufeld) was born in Berlin on 26 November 1915, the youngest of four girls in a well-to-do Jewish family. Her early childhood was typical one for a child of her class and time in a European city. But after World War I, conditions in Germany became increasingly difficult. The period of the Weimar Republic (1918–1933), though a culturally stimulating time, was never stable. Conditions were made more difficult by the hyper-inflation of the early 1920s and the depression of 1929. During that time, things became increasingly difficult for the Neufeld family. By the time King's father died in 1930, when she was 14, the family had lost most of its money. Her older sisters supported her to stay at school until she finished, in 1932, which enabled her to get a good education. She would have liked to have gone on to university, possibly to study medicine, but, financially, that was out of the question.

King was 17 when Hitler came to power on 30 January 1933. Two of her older sisters, now married, decided to emigrate: one to Palestine, another to the US. By 1934, when she was 18, King was effectively on her own. She went to live with other young people in a small Zionist commune, where she worked in exchange for board and lodging. She said of this experience: "I owe them a lot ... This commune ... gave me or taught me some independence, which was invaluable", and, most importantly, taught her "to survive without money".

King was starting to think about being an artist, though this was really a second choice. But art was something she could do with minimal resources, so long as she could support herself. King was influenced both by mediaeval sculpture and by Expressionist sculpture, an important part of German avant-garde art, and particularly by the work of the wood-carver, Ernst Barlach (1870–1938). The Nazis considered such art to be decadent (Entartete Kunst) and later attempted to suppress it. King went to see the artist Käthe Kollwitz (1867–1945), whose work she admired. Kollwitz' advice to King about a career in art was "Don't do it if you can help it. It is so difficult". Nevertheless, King did go on. She said: "I haven't regretted it. I agree with her, it's difficult."

King found a teacher, Hermann Nonnenmacher (1892–1988), a wood-carver influenced by Ernst Barlach, who taught her the basic skills of wood-carving and modelling in clay. King worked with him until she was accepted into the Berlin Academy of Fine Arts in 1937, when she was 21, one of only three non-Aryan students there (all women). She was forced to leave about a year later, not long before Kristallnacht (9–10 November 1938). While she was there, she supported herself by undertaking commercial work (such as carving architectural ornaments) for the sculptor, Otto Hitzberger (1878–1964), who was on the staff there.

King finally got out of Germany in 1939, with the help of German friends. One helped her get a visa for England. Another warned her that he had received his mobilisation papers and that she should leave as soon as possible. She spent about a year in domestic service with families in southern England. She found England far more old-fashioned and conservative than the Berlin she had come from. This was quite a shock.

London and Glasgow
She was accepted at the Royal Academy on the basis of the drawings she had brought with her and her time at the Berlin Academy. She spent two terms there, in 1940, before it was closed on account of the German bombing raids on London. She also went to evening classes in life drawing at the London Central School of Arts and Crafts until it moved to Northampton, where there were no facilities for sculpture. King then applied to the College of Art in Edinburgh, which accepted her, but Edinburgh was in a restricted area and King, as a foreign national, could not live there. They suggested she apply to the Glasgow School of Art.

Glasgow was a quite cosmopolitan place. There had been a Jewish community there for many years, which brought intellectual and cultural energy to the Glasgow society. The war brought migrants and refugees into Britain. As Glasgow was not a protected area, it was one of the places where they could live. This brought a substantial increase in the number of Jewish residents in the city, as well as the development of a Polish community.

The head of sculpture at the Glasgow School of Art was Benno Schotz (1891–1984). Born in Estonia of Jewish parents, he migrated to Glasgow as a young man and studied sculpture at night-classes while working for a shipbuilding company. Being foreign-born, Schotz was not liable to be called up for war work, so the sculpture department at the School of Art functioned throughout the war. He was an excellent teacher: "[He] had excellent rapport with his small group of students. Formal classes were held in the morning, then they had the studio to themselves for the rest of the day and into the evening. ... Schotz had the highly developed technical skills of a successful practising artist and was alive to the hands-on realities of making sculpture as much as he was to the compelling political and social ideas of the times." He also "supported refugees and worked throughout his life to bring their suffering to public notice. His home was a meeting place for artists, actors, writers, politicians and cultural leaders. He was an outstanding individual: energetic, intelligent humane and charming."

