title: Grid energy storage

text: The problem with standby gas turbines is higher costs; expensive generating equipment is unused much of the time. Spinning reserve also comes at a cost; plants running below maximum output are usually less efficient. Grid energy storage is used to shift generation from times of peak load to off-peak hours. Power plants are able to run at their peak efficiency during nights and weekends.


title: Grid energy storage

text: Supply-demand leveling strategies may be intended to reduce the cost of supplying peak power or to compensate for the intermittent generation of wind and solar power.


title: Grid energy storage

text: This is the area of greatest success for current energy storage technologies. Single-use and rechargeable batteries are ubiquitous, and provide power for devices with demands as varied as digital watches and cars. Advances in battery technology have generally been slow, however, with much of the advance in battery life that consumers see being attributable to efficient power management rather than increased storage capacity. Portable consumer electronics have benefited greatly from size and power reductions associated with Moore's law. Unfortunately, Moore's law does not apply to hauling people and freight; the underlying energy requirements for transportation remain much higher than for information and entertainment applications. Battery capacity has become an issue as pressure grows for alternatives to internal combustion engines in cars, trucks, buses, trains, ships, and aeroplanes. These uses require far more energy density (the amount of energy stored in a given volume or weight) than current battery technology can deliver. Liquid hydrocarbon fuel (such as gasoline/petrol and diesel), as well as alcohols (methanol, ethanol, and butanol) and lipids (straight vegetable oil, biodiesel) have much higher energy densities.


title: Grid energy storage

text: There are synthetic pathways for using electricity to reduce carbon dioxide and water to liquid hydrocarbon or alcohol fuels. These pathways begin with electrolysis of water to generate hydrogen, and then reducing carbon dioxide with excess hydrogen in variations of the reverse water gas shift reaction. Non-fossil sources of carbon dioxide include fermentation plants and sewage treatment plants. Converting electrical energy to carbon-based liquid fuel has potential to provide portable energy storage usable by the large existing stock of motor vehicles and other engine-driven equipment, without the difficulties of dealing with hydrogen or another exotic energy carrier. These synthetic pathways may attract attention in connection with attempts to improve energy security in nations that rely on imported petroleum, but have or can develop large sources of renewable or nuclear electricity, as well as to deal with possible future declines in the amount of petroleum available to import.


title: Grid energy storage

text: Because the transport sector uses the energy from petroleum very inefficiently, replacing petroleum with electricity for mobile energy will not require very large investments over many years.


title: Grid energy storage

text: Virtually all devices that operate on electricity are adversely affected by the sudden removal of their power supply. Solutions such as UPS (uninterruptible power supplies) or backup generators are available, but these are expensive. Efficient methods of power storage would allow for devices to have a built-in backup for power cuts, and also reduce the impact of a failure in a generating station. Examples of this are currently available using fuel cells and flywheels.


title: Eldon Hoke

text: Eldon Wayne Hoke (March 23, 1958 – April 19, 1997), nicknamed El Duce, was an American musician best known as the drummer and lead singer of the shock rock band the Mentors, as well as other acts, including Chinas Comidas and the Screamers.


title: Eldon Hoke

text: Apart from his musical career, Eldon was also an actor who appeared in several films as an extra, and discussed his hugely-controversial band and lifestyle on the notorious Jerry Springer and Wally George TV talk-shows.


title: Eldon Hoke

text: Today El Duce is remembered as a cultural pioneer who, using his dark sense of humor, destroyed taboos in rock music regarding onstage speech and behavior, and who set a precedent for today's most outrageous and extreme musical acts.


title: Eldon Hoke

text: The Mentors' songs were covered by artists including Frank Zappa, Black Label Society, GWAR and Koffin Kats, and quoted by Guns N' Roses, Anthrax and Dr. Know (in "Cornshucker", "I'm The Man" and "Fist F*ck", respectively).


title: Eldon Hoke

text: Hoke was born in Seattle, Washington to mother Doris Hope and father Walter Hoke. His father designed bombs for the Vietnam War, and he was also abusive towards him and his sister. He attended Roosevelt High School where he formed the Mentors with school friends Eric Carlson and Steve Broy after he was expelled for repeatedly vandalizing the school.


title: Eldon Hoke

text: Hoke and the Mentors worked to gain attention through farcical demonstrations of political incorrectness. The band's guitarist, Eric Carlson, renamed himself "Sickie Wifebeater", and the group often appeared in public wearing black executioner hoods.


title: Eldon Hoke

text: During the 1985 U.S. Senate Committee on Commerce, Science and Transportation's hearings into the proliferation of "obscene" lyrics in popular music, the Reverend Jeff Ling recited the lyrics to the Mentors song, "Golden Shower" to musician Frank Zappa, who opposed the hearings. The lyrics, which included the line, "Bend up and smell my anal vapor/Your face is my toilet paper" prompted Zappa and others to denounce the hearings as a farce.


title: Eldon Hoke

text: After the body of Nirvana frontman Kurt Cobain was discovered in the greenhouse of Cobain's Lake Washington home on April 8, 1994, Hoke began making the claim that Cobain's wife, Courtney Love, had offered to pay him to kill Cobain. Hoke promoted his story in such media outlets as TV's "Jerry Springer Show", "The National Enquirer" weekly tabloid, and in Nick Broomfield's documentary film, "Kurt & Courtney". In 1996, Hoke passed a lie detector test when claiming that Love had offered him $50,000 to kill Kurt Cobain. In his interview in the "Kurt and Courtney" film, recorded on April 11, 1997, El Duce again claimed that Love had offered him $50,000 to "whack" Kurt Cobain, and further claimed that he knew who did kill Cobain (giving the name "Allen" some say from the band Kill Allen Wrench), but said he would "let the FBI catch him".


title: Eldon Hoke

text: In addition to his musical career, Hoke also worked as an extra in television (such talk shows like "Hot Seat with Wally George" and "The Jerry Springer Show", and "Tales From The Crypt" episode), movies (including the science fiction musical "", starring his bandmate Tomata Du Plenty; "Two Idiots in Hollywood", directed by Stephen Tobolowsky; and "Du-beat-e-o", starring Joan Jett), and in music video productions.


title: Eldon Hoke

text: In 1998 "Backstage Sluts" (lately shortened and re-edited as "Backstage Pass: Uncensored"), directed by Matt Zane, was released — a movie wherein famous rockers (including members of Motörhead, Korn, Limp Bizkit, Sugar Ray and Insane Clown Posse) recount their wildest sexual moments, while actual porn stars acted them out. The film contains a penultimate interview with El Duce from 1997, in which he drunkenly declares his taste in the opposite sex: "I like nasty women. I like... homeless women."


title: Eldon Hoke

text: On April 19, 1997, one day after his final performance and talking to Brent Alden, and eight days after filming his interview with Nick Broomfield for the "Kurt & Courtney" documentary, Hoke was found dead on the railroad tracks in Riverside, California. He was "decapitated in the accident — he was hit full on by a freight train doing 60 MPH", according to Steve Broy, the Mentors' bass player. Subsequent tests indicated a high blood alcohol content and thus Hoke's official cause of death was given by the coroner's office as "misadventure". Al Jourgensen (of the industrial metal band Ministry) wrote in his autobiography that El Duce was killed by the train when some fans on the other side of the railroad tracks called his name and, as he attempted to cross to meet them, his toes became stuck in the track. Due to the timing of his death 8 days after the "Kurt and Courtney" interview, people have speculated that his death was related to the statements he made that Courtney Love offered him $50,000 to "whack" Cobain, and that someone named "Allen" took the offer.


title: Eldon Hoke

text: According to the self-published book "Truth Is Funnier Than Fiction" by Mentors bass player Steve Broy, the whole story was concocted by Mentors associate Rev. Bud Green in order to sell to supermarket tabloids.


title: Eldon Hoke

text: Broy, Steve (2015). "Truth Is Funnier Than Fiction: My Life With Eldon Hoke and the Mentors" Self Published, Second Edition p. 263-264.


title: Ernst-Günther Schenck

text: Ernst-Günther Schenck (3 October 1904 – 21 December 1998) was a German medical doctor and member of the SS in Nazi Germany. Because of a chance encounter with Adolf Hitler during the closing days of World War II, his memoirs proved historically valuable. His accounts of this period are prominent in the works of Joachim Fest and James P. O'Donnell regarding the end of Hitler's life, and were included in the film "Downfall" (2004).


title: Ernst-Günther Schenck

text: Schenck was born in Marburg, Hesse-Nassau. His father was a professor at Muenster University, teaching classical literature and the humanities. He trained as a doctor and joined the SS. During the war, Schenck was actively involved in the creation of a large herbal plantation in Dachau concentration camp, which contained over 200,000 medicinal plants, from which, among other things, vitamin supplements for the Waffen-SS were manufactured. In 1940 he was appointed as inspector of nutrition for the SS. In 1943 Schenck developed a protein sausage, which was meant for the SS frontline troops. Prior to its adoption it was tested on 370 prisoners in Mauthausen-Gusen concentration camp, some of whom died of hunger edema. In his own memoirs, Schenck stated that his only concern was to improve nutrition and fight hunger. However, a report in 1963 condemned Schenck for "treating humans like objects, guinea pigs". In the Federal Republic of Germany, Schenck was later not allowed to continue his medical career. He was also associated with Erwin Liek's attempts to develop holistic methods to prevent cancer.


title: Ernst-Günther Schenck

text: According to Waffen-SS "Oberscharführer" Hans Bottger with the 1st SS Panzer Division Leibstandarte SS Adolf Hitler, Schenck left his government duty post to go to the Eastern Front for his so-called "Iron Cross apprenticeship" during the Germans' first campaign. Schenck proved himself while serving as the battalion physician. Further, instead of just manipulating his way into getting the award like many others, Schenck found himself taking command of a gun battery after the commander had been killed. Schenck performed "well" in combat and earned the Iron Cross, Second Class.


title: Ernst-Günther Schenck

text: In April 1945, during the battle in Berlin, Schenck was ordered to evacuate the city with the SS personnel, but he volunteered to stay with some other medical personnel. He also volunteered to work in an emergency casualty station located in the large cellar of the Reich Chancellery, near the "Vorbunker" and "Führerbunker". Although he was not trained as a surgeon and lacked the experience, as well as the supplies and instruments necessary to operate on battle victims, he nonetheless assisted in major surgical operations. During these surgeries, Schenck was aided by Dr. Werner Haase, who also served as one of Hitler's private physicians. Although Haase had much more surgical experience than Schenck, he was greatly weakened by tuberculosis, and often had to lie down while giving verbal advice to Schenck.


title: Ernst-Günther Schenck

text: By 28 April, the emergency casualty station was in desperate need of medical supplies. During the battle, Schenck went out in a "Wehrmacht" truck into Berlin to obtain medical supplies to bring back to the casualty station. Upon returning to the emergency casualty station, Schenck resumed his surgical duties. In the seven days they worked together, Schenck and Haase performed some "three hundred and seventy operations". He later recalled the terrible conditions and experience, after the war, to author/historian James P. O'Donnell.


title: Ernst-Günther Schenck

text: During the end time in Berlin, Schenck saw Hitler in person twice, for only a brief time: once when Hitler wanted to thank him, Haase, and nurse Erna Flegel for their emergency medical services, and once during the "reception" after Hitler's marriage to Eva Braun. During the early morning of 1 May 1945, Haase took Schenck aside while at the emergency casualty station to tell him that Hitler was dead. Schenck was later taken prisoner by the Soviet Army during the attempted Berlin "break-out" of 1 May. Following their surrender, Schenck, Wilhelm Mohnke and other senior German officers from the group were treated to a banquet by the Chief of Staff of the 8th Guards Army with the permission of Lieutenant General Vasily Chuikov. At 10:30 pm, the Germans were ushered out into another room where they were confined under guard. On the following night of 3 May, Schenck and the rest of the Germans were handed over to the NKVD. Schenck was released from Soviet captivity in 1953 and returned home to (then) West Germany. There he worked at Chemie Grünenthal (now Grünenthal GmbH).


title: Ernst-Günther Schenck

text: Prior to writing his memoirs, Schenck was interviewed in depth by O'Donnell for the book "The Bunker", which recounted portions of Schenck's memories of Hitler's last days. The possibility that Hitler suffered from Parkinson's disease was first investigated by Schenck. He published his opinions and findings in a book, "Patient Hitler. Eine medizinische Biographie", in 1989. Schenck died on 21 December 1998 aged 94 in Aachen.


title: Wisteria Lane

text: Wisteria Lane is the name of a fictional street at the center of U.S. television drama series "Desperate Housewives". "Desperate Housewives" storylines primarily center on the residents of the street. The set for Wisteria Lane is located inside Universal Studios Hollywood, and is actually named Colonial Street, an area that has been used for many motion pictures and television shows. Other film and television productions in which Colonial Street has featured include the original "Leave It to Beaver" series, "Gremlins", "The 'Burbs", and "Buffy the Vampire Slayer".


title: Wisteria Lane

text: In 2005, for the second season of "Desperate Housewives", the street went through some heavy changes. During the first season only one part of the street had been seen on the show – the cul-de-sac at the end of the street, known as 'Circle Drive' among film crews, had been left out. Now the majority of the buildings and facades in this part of the street were either heavily remodeled or removed. Among the most noticeable changes were the removals of a church facade, seen on "Murder, She Wrote", in order to make room for Edie's house,


title: Wisteria Lane

text: and of the so-called Colonial Mansion, which was replaced by a park. In the film "Beethoven's 3rd" (2000) the street can clearly be seen with the shops and the Church still in place around 'Circle Drive'. The shot begins in circle drive at the shops then Mrs McCluskey's, Lynette's, Katherine's, Bree's, Susan's, Mary Alice's, Betty's and Gaby's are also in shot. The shot then continues into Gaby's driveway and then down the rest of the street.


title: Wisteria Lane

text: Colonial Street – including Circle Drive – has sixteen main buildings, with three of them located outside the "Desperate Housewives" filming area. The house closest to the settings, located next to what's called 4348 Wisteria Lane within the show, is being used by guards to stop any unauthorized access to "Wisteria Lane".


title: Wisteria Lane

text: The following overview is based upon details and maps given within the show as well as Universal Studios' official website - see below for further details.


title: Wisteria Lane

text: This house has never been used on the show and was seen only once in season 5. It appears to be an old abandoned house.


title: Wisteria Lane

text: Mona Clarke was shown living here with her husband and her children in season 5. After her death in season 6 it is assumed that the Clarke family moved out.


title: Wisteria Lane

text: No. 4347 is the Greenbergs' house. Ida Greenberg resides here in seasons 1-4. After her death, the house is temporarily occupied by Karen McCluskey. Since season 6 it has been occupied by Mitzi Kinsky. This house is actually a facade and has no interiors.


title: Wisteria Lane

text: No. 4348 is Rose Kemper's house from season 1 through season 5. In season 5 she goes to live in a nursing home, and it is unknown who resides there after.


title: Wisteria Lane

text: No. 4349 is the home of Carlos and Gabrielle Solis, who have lived there since the summer of 2003. They move out to a mansion in Beverly Hills a year after the series ends. This house has an actual entry and living room. All other interiors shots are filmed on a soundstage in the studio. The backyard of this house (with pool and jacuzzi) was filmed on an actual house in San Fernando Valley.


title: Wisteria Lane

text: No. 4350 (commonly known as the Old Huber House) is owned in season 1 by Martha Huber, who had owned the house years earlier as well. After her house burns down, Edie Britt resides with Martha until her new house is re-built. When Paul Young murders her, her sister Felicia Tilman moves in. Felicia stays in the house until the end of season two, where she frames Paul for her "death". This house has an actual first floor (entry, kitchen and living room). The second floor does not exist and was not rebuilt on a soundstage.


title: Wisteria Lane

text: Bree Van de Kamp buys the house for her son Andrew Van de Kamp and his partner Alex Cominis in season five. They are still shown living there in season seven. In the middle of the season, Alex moves out because of Andrew's alcoholic problems. By the second half of season eight, Andrew has to move out as well since he lost his job, so he moves back in with Bree.


title: Wisteria Lane

text: No. 4351 is the house of Betty Applewhite for the duration of season 2. Beginning in season 4, it is owned by Bob Hunter and Lee McDermott. In season 7 Lee sells his house to Paul Young, and is implied to have gotten it back after Paul returned to prison.


title: Wisteria Lane

text: The house for 4351 was strictly avoided by the "Desperate Housewives" filming crew during season one. This was because it was considered to be too recognizable since being the main setting of "The Munsters". Following the decision to introduce the Applewhites, and having them living in the Munster home, the house was completely remodeled.


title: Wisteria Lane

text: This house has an actual first floor(entry, living room, kitchen and dining room). Second floor is rebuilt on a soundstage in the studio.


title: Wisteria Lane

text: No. 4352 is the home of Mary Alice Young. In season five the house has been painted green and the archway and the beginning of the house has been removed. The Youngs moved in the house in 1990.


title: Wisteria Lane

text: In season one, Mary Alice kills herself and leaves the house to be maintained by her husband Paul Young and her son Zachary Young. The two remain in the house until season two, when Paul is arrested for the apparent murder of Felicia Tilman, and Zach inherits his grandfather's fortune. The house is then put on the market by Edie Britt, who sells it to Arthur Shepherd. Art moves out after his sister's death and the Lane finding out he is a pedophile.


title: Wisteria Lane

text: In season five, the house is bought by Edie and Dave Williams who rents the house out to Mike Delfino. Mike stays in the house until he moves into Katherine Mayfair's house.


title: Wisteria Lane

text: In season six, the Bolen family moves in. The family stay in the house until the end of the season, where Angie Bolen and Nick Bolen move to Atlanta, and their son Danny Bolen goes to New York.