King entered the Glasgow School of Art in 1941. She spent three years there. She said of this time: "I was very happy in Glasgow. It was actually the only time I could just work the way I wanted to and I worked very hard." She "felt comfortable with [Schotz] with whom she shared a European background. He was an intelligent master who encouraged her to explore.... Years later King discovered that he had found her 'a very demanding student'".

A fellow student of Schotz's at Glasgow at this time was Margaret Priest, who later emigrated to Perth in Western Australia, where she became an important local sculptor. She was impressed by the cosmopolitan atmosphere and wider experience of the world brought to the Glasgow School by King and the other refugee students. She later recollected that: "There were assorted part-time students who came and went around the School of Art ... [King] was always free with advice and help and tools and materials so that they became absorbed in our group. We were an astonishing mixture of cultures and it did us the world of good. ... They all offered the same unstinting friendship and hospitality spiced with that wonderful Jewish humour. I wondered how they could all be so clever."

The artwork produced by the refugee students at the art school was quite different from that of the other students. They "were doing harsh and emotional art fuelled by bitterness and anger. They had long conversations about Käthe Kollwitz and swapped books and newspapers about politics and art in Europe. Picasso's Guernica of 1937 and his other war-inspired painting and sculpture and the work of other European artists were now the subject of endless discussion." However, the cultural transition was not all one way. The Glasgow choirs sang Scottish folk songs and Afro-American spirituals: music that had been suppressed in Germany and was a revelation to refugees like King, who understood its relevance to the times.

In late 1942, Schotz organised an important exhibition of European Jewish art in Glasgow. Most of these works had been smuggled out of Europe. The exhibition included works by Camille Pissarro, Max Liebermann, Josef Herman, Jankel Adler, Chaïm Soutine, Ossip Zadkine, Ernst Barlach and Benno Schotz himself. The Glasgow Art Gallery acquired a bronze sculpture by Ossip Zadkine, the  Music Group], for its collection. The Glasgow Herald described it as the "outstanding item" among the recent acquisitions, "the first really 'modern' piece of sculpture in the city's permanent collection". King's later piece, Musicians: Homage to Zadkine (1947), was a response to this work.

Warsaw was another significant work by King from this period, a small sculpture whose inspiration comes from her response to the events in Europe. Having completed it, King knew that she would never make another work like it.

King finished her formal study in 1944. The next couple of years were difficult. She spent the time teaching in nursery schools, a job she liked but which she found demanding. She did not do any further work of her own until she returned to live in London.

Abbey Art Centre
Early in 1947, she went to live at the Abbey Art Centre, an artists' community located in New Barnet, Hertfordshire, near London. King was a fairly early resident there. Quite a number of Australian artists lived at the Abbey at various times. These included Robert Klippel, James Gleeson, Phillip Martin, Oliffe Richmond, Noel Counihan and Bernard Smith, who became an art historian. Grahame King, whom King later married, arrived later in 1947. King's early works at the Abbey were figurative, but not realistic. But it was during this period that King "made an arbitrary decision to move away from representational work". "I could not see how I could do any more with the figure, so I decided to move into what I call non-representational work. I don't like to call it abstraction as my work was not abstract in concept. I was groping for my own way." She had two exhibitions in London, then spent six months in Paris, which she enjoyed. In September 1949, she went to New York.

"[New York] was an incredible experience because, well, I really made a point of meeting people. I took some of my carvings with me and I exhibited them [in a gallery there]." People she met there included the sculptor Herbert Ferber, Mark Rothko and Barnett Newman. She saw her first Jackson Pollock show. She found the American painters inspiring because of their vitality. Also "in 1949-50, New York ... after war-torn Europe, it was sparkling, it was clean, it was very safe still." She went to see Walter Gropius at Harvard, who was interested in her work. He offered to facilitate a scholarship for her for the Institute of Design in Chicago.

Back in London, she and Grahame King decided to marry. As a German refugee, she could have emigrated to America, but Grahame, as an Australian, could not get a residency permit. She did not want to stay in Europe, and, after visiting New York, "equated Australia with the USA, as part of the bright new world where she could work in a lively and adventurous atmosphere and rear a family." The Kings left London for Melbourne early in 1951.

Melbourne
But Melbourne was not New York. King found it "almost Victorian". Her first impression of her adopted country was: "Rather flat, like a can of flat beer." But, she said, "I made up my mind I will not look back. You see, I had emigrated once, and the first emigration is the hardest to adjust to. I think people do not realise that. ... these experiences ... fundamentally it does something to your whole system." She was unable to make sculpture for several years. But she knew that she could not go back to Germany to live.