title: Wisteria Lane

text: In season seven, the house is reclaimed by Paul Young, who lives across the road in Susan's house. Towards the end of season seven, Paul Young confesses about Martha Huber's murder. In season eight, the resident of 4352 is unknown.


title: Wisteria Lane

text: This house has a partial first floor (entry, living room and dining room). All other inside shots(kitchen, family room and second floor) are filmed on a soundstage in the studio. The house is a reproduction of the original Leave it to Beaver house and was constructed for the 1997 Universal film of the same name.


title: Wisteria Lane

text: No. 4353 is Susan Mayer's house. Paul Young rented the house throughout the seventh season, with his new wife Beth Young, until Beth kills herself, and Paul soon lets Susan and Mike move back in.


title: Wisteria Lane

text: The Mayers moved into the house in 1992. Before season one, Susan lived in the house with her husband Karl Mayer, they divorced and throughout the first four seasons, Susan lived with her daughter Julie Mayer. Her off-and-on relationship meant that Mike Delfino often stayed. At the end of season three, Susan and Mike married, so Mike became a permanent resident.


title: Wisteria Lane

text: They remained together in season four. At the end of season four, Julie moved out to go to college, and Susan gave birth to Maynard James Delfino. In season five, Susan and Mike divorced, and Susan started seeing Jackson Braddock. Jackson wanted to move in, but Susan did not allow him to. At the end of season five, Susan and Mike remarried and live in 4353 for season 6.


title: Wisteria Lane

text: At the end of season six, Susan and Mike move to an apartment and rent out their house due to financial troubles; unknown to them, Paul Young moves in with his wife Beth. In season seven, Paul finds out the truth about Beth and he throws her out.


title: Wisteria Lane

text: In the end of season seven, Mike, Susan and MJ all move back into 4353, when Paul Young is arrested for murder. In season eight, they came back on the lane, but later Mike was murdered by a loan shark. Susan decides to sell her house at the end of the series to a couple named Jennifer and Steve, who are hiding a secret.


title: Wisteria Lane

text: No. 4354 is Bree and Rex Van de Kamp's house. Together in this house, they raised their children, Andrew Van de Kamp and Danielle Van de Kamp. They moved into the house in 1994.


title: Wisteria Lane

text: In season three, Bree remarries to Orson Hodge and he becomes a permanent resident in the house. Gloria Hodge, Orson's mother also moves in, a few episodes later and remains until she is kicked out by Bree.


title: Wisteria Lane

text: In season four, Danielle gives birth to Benjamin Hodge and he stays in Bree's care until season five. With this, both Andrew and Danielle move out as well. Also at the end of season four, Orson goes to jail for Bree and stays there for three years. When he is released, he returns to the home.


title: Wisteria Lane

text: In season five Bree's garage has been reconverted into her and Katherine's test kitchen. The ground floor contains the kitchen and the top floor contains their offices.


title: Wisteria Lane

text: At the close of season six, Orson moves out after asking for a divorce. In season seven Bree's contractor boyfriend Keith moves in with her. But when Keith finds out he has a son, the relationship starts to crumble. He tries to get Bree to move to Florida but it ends up in only him leaving. In season eight, Andrew moves back in due to financial reasons.


title: Wisteria Lane

text: Three years after the series end, Bree and her former lawyer/new husband, Trip Weston, move off the lane to Kentucky.


title: Wisteria Lane

text: This house has no interiors, with it being used as a break room for the cast and crew. Along with Lynette’s house, it is one of only two houses to have a backyard on the Colonial Street set.


title: Wisteria Lane

text: No. 4355 is the Scavos' house. Since the beginning Lynette and Tom Scavo have owned the house. They moved into the house in 1997, living there with their five children, Preston Scavo, Porter Scavo, Parker Scavo, Penny Scavo, Paige Scavo, and Kayla Huttington Scavo. Kayla lives in the house full-time for the middle of season three and all of season four. In season seven, Porter and Preston move out. By the end of season seven, Lynette and Tom decide to separate and divorce after a long fight between the two. In season eight Tom moves out and the twins, Porter and Preston, move back in temporarily. Tom moves back in during the two part finale as they reconcile. They move out four weeks later to New York City where they live in a penthouse overlooking Central Park.


title: Wisteria Lane

text: This house is just a shell with no interiors. Interior shots are filmed on a soundstage in the studio.


title: Wisteria Lane

text: No. 4356 is commonly known as the Simms House (before season one), The Delfino House (first three seasons), Mayfair House (season four to season six), the Graham House (first half of season seven) and then The Tilman House (middle of season seven to end of season seven). It is assumed that Katherine Mayfair sold the house to Emma Graham (Dana Glover), and then she sold it to Paul in season 7. Felicia Tilman was the owner of the house after inheriting it from her daughter, Beth. Ben Faulkner moved into the house at the start of season eight. It is not known whether Ben still lives in this house or if he moved in with his new wife Renee.


title: Wisteria Lane

text: No. 4358 is the home of Karen McCluskey. She is one of the oldest residents on the lane and has lived there for 35 years. After the tornado in "Something's Coming", Karen's home was completely destroyed. A replacement blue house has been constructed in time for the fifth season. This house has a working second floor.


title: Wisteria Lane

text: In season six, Karen starts a relationship with Roy Bender and he moves in. They marry in between the end of season six and beginning of season seven. Not wanting to return to Bree, Orson Hodge had arranged to stay with them, but Bree took him back.


title: Wisteria Lane

text: No. 4362 is the home of Edie Britt until her death in season five. She moved onto the Lane sometime in early 2003. The original house was burned down by Susan Mayer in the pilot episode. The house was rebuilt for season two in 2005.


title: Wisteria Lane

text: At the beginning of season seven, the house was rented by Renee Perry, a college friend of Lynette's. It is not known whether Renee still lives in this house or if she moved in with her new husband Ben. For unknown reasons, in episodes "Sorry Grateful" and "Finishing the Hat" the numbers on the door of Renee's house were changed to 4359.


title: Wisteria Lane

text: These are the known residents of Wisteria Lane, covering episodes (1.01—5.24). Note that no residents 4348 (Drew House) and 4360 Wisteria Lane have been mentioned, although an unnamed woman, played by an uncredited actress, is seen living in no. 4360 in episode 4.02. Also in Season 2, there is a black haired woman living here. In Season 3, there is a blonde haired cheating housewife here. Also, in Season 3, Mrs McCluskey is seen reporting a man washing his pet Pig on the lawn of 4360. Most likely neighborhood big mouth Mona Clark lives here, although in Season 5 she is shown living at the Corner House.


title: Wisteria Lane

text: Before the large changes to the set after Season One, 4360 and 4362 Wisteria Lane, as well as the park, situated around the cul-de-sac, were not shown.


title: Wisteria Lane

text: Where 4360 Wisteria Lane was built, was formerly store façades and a school façade. At 4362, Edie Britt's home, was originally a church façade that was removed. That church was seen in "Murder, She Wrote" (1984) as "Cabot Cove's community church". Where the park is now (see map), was previously a relatively larger home, "Colonial Mansion." In season 1 Susan Mayer burns down Edie Britt's house and there are changes to the kitchen and exterior.


title: Wisteria Lane

text: Before the start of Season 4, Mike's old house is completely remodeled. The walls around the staircase have been torn down to open up the ground floor completely. Both the upstairs and downstairs are re-wallpapered with bright reds and pastel colors. Gabrielle Giaquinta resided in the Delfino house for awhile, before Mike moved back in with Susan and M.J.


title: Wisteria Lane

text: After the tornado in "Something's Coming", Karen McCluskey's home was completely destroyed. A replacement blue house has been constructed in time for the fifth season. This house has a working 2nd floor. In addition to this, the former residence of Mary Alice Young has been painted green and the archway and the beginning of the house has been removed. Bree's garage has been reconverted into her and Katherine's test kitchen. The ground floor contains the kitchen and the top floor contains their offices. Also in season five 4350, the former home of Martha Huber and Felicia Tilman has been painted a pale yellow - green color however by the time of season six it has been restored to its original color, green.


title: Wisteria Lane

text: It is revealed during "Color and Light" (Season 2) that Mona Clark lived at number 4360. But in season 5 and 6 we can see that she lived in 4348. She was, however, strictly a background character and was even credited at Mother #2, until her death in the Season 6 episode "If...".


title: Wisteria Lane

text: The official website of Universal Studios Hollywood presents a map of Colonial Street, as it looked between 1989 and 1996. Besides the changes made during the first year of "Desperate Housewives", the main difference between this map and the current look of the street is that the houses known in "Desperate Housewives" as 4352 Wisteria Lane and 4354 Wisteria Lane (Mary Alice's and Bree's houses) replaced two older buildings in 1996.


title: Wisteria Lane

text: In episode two of "Desperate Housewives", "Ah, But Underneath", a map of the street and details about its residents is seen in one of Mike's lockers. This map confirms the location of Susan's, Lynette's, Gabrielle's, Bree's, Mary Alice's, Mike's and Martha Huber's houses, as well as the existence of one house between Susan's and Gabrielle's, one house beyond Gabrielle's and one house beyond Mike's. However, it does not cover the part of the street that include the house on the far side of Martha Huber's house, nor the buildings around the cul-de-sac, which wasn't included in the show's setting at the time. With two exceptions, all ten houses have the same number as otherwise stated in the series.


title: Wisteria Lane

text: In addition, although the camera briefly passes by 4358 Wisteria Lane - the house that (starting with episode 14, "Love Is in the Air") would be known as Karen McCluskey's home - it turns away before any names are shown.


title: Wisteria Lane

text: A map of Wisteria Lane is also included in the official season one companion book, "Desperate Housewives: Behind Closed Doors", published in 2005. This map does not show the house numbers but confirms the existence and location of most Wisteria Lane houses to appear on the show. The exceptions are the three buildings beyond Karen McCluskey's house, which were not added to the shows filming location until season two. Also - while most of the houses on the map are labeled "The Scavo House", "The Young House" etc., the houses now known as the McCluskey house, the Greenberg house and 4348 Wisteria Lane, are left without any description.


title: Miguel Azeez

text: Miguel Azeez (born 20 September 2002) is an English professional footballer who plays as a midfielder for UD Ibiza, on loan from Arsenal.


title: Miguel Azeez

text: Azeez started his career with Arsenal's youth academy at the age of 5. On 24 September 2019, Azeez was given a professional contract by Arsenal. He made his first team debut on 10 December 2020, replacing Joe Willock in the 83rd minute of a 4–2 UEFA Europa League win away to Irish side Dundalk at the Aviva Stadium.


title: Miguel Azeez

text: On 30 August 2021, Azeez joined EFL League One club Portsmouth on loan for the remainder of the season. He made his debut for the club on 18 September 2021 against Cambridge United, but was substituted after 59 minutes as Portsmouth lost 2–1. He scored his first goal for the club on 9 November 2021 in an EFL Trophy tie against Crystal Palace U21s. Arsenal recalled Azeez from Portsmouth on 17 January 2022.


title: Miguel Azeez

text: Azeez was born in England to a Nigerian father and a Spanish mother. Azeez has represented England at under-16, under-17, under-18, under-19 and under-20 levels.


title: Miguel Azeez

text: Azeez was born in England to a Nigerian father and Spanish mother. His older brother Femi plays as a professional footballer for Reading.


title: Sounder (film)

text: Sounder is a 1972 American period drama film directed by Martin Ritt and adapted by Lonne Elder III from the 1969 novel of the same name by William H. Armstrong. The story concerns an African-American sharecropper family in the Deep South, who struggle with economic and personal hardships during the Great Depression. It stars Cicely Tyson, Paul Winfield, and Kevin Hooks. Taj Mahal composed the film's blues-inspired soundtrack, and also appears in a supporting role.


title: Sounder (film)

text: The film was both a critical and box office success, and the National Board of Review ranked it as one of the of 1972. Cicely Tyson and Paul Winfield both received Oscar nominations for their performances, and the film was nominated for Best Picture and Best Adapted Screenplay. Taj Mahal's score was nominated for a BAFTA and Grammy Award, and 13-year old Hooks earned a Golden Globe nomination for Most Promising Newcomer – Male.


title: Sounder (film)

text: In 2021, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".


title: Sounder (film)

text: In 1933, the Morgans are an African American family living as sharecroppers in rural Louisiana, raising sugar cane for their white landlord. David Lee, the oldest son, is a bright boy who loves to hunt with his father Nathan Lee and their dog Sounder, but is only able to attend school sporadically in between helping his mother Rebecca on the farm. Nathan and David lose the raccoon they are hunting one evening, leaving the family without meat to eat, but the children awaken the next morning to the smell of ham cooking and happily eat it.


title: Sounder (film)

text: When they return home after a community baseball game, which Nathan helps his team win, they find the sheriff and his deputies waiting to arrest Nathan for stealing the ham from a nearby smokehouse. As they take him away, Sounder runs after their wagon and one of the deputies shoots him, though Nathan partially deflects the shot by kicking the gun. The injured Sounder runs away, and David cannot find him. He looks for him for days, but is unable to continue the search because with their father gone, he and his little brother and sister must help Rebecca farm and harvest the crops. Rebecca shares her faith with David that Sounder is alive and will return home eventually.


title: Sounder (film)

text: The family is restricted from visiting Nathan at the local jail while he awaits shipment to the work camp. Only David is allowed to visit, and he brings a chocolate cake that Rebecca baked for Nathan, and they enjoy a piece together despite their worries over not knowing where Nathan will be taken. Mrs. Boatwright, a sympathetic local woman who employs Rebecca to do her laundry and often gives the children books to read, promises David she will find out the location of the work camp Nathan has been taken to. When the sheriff refuses to tell her, she goes through his filing cabinet to find the information.


title: Sounder (film)

text: Despite the sheriff's threats, she tells the Morgan family that Nathan has been taken to the distant Wishbone prison camp and helps Rebecca plot the route there on the map. Sounder returns home, though he does not bark like he used to, and accompanies David on a long journey on foot to find the camp and try to visit his father.


title: Sounder (film)

text: David makes it to the Wishbone camp, but is unable to find Nathan and is ignored by the guards when he inquires after him. When he tries to ask the prisoners, a guard strikes his hand with an iron rod and chases him off the camp. On his journey home, he comes across a school with all black students, where the kind, outspoken teacher, Miss Camille, bandages his injured hand and has him stay at her house and attend class at the school for several days before he starts for home again. One night she shares books from her collection about important African-American historical figures with him and reads to him from the work of W.E.B. DuBois.


title: Sounder (film)

text: After returning home, David longs to attend the distant school, but has largely given up on the dream when one day Sounder runs barking like he used to greet the returning Nathan, who was released from the work camp early after his leg was injured in a dynamite explosion. Seeing his father's depleted strength, David resolves to stay and work the farm in his place, but after learning of the school, Nathan is adamant that David go to attend it full-time. They have a heart-to-heart about how Nathan wishes for his children to escape the dead-end life of sharecropping and aspire to better things, and the next day, Rebecca and his siblings cheerfully see David off as he and Nathan head into town to buy clothes and school supplies, accompanied by Sounder.


title: Sounder (film)

text: Taj Mahal recorded a soundtrack to the film, released in 1972 by Columbia Records. According to music journalist Robert Christgau, it was "the first soundtrack ever patterned after a field recording", featuring a "suite/montage/succession of hums, moans, claps, and plucked fragments", all performed in the key of the gospel blues song "Needed Time" by Lightnin' Hopkins. Fellow critic Greil Marcus regarded it as Mahal's "most eloquent music", although Christgau said "even Greil doesn't know anybody who agrees. I've always regarded field recordings as study aids myself." He gave the soundtrack album a C-plus in "" (1981).


title: Sounder (film)

text: When the film was released on VHS, Paramount Home Video assumed distribution rights. Sterling Entertainment currently has DVD distribution rights.


title: Sounder (film)

text: "Sounder" received critical acclaim, with reviewers praising it as a welcome antidote to the contemporaneous wave of black films, most of which were considered of low quality and budget and exploitative. The film's depiction of a loving family was hailed as a banner accomplishment for black filmmakers and audiences. "Variety" wrote that the picture had been "for good or ill, singled out to test whether the black audience will respond to serious films about the black experience rather than the 'super black' exploitation features."


title: Sounder (film)

text: Some of "Sounder"'s success was due to its innovative marketing strategy. Fox focused on group sales in major cities and targeted religious organizations and schools. Radnitz personally visited 35 cities and held over 500 screenings, with 60 simultaneous sneak previews held in New York City. The religious establishment came out in favor of the film, with an endorsement by the Catholic Film Office and a study guide for religious educators created by the National Council of Churches. The "Variety" article noted that Fox wrote a study guide, prepared by Dr. Roscoe Brown, Jr., director of Afro-American Affairs at New York University. 20th Century Fox spent over $1 million promoting the film, according to "Variety".


title: Sounder (film)

text: John Simon wrote "Sounder is a rare honest movie about people who work the soil under conditions of extreme rigor. Sounder is also a rare honest Hollywood movie about blacks, making it virtually unique'.


title: Sounder (film)

text: Based on 20 reviews, "Sounder" holds a 90% "Fresh" score (and an average of 7.7/10) on Rotten Tomatoes. In his "Family Guide to Movies on Video", Henry Herx wrote: ""Sounder" captures the humanity of [its] characters and a fine, distanced sense of its sleepy Southern locale. The movie earns a deep emotional response from its audience because its [appealing] story and characters are believable. Not only a valid examination of the black experience in America, it is also a fine family experience." He added that the boy's search for his father "provides additional drama". Film critic Roger Ebert gave the film four stars out of four, stating that "This is a film for the family to see." Both Gene Siskel and Ebert placed the film on their 10-best lists of 1972.