The Kings bought an acre of land on a bare hillside at Warrandyte, a small settlement in the Yarra valley, about 25 km north-east of Melbourne. In the early 1950s, it was a rural area, rather isolated, and lacking most of the services now taken for granted in suburban areas (such as roads, water, sewerage and electricity). The Kings asked the architect, Robin Boyd (cousin of the artist, Arthur Boyd), to design a house for them. Boyd designed a basic, one-roomed house, which could be extended in modules over time. They did much of the building work themselves. They moved into the house at Christmas, 1952. They had no electricity for the first six months and no hot-water system for three years and the house had tanks for water. They did not have a car for a couple of years. During this time, the Kings' two daughters, Joanna and Angela, were born. King later referred to their lifestyle at this time as 'suburban pioneering', though such pioneering was not uncommon in the outer suburbs of Melbourne at this time.

The trees have now grown up on the once bare hillside. The windows at the front of the house look over a garden where King's sculptures sit among the eucalypts and shrubs. Inside, the house is full of books and art works: small sculptures, paintings, prints, postcards, ceramics, aboriginal artefacts and bark paintings, cover every available surface. King said: "Robin Boyd used to come up here and say 'This house should look awful, but it doesn't.'"

King had to come to terms with her new country. Building her own home and rearing children helped to bring a certain stability to King's life after the unsettling experience of leaving two countries to live in a third. Here everything was so very different from the old world [that] it took time to mend the breaks, first with Germany where much she had valued was destroyed, and then with Britain where she had been welcomed and had received most of her formal education in sculpture.

The bush at Warrandyte looked strange to her when King first went there in 1951. But "Ten years later ... I started to adjust to this continent - and then it took another ten years to find my own style." But as King noted: "Had I gone on living in Europe, my work would have been very different."

Work in Australia

Inge King was at the forefront of the development of non-figurative sculpture in Australia. She was a founding member of the Centre 5 group of sculptors. This group grew from a meeting convened by Julius Kane in Melbourne in 1961 to "help foster greater public awareness of contemporary sculpture in Australia". Members of the group included Julius Kane, Lenton Parr, Inge King, Vincas Jomantas, Clifford Last, Teisutis Zikaras and Norma Redpath.

Many of King's large-scale works are found in public spaces and on university campuses. She had more than 26 solo exhibitions and participated in more than 60 group exhibitions in Australia and New Zealand and also in London and New York. She had a retrospective exhibition at the National Gallery of Victoria in 1992 and a joint exhibition with her husband, the print-maker Grahame King, at McClelland Gallery in 2004. Another retrospective exhibition including the work of Grahame King (who died in 2008) was held at the National Gallery of Victoria in 2014.

Recognition, honours and awards
1984: Member of the Order of Australia, For service to the visual arts, particularly sculpture
2009: Australian Arts Council Visual Arts Emeritus Award, in recognition of her central role in raising the profile of modern sculpture in Australia
2010: A Thousand Different Angles, a Frontyard Films documentary on Inge King and her sculpture, by Amanda King and Fabio Cavadini was screened on the ABC1 programme Artscape. A five-minute extract is available online from the National Film and Sound Archive.
The Dame Elisabeth Lifetime Achievement Award For Australian Sculpture 2015

Major works

Royal Australian Air Force Memorial
The Royal Australian Air Force Memorial, situated on Anzac Parade, Canberra, was King's first significant public commission, gained as the result of a competition. The memorial had to symbolise the aspirations and the achievements of the RAAF, as embodied in the Air Force motto: Per Ardua ad Astra (through adversity to the stars).   It was installed in 1973. The structure consists of three stainless steel panels, reminiscent of aircraft wings, the tallest nearly 8 metres high, which are separate but related to each other. In the centre is a bronze structure standing on a plinth. A plaque mounted on the plinth explains that the "three upsurging wing shapes in ground stainless steel represent endurance, strength and courage, while the bronze flight image embodies man's struggle to conquer the elements".  see images

Sun Ribbon
This work was installed in 1980, on a small lawn outside the Union Building at the heart of the University of Melbourne. It is formed from 19mm steel, and consists of two upright steel circles, each 360 cm in diameter, and three folded metal planes; the total length is 6 metres. It provides the students with a unique resting place among its massive unfurling bands and is the focal point of one of the university's busiest outdoor spaces, the Union Lawn. see more images