title: Sounder (film)

text: Despite popular skepticism that the film would not be a financial success, and the belief that "the black film market is exclusively an action and exploitation market", the picture was a major box-office hit. The film grossed $27,045 from 2 theaters in its opening week and grossed 30% more the following week. Made for less than $1 million, it grossed just under $17 million, generating $9 million of theatrical rentals in the United States and Canada in 1973, the 10th highest-grossing film of 1972.


title: Sounder (film)

text: "Sounder" was the first film to feature Oscar-nominated performances by two black actors, with Winfield nominated for Best Actor and Tyson for Best Actress. This feat wouldn't be achieved again until "What's Love Got to Do with It" (1993) 21 years later (Laurence Fishburne and Angela Bassett). The third film to achieve this was "Ma Rainey's Black Bottom" (2020) 27 years later (Chadwick Boseman and Viola Davis).


title: Sounder (film)

text: A sequel, "Part 2, Sounder", was released in 1976. Taj Mahal and Ted Airhart were the only returning cast members from the first film.


title: Sounder (film)

text: In 2003, ABC's "Wonderful World of Disney" aired a new film adaptation, reuniting two actors from the original: Kevin Hooks (who played the son) directed, and Paul Winfield (who played the father) played the role of the teacher. Walt Disney Home Video has released the television version on DVD.


title: Hart Crane

text: Harold Hart Crane (July 21, 1899 – April 27, 1932) was an American poet. Provoked and inspired by T. S. Eliot, Crane wrote modernist poetry that was difficult, highly stylized, and ambitious in its scope. In his most ambitious work, "The Bridge", Crane sought to write an epic poem, in the vein of "The Waste Land", that expressed a more optimistic view of modern, urban culture than the one that he found in Eliot's work. In the years following his suicide at the age of 32, Crane has been hailed by playwrights, poets, and literary critics alike (including Robert Lowell, Derek Walcott, Tennessee Williams, and Harold Bloom), as being one of the most influential poets of his generation.


title: Hart Crane

text: Crane was born in Garrettsville, Ohio, the son of Clarence A. Crane and Grace Edna Hart. His father was a successful Ohio businessman who invented the Life Savers candy and held the patent, but sold it for $2,900 before the brand became popular. He made other candy and accumulated a fortune from the candy business with chocolate bars. Crane's mother and father were constantly fighting, and they divorced early in April 1917. Crane dropped out of East High School in Cleveland during his junior year and left for New York City, promising his parents he would attend Columbia University later. His parents, in the middle of their divorce proceedings, were upset. Crane took various copywriting jobs and moved between friends' apartments in Manhattan. Between 1917 and 1924 he moved back and forth between New York and Cleveland, working as an advertising copywriter and a worker in his father's factory. From Crane's letters, it appears that New York was where he felt most at home, and much of his poetry is set there.


title: Hart Crane

text: Throughout the early 1920s, small but well-respected literary magazines published some of Crane's poems, gaining him among the avant-garde a respect that "White Buildings" (1926), his first volume, ratified and strengthened. "White Buildings" contains many of Crane's best poems, including "For the Marriage of Faustus and Helen", and "Voyages", a sequence of erotic poems. They were written while he was falling in love with Emil Opffer, a Danish merchant mariner. "Faustus and Helen" was part of a larger artistic struggle to meet modernity with something more than despair. Crane identified T. S. Eliot with that kind of despair, and while he acknowledged the greatness of "The Waste Land", he also said it was "so damned dead", an impasse, and characterized by a refusal to see "certain spiritual events and possibilities". Crane's self-appointed work would be to bring those spiritual events and possibilities to poetic life, and so create "a mystical synthesis of America".


title: Hart Crane

text: Crane returned to New York in 1928, living with friends and taking temporary jobs as a copywriter, or living off unemployment and the charity of friends and his father. For a time he lived in Brooklyn at 77 Willow Street until his lover, Opffer, invited him to live in Opffer's father's home at 110 Columbia Heights in Brooklyn Heights. Crane was overjoyed at the views the location afforded him. He wrote his mother and grandmother in the spring of 1924:


title: Hart Crane

text: Just imagine looking out your window directly on the East River with nothing intervening between your view of the Statue of Liberty, way down the harbour, and the marvelous beauty of Brooklyn Bridge close above you on your right! All of the great new skyscrapers of lower Manhattan are marshaled directly across from you, and there is a constant stream of tugs, liners, sail boats, etc in procession before you on the river! It's really a magnificent place to live. This section of Brooklyn is very old, but all the houses are in splendid condition and have not been invaded by foreigners...


title: Hart Crane

text: His ambition to synthesize America was expressed in "The Bridge" (1930), intended to be an uplifting counter to Eliot's "The Waste Land". The Brooklyn Bridge is both the poem's central symbol and its poetic starting point. Crane found a place to start his synthesis in Brooklyn. Arts patron Otto H. Kahn gave him $2,000 to begin work on the epic poem. When he wore out his welcome at the Opffers', Crane left for Paris in early 1929, but failed to leave his personal problems behind. His drinking, always a problem, became notably worse during the late 1920s, while he was finishing "The Bridge".


title: Hart Crane

text: In Paris in February 1929, Harry Crosby, who with his wife Caresse Crosby owned the fine arts press Black Sun Press, offered Crane the use of their country retreat, Le Moulin du Soleil in Ermenonville. They hoped he could use the time to concentrate on completing "The Bridge". Crane spent several weeks at their estate where he roughed out a draft of the "Cape Hatteras" section, a key part of his epic poem. In late June that year, Crane returned from the south of France to Paris. Crosby noted in his journal, "Hart C. back from Marseilles where he slept with his thirty sailors and he began again to drink Cutty Sark." Crane got drunk at the Cafe Select and fought with waiters over his tab. When the Paris police were called, he fought with them and was beaten. They arrested and jailed him, fining him 800 francs. After Hart had spent six days in prison at La Santé, Crosby paid Crane's fine and advanced him money for the passage back to the United States, where he finally finished "The Bridge". The work received poor reviews, and Crane's sense of failure became crushing.


title: Hart Crane

text: Crane visited Mexico in 1931–32 on a Guggenheim Fellowship, and his drinking continued as he suffered from bouts of alternating depression and elation. When Peggy Cowley, wife of his friend Malcolm Cowley, agreed to a divorce, she joined Crane. As far as is known, she was his only heterosexual partner. "The Broken Tower", one of his last published poems, emerged from that affair. Crane still felt himself a failure, in part because he recommenced his homosexual activities in spite of his relationship with Cowley.


title: Hart Crane

text: While "en route" to New York aboard the steamship "Orizaba", he was beaten up after making sexual advances to a male crew member. Just before noon on April 27, 1932, Crane jumped overboard into the Gulf of Mexico. Although he had been drinking heavily and left no suicide note, witnesses believed his intentions to be suicidal, as several reported that he exclaimed "Goodbye, everybody!" before throwing himself overboard. His body was never recovered. A marker on his father's tombstone at Park Cemetery outside Garrettsville, Portage County, Ohio includes the inscription, "Harold Hart Crane 1899–1932 lost at sea".


title: Hart Crane

text: Crane's critical effort, like those of Keats and Rilke, is mostly to be found in his letters: he corresponded regularly with Allen Tate, Yvor Winters, and Gorham Munson, and shared critical dialogues with Eugene O'Neill, William Carlos Williams, E. E. Cummings, Sherwood Anderson, Kenneth Burke, Waldo Frank, Harriet Monroe, Marianne Moore, and Gertrude Stein. He was also an acquaintance of H. P. Lovecraft, who eventually would voice concern over Crane's premature aging due to alcohol abuse. Most serious work on Crane begins with his letters, selections of which are available in many editions of his poetry; his letters to Munson, Tate, Winters, and his patron, Otto Hermann Kahn, are particularly insightful. His two most famous stylistic defenses emerged from correspondences: his "General Aims and Theories" (1925) was written to urge Eugene O'Neill's critical foreword to "White Buildings", then passed around among friends, yet unpublished during Crane's life; and the famous "Letter to Harriet Monroe" (1926) was part of an exchange for the publication of "At Melville's Tomb" in "Poetry".


title: Hart Crane

text: The literary critic Adam Kirsch has argued that "[Crane has been] a special case in the canon of American modernism, his reputation never quite as secure as that of Eliot or Stevens."


title: Hart Crane

text: As with Eliot's "objective correlative", a certain vocabulary haunts Crane criticism, his "logic of metaphor" being perhaps the most vexed. His most quoted formulation is in the circulated, if long unpublished, "General Aims and Theories": "As to technical considerations: the motivation of the poem must be derived from the implicit emotional dynamics of the materials used, and the terms of expression employed are often selected less for their logical (literal) significance than for their associational meanings. Via this and their metaphorical inter-relationships, the entire construction of the poem is raised on the organic principle of a 'logic of metaphor,' which antedates our so-called pure logic, and which is the genetic basis of all speech, hence consciousness and thought-extension."


title: Hart Crane

text: There is also some mention of it, though it is not so much presented as a critical neologism, in his letter to Harriet Monroe: "The logic of metaphor is so organically entrenched in pure sensibility that it can't be thoroughly traced or explained outside of historical sciences, like philology and anthropology." L. S. Dembo's influential study of "The Bridge", "Hart Crane's Sanskrit Charge" (1960), reads this 'logic' well within the familiar rhetoric of the Romantics: "The "Logic of metaphor" was simply the written form of the 'bright logic' of the imagination, the crucial sign stated, the Word made words... As practiced, the logic of metaphor theory is reducible to a fairly simple linguistic principle: the symbolized meaning of an image takes precedence over its literal meaning; regardless of whether the vehicle of an image makes sense, the reader is expected to grasp its tenor.


title: Hart Crane

text: The publication of "White Buildings" was delayed by Eugene O'Neill's struggle (and eventual failure) to articulate his appreciation in a foreword to it; and many critics since have used Crane's difficulty as an excuse for a quick dismissal. Even a young Tennessee Williams, then falling in love with Crane's poetry, could "hardly understand a single line—of course the individual lines aren't supposed to be intelligible. The message, if there actually is one, comes from the total effect.". It was not lost on Crane, then, that his poetry was difficult. Some of his best, and practically only, essays originated as encouraging epistles: explications and stylistic apologies to editors, updates to his patron, and the variously well-considered or impulsive letters to his friends. It was, for instance, only his exchange with Harriet Monroe at "Poetry", when she initially refused to print "At Melville's Tomb", that urged Crane to describe his "logic of metaphor" in print. And describe it he did, then complaining:


title: Hart Crane

text: "If the poet is to be held completely to the already evolved and exploited sequences of imagery and logic—what field of added consciousness and increased perceptions (the actual province of poetry, if not lullabies) can be expected when one has to relatively return to the alphabet every breath or two? In the minds of people who have sensitively read, seen, and experienced a great deal, isn't there a terminology something like short-hand as compared to usual description and dialectics, which the artist ought to be right in trusting as a reasonable connective agent toward fresh concepts, more inclusive evaluations?"


title: Hart Crane

text: Monroe was not impressed, though she acknowledged that others were, and printed the exchange alongside the poem: "You find me testing metaphors, and poetic concept in general, too much by logic, whereas I find you pushing logic to the limit in a painfully intellectual search for emotion, for poetic motive." In any case, Crane had a relatively well-developed rhetoric for the defense of his poems; here is an excerpt from "General Aims and Theories": "New conditions of life germinate new forms of spiritual articulation. ...the voice of the present, if it is to be known, must be caught at the risk of speaking in idioms and circumlocutions sometimes shocking to the scholar and historians of logic."


title: Hart Crane

text: As a boy, he had a sexual relationship with a man. He associated his sexuality with his vocation as a poet. Raised in the Christian Science tradition of his mother, he never ceased to view himself as a social pariah. However, as poems such as "Repose of Rivers" make clear, he felt that this sense of alienation was necessary in order for him to attain the visionary insight that formed the basis for his poetic work.


title: Hart Crane

text: Recent criticism has suggested reading Crane's poems—"The Broken Tower", "My Grandmother's Love Letters", the "Voyages" series, and others—with an eye to homosexual meanings in the text. Queer theorist Tim Dean argues, for instance, that the obscurity of Crane's style owes partially to the necessities of being a semi-public homosexual—not quite closeted, but also, as legally and culturally necessary, not open: "The intensity responsible for Crane's particular form of difficulty involves not only linguistic considerations but also culturally subjective concerns. This intensity produces a kind of privacy that is comprehensible in terms of the cultural construction of homosexuality and its attendant institutions of privacy."


title: Hart Crane

text: Thomas Yingling objects to the traditional, New Critical and Eliotic readings of Crane, arguing that the "American myth criticism and formalist readings" have "depolarized and normalized our reading of American poetry, making any homosexual readings seem perverse." Even more than a personal or political problem, though, Yingling argues that such "biases" obscure much of what the poems make clear; he cites, for instance, the last lines of "My Grandmother's Love Letters" from "White Buildings" as a haunting description of estrangement from the norms of (heterosexual) family life:


title: Hart Crane

text: Brian Reed has contributed to a project of critical reintegration of queer criticism with other critical methods, suggesting that an overemphasis on the sexual biography of Crane's poetry can skew a broader appreciation of his overall work. In one example of Reed's approach, he published a close reading of Crane's lyric poem, "Voyages", (a love poem that Crane wrote for his lover Emil Opffer) on the Poetry Foundation website, analyzing the poem based strictly on the content of the text itself and not on outside political or cultural matters.


title: Hart Crane

text: Crane was admired by artists including Allen Tate, Eugene O'Neill, Kenneth Burke, Edmund Wilson, E. E. Cummings and William Carlos Williams. Although Hart had his sharp critics, among them Marianne Moore and Ezra Pound, Moore did publish his work, as did T. S. Eliot, who, moving even further out of Pound's sphere, may have borrowed some of Crane's imagery for "Four Quartets", in the beginning of "East Coker", which is reminiscent of the final section of "The River", from "The Bridge".


title: Hart Crane

text: Important mid-century American poets, such as John Berryman and Robert Lowell, cited Crane as a significant influence. Both poets also wrote about Crane in their poetry. Berryman wrote him one of his famous elegies in "The Dream Songs", and Lowell published his "Words for Hart Crane" in "Life Studies" (1959): "Who asks for me, the Shelley of my age, / must lay his heart out for my bed and board." Lowell thought that Crane was the most important American poet of the generation to come of age in the 1920s, stating that "[Crane] got out more than anybody else ... he somehow got New York City; he was at the center of things in the way that no other poet was." Lowell also described Crane as being "less limited than any other poet of his generation."


title: Hart Crane

text: Perhaps most reverently, Tennessee Williams said that he wanted to be "given back to the sea" at the "point most nearly determined as the point at which Hart Crane gave himself back". One of Williams's last plays, a "ghost play" titled "Steps Must Be Gentle", explores Crane's relationship with his mother.


title: Hart Crane

text: In a 1991 interview with Antonio Weiss of "The Paris Review", the literary critic Harold Bloom talked about how Crane, along with William Blake, initially sparked his interest in literature at a very young age: I was preadolescent, ten or eleven years old. I still remember the extraordinary delight, the extraordinary force that Crane and Blake brought to me—in particular Blake's rhetoric in the longer poems—though I had no notion what they were about. I picked up a copy of "The Collected Poems of Hart Crane" in the Bronx Library. I still remember when I lit upon the page with the extraordinary trope, "O Thou steeled Cognizance whose leap commits / The agile precincts of the lark's return." I was just swept away by it, by the Marlovian rhetoric. I still have the flavor of that book in me. Indeed it's the first book I ever owned. I begged my oldest sister to give it to me, and I still have the old black and gold edition she gave me for my birthday back in 1942 . . . I suppose the only poet of the twentieth century that I could secretly set above Yeats and Stevens would be Hart Crane.


title: Hart Crane

text: More recently, the American poet Gerald Stern wrote an essay on Crane in which he stated, "Some, when they talk about Crane, emphasize his drinking, his chaotic life, his self-doubt, and the dangers of his sexual life, but he was able to manage these things, even though he died at 32, and create a poetry that was tender, attentive, wise, and radically original." At the conclusion of his essay, Stern writes, "Crane is always with me, and whatever I wrote, short poem or long, strange or unstrange—his voice, his tone, his sense of form, his respect for life, his love of the word, his vision have affected me. But I don't want, in any way, to exploit or appropriate this amazing poet whom I am, after all, so different from, he who may be, finally, the great poet, in English, of the twentieth century."


title: Hart Crane

text: Such important affections have made Crane a "poet's poet". Thomas Lux offered, for instance: "If the devil came to me and said 'Tom, you can be dead and Hart can be alive,' I'd take the deal in a heartbeat if the devil promised, when arisen, Hart would have to go straight into A.A."


title: Hart Crane

text: Yvor Winters, noted for generally-stern criticism, praised some of Crane's poetry in "In Defense of Reason", though he heavily criticized Crane's works and poetics.


title: Hart Crane

text: Beyond poetry, Crane's suicide inspired several works of art by noted artist Jasper Johns, including "Periscope", "Land's End", and "Diver", as well as the "Symphony for Three Orchestras" by Elliott Carter (inspired by "The Bridge") and the painting "Eight Bells' Folly, Memorial for Hart Crane" by Marsden Hartley.


title: Hart Crane

text: Crane is the subject of "The Broken Tower", a 2011 American student film by the actor James Franco who wrote, directed, and starred in the film which was the master's thesis project for his MFA in filmmaking at New York University. He loosely based his script on Paul Mariani's 1999 nonfiction book "The Broken Tower: A Life of Hart Crane". Despite being a student film, "The Broken Tower" was shown at the Los Angeles Film Festival in 2011 and received DVD distribution in 2012 by Focus World Films.