Forward Surge
Inge Kings's best known sculpture is the monumental Forward Surge at the Melbourne Arts Centre. The sculpture was commissioned by the Victorian Arts Centre in 1974. Construction was completed in 1976, and the work was installed in its present position in 1981. It is made from 50mm mild steel and stands 5.2m high, 15.1m wide and 13.7m deep.see more images

Forward Surge is the major sculptural drawcard for the Arts Centre precinct and one of our most prominent and valued works of art. It has been listed on the National Trust Register since 1992, and is noted by the National Trust as King's "most monumental work of art, and probably most significant"

Shearwater
This sculpture was commissioned by Esso Australia for a site outside its building on the south bank of the Yarra River in Melbourne. It was installed in 1995. The sculpture is built in polychrome steel. Its dimensions are 780 cm by 670 cm by 350 cm. See images

Red Rings

This sculpture was commissioned in 2008 by ConnectEast as part of the EastLink collection. It is located at the junction of the EastLink Trail and the Dandenong Creek Trail, near the EastLink Motorway, Melbourne. It is made up of three steel rings, each 2.5 metres in diameter and painted red. It is intended that people can walk through the sculpture. see more images

Rings of Saturn
Rings of Saturn is located in the Sir Rupert Hamer Garden, in the grounds of the Heide Museum of Modern Art  in Bulleen, a suburb of Melbourne.  Shortly after the dedication of this work, in August 2006, King said:

Working with Heide Museum for Rings of Saturn, firstly we agreed on a maquette. Then when I saw the site I knew I had to enlarge the work to do what I call 'conquer the landscape'. The Australian landscape is an enormously powerful landscape; vast and with clarity of atmosphere, and you never know in advance how work will look in it.  The landscape grips my imagination – I try to measure my work against the vast spaces of this country. Conquering the landscape does not rely on scale but simplicity and clarity of form expressing inner strength and tension. If my sculpture is outdoors or in the public domain I like it to arouse people's curiosity to explore the work. Multidimensional objects look different from every angle. The exciting thing about outdoor sculpture is the change with the light, the weather... everything is in constant flux. It becomes almost a living entity. see more images

Other works

 Flower Dancer (1948), National Gallery of Victoria, Melbourne
 Oracle (1966)
 Encounter (1968), La Trobe University, Melbourne-Bundoora
 Fred Schonell Memorial Fountain (1971), University of Queensland, Brisbane
 Black Sun (1975), National Gallery of Victoria, Melbourne
 Dialogue of Circles (1976), La Trobe University Sculpture Park, Melbourne-Bundoora
 Temple Gate (1976/1977), Sculpture park in the National Gallery of Australia, Canberra
 Lunar Image (1980), Museum and Art Gallery of the Northern Territory (MAGNT), Darwin, Northern Territory
 Jabaroo (1984/1985), McClelland Gallery and Sculpture Park, Langwarrin, Victoria
 Silent Gong (1989)
 Island Sculpture (1991), McClelland Gallery and Sculpture Park, Langwarrin, Victoria
 Guardian Angel (1995), Deakin Museum of Art, Deakin University, Melbourne
 Nayads (1997), Monash Gallery of Art (on loan from National Gallery of Victoria), Melbourne
 Moonbird (1999 commissioned by the Australia Fund), Residence of the Prime-minister, The Lodge, Canberra
 The Sentinel (2000), Eastern Freeway in Melbourne
 Wandering Angel (2000), The National Gallery of Australia, Canberra
 Rings of Jupiter (3) (2006), National Gallery of Victoria, Melbourne
 Red Rings (2008), Eastlink Motorway in Melbourne

See also
 List of centenarians (artists)
 List of German women artists

References

Further reading
 Sasha Grishin, The Art of Inge King, (2014) Macmillan Art Publishing.

 Judith Trimble, Inge King Sculptor, (1996), Craftsman House N.S.W.

 Judith Trimble and Ken McGregor, Inge King: Small Sculptures and Maquettes, (2009), MacMillan Mini-Art Series Number 10, Series editor Jenny Zimmer,

 Inge King, Sculpture 1945-1982: A Survey. Melbourne University Gallery, The University of Melbourne. Essay by Jenny Zimmer, (1982),

External links

Article in Art Forum
 Capturing the spirit of the times
Article in The Age
Exhibition, Commissions and Awards list at Australia Galleries
The sculpture of Inge King, including her 2009 exhibition "Sculpture: Maquettes and Recent Work"
Sculpture: 'MoonBird' at the Lodge, Canberra
Inge King and Grahame King Website

1915 births
2016 deaths
Australian centenarians
Jewish emigrants from Nazi Germany to the United Kingdom
20th-century Australian sculptors
German centenarians
Jewish emigrants from Nazi Germany to Australia
German sculptors
Jewish sculptors
Members of the Order of Australia
Naturalised citizens of Australia
Sculptors from Berlin
Artists from Melbourne
Prussian Academy of Arts alumni
21st-century Australian sculptors
20th-century German women artists
21st-century German women artists
Women centenarians
20th-century Australian women artists
21st-century Australian women artists
People from Warrandyte, Victoria
Alumni of the Glasgow School of Art

Inge King


Ny Tid was a Norwegian newspaper established in 1899 by the typographers Joh. Halseth and Alf Scheflo at the same time as they established their own printing office in Trondheim. The publishers meant to create a worker's newspaper, not a socialist paper. When the first issue came out on 20 September, the newspaper was an organ of the Liberal Party of Norway, but the paper quickly became socialist and thus an organ of the labour movement and later the Norwegian Labour Party in Trondheim when the labour movement took over the paper in July 1900. The paper was first released weekly, but from 1902 on it was released daily.

The purpose for publishing was to propagandize the publishers' political view. Martin Tranmæl was a member of the first editing committee as a 20-year-old, and in 1906 became the editor of the paper. He held the position of editor until 1918, when he became party secretary for the Norwegian Labour Party.

It was under Tranmæl that the newspaper expanded. After Tranmæl left as editor, Ny Tid became a radical opposition newspaper.

In 1921, the Norwegian Labour Party split, creating a Social Democratic Labour Party of Norway. The social democrats established their own newspaper, Trøndelag Social-Demokrat, but this had little effect on the circulation of Ny Tid. The second party split, which came in 1923, ended with the communists becoming a large percentage of the party in Trondheim; they thereby retained the party's property, including Ny Tid which became an organ for the Communist Party of Norway. The Labour Party in Sør-Trøndelag established the year after Arbeider-Avisen.

Ny Tid marketed themselves in the 1930s as an opponent of the Nazis and Fascism. After the Spanish Civil War broke out, Ny Tid wrote on their front page "Lys fascismen og krigen i bann. Fram til antikrigs og antifascistmøte i morgen på Reina".

The circulation of Ny Tid fell along with the communist's lowering support, especially after Johan Nygaardsvolds cabinet came to power in 1935. The Nygaardsvold government created increased support for the Norwegian Labour Party in Nygaardsvold's part of the country; the Arbeider-Avisen profited from this.

In March 1939, Ny Tid was shut down while having competition from Arbeider-Avisen.

NKP's increased popularity after the Second World War, gave a resurrected circulation to Ny Tid. The newspaper continued circulating until July 1945, but shut down for the second time in eight years in May 1947.

Editors
 1899–1903: Ivar Angell-Olsen
 1903–1908: Anders Buen
 1908–1911: Martin Tranmæl
 1911–1912: Anders Buen
 1913–1918: Martin Tranmæl
 1918–1919: Christian Hilt
 1919: Knut Olai Thornæs
 1920: Alfred Madsen
 1920–1934: Knut Olai Thornæs
 1934–1939: Jørgen Vogt
 1939–1945: defunct
 1945–1947: Jørgen Vogt

References

1899 establishments in Norway
1947 disestablishments in Norway
Communist Party of Norway newspapers
Defunct newspapers published in Norway
Labour Party (Norway) newspapers
Mass media in Trondheim
Daily newspapers published in Norway
Norwegian-language newspapers
Newspapers established in 1899
Publications disestablished in 1939
Newspapers established in 1945
Publications disestablished in 1947

Ny Tid (Trondheim)


Henrik Høve Jørgensen (10 October 1961 – 26 January 2019) was a Danish marathon runner. He won the London Marathon in 1988. He finished 5th in 1985 in 2:09.43 hours. This time remains the Danish national record. He was born in Copenhagen.

Jørgensen represented his native country in the men's marathon at the 1984 and the 1988 Summer Olympics in Seoul, South Korea. He was a two-time national champion in the men's 5000 m.

Jørgensen died in Bornholm on 26 January 2019 aged 57, from heart attack during a training run.

References

1961 births
2019 deaths
Long-distance runners
Danish Olympians
Sportspeople from Copenhagen

Henrik Jørgensen