title: Hart Crane

text: Crane appears as a character in Samuel R. Delany's story "", and in "The Illuminatus! Trilogy" by Robert Shea and Robert Anton Wilson.


title: Fixed income

text: Fixed income refers to any type of investment under which the borrower or issuer is obliged to make payments of a fixed amount on a fixed schedule. For example, the borrower may have to pay interest at a fixed rate once a year and repay the principal amount on maturity. Fixed-income securities — more commonly known as bonds — can be contrasted with equity securities – often referred to as stocks and shares – that create no obligation to pay dividends or any other form of income. Bonds carry a level of legal protections for investors that equity securities do not — in the event of a bankruptcy, bond holders would be repaid after liquidation of assets, whereas shareholders with stock often receive nothing.


title: Fixed income

text: For a company to grow its business, it often must raise money – for example, to finance an acquisition; buy equipment or land, or invest in new product development. The terms on which investors will finance the company will depend on the risk profile of the company. The company can give up equity by issuing stock or can promise to pay regular interest and repay the principal on the loan (bonds or bank loans). Fixed-income securities also trade differently than equities. Whereas equities, such as common stock, trade on exchanges or other established trading venues, many fixed-income securities trade over-the-counter on a principal basis.


title: Fixed income

text: The term "fixed" in "fixed income" refers to both the schedule of obligatory payments and the amount. "Fixed income securities" can be distinguished from inflation-indexed bonds, variable-interest rate notes, and the like. If an issuer misses a payment on fixed income security, the issuer is in default, and depending on the relevant law and the structure of the security, the payees may be able to force the issuer into bankruptcy. In contrast, if a company misses a quarterly dividend to stock (non-fixed-income) shareholders, there is no violation of any payment covenant and no default.


title: Fixed income

text: The term "fixed income" is also applied to a person's income that does not vary materially over time. This can include income derived from fixed-income investments such as bonds and preferred stocks or pensions that guarantee a fixed income. When pensioners or retirees are dependent on their pension as their dominant source of income, the term "fixed income" can also imply that they have relatively limited discretionary income or have little financial freedom to make large or discretionary expenditures.


title: Fixed income

text: Governments issue government bonds in their own currency and sovereign bonds in foreign currencies. State and local governments issue municipal bonds to finance projects or other major spending initiatives. Debt issued by government-backed agencies is called an agency bond. Companies can issue a corporate bond or obtain money from a bank through a corporate loan. Preferred stocks share some of the characteristics of fixed interest bonds. Securitized bank lending (e.g. credit card debt, car loans or mortgages) can be structured into other types of fixed income products such as ABS – asset-backed securities which can be traded over-the-counter just like corporate and government bonds.


title: Fixed income

text: Investors in fixed-income securities are typically looking for a constant and secure return on their investment. For example, a retired person might like to receive a regular dependable payment to live on like gratuity, but not consume principal. This person can buy a bond with their money and use the coupon payment (the interest) as that regular dependable payment. When the bond matures or is refinanced, the person will have their money returned to them. The major investors in fixed-income securities are institutional investors, such as pension plans, mutual funds, hedge funds, sovereign wealth funds, endowments, insurance companies and others.


title: Fixed income

text: The main number which is used to assess the value of the bond is the gross redemption yield. This is defined such that if all future interest and principal repayments are discounted back to the present, at an interest rate equal to the gross redemption yield (gross means pre-tax), then the discounted value is equal to the current market price of the bond (or the initial issue price if the bond is just being launched). Fixed income investments such as bonds and loans are generally priced as a credit spread above a low-risk reference rate, such as LIBOR or U.S. or German Government Bonds of the same duration. For example, if a 30-year mortgage denominated in US dollars has a gross redemption yield of 5% per annum and 30 year US Treasury Bonds have a gross redemption yield of 3% per annum (referred to as the risk free yield), the credit spread is 2% per annum (sometimes quoted as 200 basis points). The credit spread reflects the risk of default. Risk free interest rates are determined by market forces and vary over time, based on a variety of factors, such as current short-term interest rates, e.g. base rates set by central banks such as the US Federal Reserve, the Bank of England in the UK, and the Euro Zone ECB. If the coupon on the bond is lower than the yield, then its price will be below the par value, and vice versa.


title: Fixed income

text: In buying a bond, one is buying a set of cash flows, which are discounted according to the buyer's perception of how interest and exchange rates will move over its life.


title: Fixed income

text: Supply and demand affect prices, especially in the case of market participants who are constrained in the investments they make. Insurance companies and pension funds usually have long term liabilities that they wish to hedge, which requires low risk, predictable cash flows, such as long dated government bonds.


title: Fixed income

text: Some fixed-income securities, such as mortgage-backed securities, have unique characteristics, such as prepayments, which impact their pricing.


title: Fixed income

text: There are also inflation-indexed bonds—fixed-income securities linked to a specific price index. The most common examples are US Treasury Inflation Protected Securities (TIPS) and UK Index Linked Gilts. The interest and principal repayments under this type of bond are adjusted in line with a Consumer Price Index (in the US this is the CPI-U for urban consumers). This means that these bonds are guaranteed to outperform the inflation rate (unless (a) the market price has increased so that the "real" yield is negative, which is the case in 2012 for many such UK bonds, or (b) the government or other issuer defaults on the bond). This allows investors of all types to preserve the purchasing power of their money even at times of high inflation. For example, assuming 3.88% inflation over the course of one year (just about the 56 year average inflation rate, through most of 2006), and a real yield of 2.61% (the fixed US Treasury real yield on October 19, 2006, for a 5 yr TIPS), the adjusted principal of the fixed income would rise from 100 to 103.88 and then the real yield would be applied to the adjusted principal, meaning 103.88 x 1.0261, which equals 106.5913; giving a total return of 6.5913%. TIPS moderately outperform conventional US Treasuries, which yielded just 5.05% for a one-year bill on October 19, 2006.


title: Fixed income

text: Fixed income derivatives include interest rate derivatives and credit derivatives. Often inflation derivatives are also included into this definition. There is a wide range of fixed income derivative products: options, swaps, futures contracts as well as forward contracts. The most widely traded kinds are:


title: Fixed income

text: Fixed income securities have risks that may include but are not limited to the following, many of which are synonymous, mutually exclusive, or related:


title: Bullseye (target)

text: The bullseye or bull's eye has, since 1833, been the name for the center of a target and, by extension, since 1857, has been given to any throw, toss, or shot that hits the center.


title: Bullseye (target)

text: In a further development, success in an endeavor in which there is such inherent difficulty that most people are far more likely to choose, do, or identify something that is either unfortunately only close to or dismissively far from the ideal or necessary thing to choose can be called "hitting the bull's eye."


title: Bullseye (target)

text: The center of the target may have come to be called the bull's eye from the practice of English archers who, both to develop and to exhibit their skills, would attempt to shoot an arrow through the eye socket of a bull's skull.


title: Bullseye (target)

text: In some archery traditions the term "gold" is used in preference to "bullseye". In target archery, hitting the center ring of an international target is worth 10 points, or 9 points if it's an Imperial target.


title: Bullseye (target)

text: In Japanese archery, known as Kyūdō, the bullseye is called "zuboshi". The term is also used as idiomatic slang just as it is in English, to note that someone has done or said something that hits "right on the nose."


title: Bullseye (target)

text: In darts, the bullseye is located 5 foot 8 inches (1.73m) above the floor. Before the start of a match players will usually throw closest to the bullseye to decide who has the advantage of throwing first. An inner bullseye (sometimes referred to as a "double bullseye" in amateur play) is a smaller, inner circle and counts for 50 points while an outer bull is worth 25 points. In the World Grand Prix, which has a double start format, an inner bullseye can begin a leg. In the dart golf game, the bullseye is used as part of a three-part tie breaker that also includes the treble twenty.


title: Uncle Tom syndrome

text: Uncle Tom syndrome is a theory in multicultural psychology referring to a coping skill in which individuals use passivity and submissiveness when confronted with a threat, leading to subservient behaviour and appeasement, while concealing their true thoughts and feelings.


title: Uncle Tom syndrome

text: The term "Uncle Tom" comes from the title character of Harriet Beecher Stowe's novel "Uncle Tom's Cabin", where an enslaved African American, Tom, is beaten to death for refusing to betray the whereabouts of two other enslaved people. In Stowe's novel Uncle Tom is a heroic character, loyal to the slaves in hiding, but the original producers of the stage version of the story "grossly distorted" the character into a man who would sell out his own race to curry favor with white people. This version of Uncle Tom was designed to be more favourable to audiences of the late 1850's and it is he, not the original, that the slur refers to.


title: Uncle Tom syndrome

text: In the American racial context, "Uncle Tom" is a pejorative term for African Americans who give up or hide their ethnic outlook, traits, and practices, in order to be accepted into the mainstream.


title: Uncle Tom syndrome

text: In race studies literature, Uncle Tom syndrome refers to African Americans that, as a necessary survival technique, opt to appear docile, non-assertive, and happy-go-lucky. Especially during slavery, African Americans used passivity and servility for the avoidance of retaliation and for self-preservation.


title: Uncle Tom syndrome

text: In a broader context, the term may refer to a minority's strategy of coping with oppression from socially, culturally, or economically dominant groups involving suppression of aggressive feelings and even identification with the oppressor, leading to forced assimilation/acculturation of the cultural minority.


title: Human Potential Movement

text: The Human Potential Movement (HPM) arose out of the counterculture of the 1960s and formed around the concept of an extraordinary potential that its advocates believed to lie largely untapped in all people. The movement takes as its premise the belief that through the development of their "human potential", people can experience a life of happiness, creativity, and fulfillment, and that such people will direct their actions within society toward assisting others to release their potential. Adherents believe that the collective effect of individuals cultivating their own potential will be positive change in society at large.


title: Human Potential Movement

text: The HPM has much in common with humanistic psychology in that Abraham Maslow's theory of self-actualization strongly influenced its development. The Institutes for the Achievement of Human Potential, founded in 1955 by Glenn Doman and Carl Delacato, was an early precursor to and influence on the Human Potential Movement, as is exemplified in Doman's assertion that "Every child born has, at the moment of birth, a greater potential intelligence than Leonardo da Vinci ever used."


title: Human Potential Movement

text: In the middle of the 1960s, George Leonard did research across the United States on the subject of human potential for the magazine "Look". In his research, he interviewed 37 psychiatrists, brain researchers, and philosophers on the subject of human potential. He found that "Not one of them said we were using more than 10% of our capacity."


title: Human Potential Movement

text: During the course of his research, Leonard met Michael Murphy, a co-founder of the nascent Esalen Institute (established in 1962) that at the time was running educational programs for adults on the topic of "human potentialities". Leonard and Murphy became close friends and together "put forth the idea that there should be a human potential movement."


title: Human Potential Movement

text: HPM was regarded by some as being related to psychedelic culture such as hippies and Summer of Love. According to author Andrew Grant Jackson, George Harrison's adoption of Hindu philosophy and Indian instrumentation in his songs with the Beatles in the mid 1960s, together with the band's highly publicised study of Transcendental Meditation, "truly kick-started" the Human Potential Movement.


title: Human Potential Movement

text: The human potential movement (HPM) originated in the 1960s as a counter-cultural rebellion against mainstream psychology and organised religion. It is not in itself a religion, new or otherwise, but a psychological philosophy and framework, including a set of values that have made it one of the most significant and influential forces in modern Western society.


title: Human Potential Movement

text: Abraham Maslow published his concept of a hierarchy of needs in a paper in 1943. He argued that as people's basic survival needs are met, so their desire to grow in mental and emotional dimensions increases. He also coined the term 'metamotivation' to describe the motivation of people who go beyond the scope of the basic needs and strive for constant betterment.


title: Human Potential Movement

text: Michael Murphy and Dick Price founded the Esalen Institute in 1962, primarily as a center for the study and development of human potential, and some people continue to regard Esalen as the geographical center of the movement .


title: Human Potential Movement

text: Aldous Huxley gave lectures on the "Human Potential" at Esalen in the early 1960s. His writings and lectures on the mystical dimensions of psychedelics and on what he called "the perennial philosophy" were foundational. Moreover, his call for an institution that could teach the 'nonverbal humanities' and the development of the 'human potentialities' functioned as the working mission statement of early Esalen.


title: Human Potential Movement

text: Christopher Lasch notes the impact of the human potential movement via the therapeutic sector: "The new therapies spawned by the human potential movement, according to Peter Marin, teach that "the individual will is all powerful and totally determines one's fate"; thus they intensify the "isolation of the self".


title: Human Potential Movement

text: George Leonard, a magazine writer and editor who conducted research for an article on human potential, became an important early influence on Esalen. Leonard claims that he coined the phrase "Human Potential Movement" during a brainstorming session with Michael Murphy, and popularized it in his 1972 book "The Transformation: A Guide to the Inevitable Changes in Humankind". Leonard worked closely with the Esalen Institute afterwards, and in 2005 served as its president.


title: Human Potential Movement

text: Interest in Human Potential concepts is growing in Europe thanks to training courses aimed at managers, graduate students, and the unemployed, mainly funded by the European Union in public development courses in the 1980s and 90s. In these courses, modules such as communication skills, marketing, leadership and others in the "soft skills" area were embedded in the programs, and enabled the familiarization of most of the Human Potential concepts. A key role was played by "EU Strategic objective 3, 4, and 5" that explicitly included transversal key competences, such as learning to learn, a sense of initiative, entrepreneurship, and cultural awareness".


title: Human Potential Movement

text: These training programs, lasting as much as 900 to 1200 hours aimed at enhancing creativity and innovation, including entrepreneurship, and contained at all levels of education and training Human Potential concepts. One of the core concepts, Maslow's hierarchy of needs, a theory of psychological health predicated on fulfilling innate human needs, became popular in Europe in the 80s mainly as a support to understanding consumer's needs, and only after its use as a key marketing concept. Philip Kotler's book "Marketing Management" was particularly influential in the 80's in popularizing several human potential concepts that were "embedded" in the book and entered in the working and management community.


title: Human Potential Movement

text: Specifically targeted books on Human Potential have emerged in Europe and can be found in the works of specific authors. For the "Anglo" cultural area, the work of John Whitmore


title: Human Potential Movement

text: contains a harsh critique of mainstream approaches to human potential as fast cures for self-improvement: "Contrary to the appealing claims of The One Minute Manager, there are no quick fixes in business".


title: Human Potential Movement

text: For the "Latin" cultural area, an early approach to Human Potential can be found in the work of Maria Montessori. Montessori's theory and philosophy of education were influenced by the work of Jean Marc Gaspard Itard, Édouard Séguin, Friedrich Fröbel, Johann Heinrich Pestalozzi. Her model emphasized autonomous learning, sensory exploration and training children in physical activities, empowering their senses and thoughts by exposure to sights, smells, and tactile experiences, and later included, problem solving.


title: British Rail Class 374

text: The British Rail Class 374, also referred to as the Eurostar e320, is a type of electric multiple unit passenger train used on Eurostar services through the Channel Tunnel to serve destinations beyond the core routes to Paris and Brussels. They began to run passenger services in November 2015. The trains, owned by Eurostar International Limited, are sixteen-coach versions of the Siemens Velaro. Each train is long. The trains are compliant with the Technical Specifications for Interoperability (TSI).


title: British Rail Class 374

text: Eurostar International's older fleet of Class 373 "Eurostar e300" trains, introduced in 1994 when the Channel Tunnel opened, could not be used on the 15 kV AC overhead line (OHLE) electrification system used in Germany, and most of the older trains could not be used on the 1.5 kV DC overhead line (OHLE) electrification system used in the Netherlands, and the trains did not have sufficient space onboard to install ERTMS signalling. This meant that Eurostar could not run its Class 373 units on services to these countries, and the Class 374 was designed and built to overcome these problems, and enable Eurostar to run services to these locations.


title: British Rail Class 374

text: When the Class 374 trains are used in the United Kingdom, they can only run on High Speed 1, which has been designed to accommodate larger trains from mainland Europe, having a larger loading gauge compared to the domestic British rail network.


title: British Rail Class 374

text: The original order for ten sets was increased to seventeen sets in November 2014. As of June 2018, the Class 374 has replaced the majority of Class 373s, with most Class 373 trains having since been withdrawn and scrapped in the UK.


title: British Rail Class 374

text: Siemens Velaro high speed EMUs are derived from the ICE 3 first used by Deutsche Bahn (DB) in 2000. Variants include DB Class 407, intended for international services including through the Channel Tunnel.


title: British Rail Class 374

text: In 2009, Eurostar announced a £700m project to update its fleet, with approximately £550m for new trains able to operate away from the core London-Paris/Brussels network. In October 2010, Eurostar announced that Siemens had been selected, with the Velaro platform to be used. The "Velaro e320", named because of plans to operate at , would be 16 cars long, to meet the Channel Tunnel safety specifications but would have distributed traction with the traction equipment along the length of the train, not concentrated in power cars at each end.


title: British Rail Class 374

text: The nomination of Siemens saw it break into the French high-speed market, as all French and French subsidiary high-speed operators up to that point used TGV derivatives produced by Alstom. Alstom attempted legal action to prevent the contract, claiming that the Siemens sets would breach Channel Tunnel safety rules, but this was thrown out of court. Alstom said that it would "pursue alternative legal options to uphold its position", and on 4 November 2010 it lodged a complaint with the European Commission over the tendering process, which then asked the British government for "clarification". Alstom then announced it had started legal action against Eurostar in the High Court in London.


title: British Rail Class 374

text: In July 2011, the High Court rejected Alstom's claim that the tender process was "ineffective", and in April 2012 Alstom said it would call off pending court actions against Eurostar.


title: British Rail Class 374

text: The trains were constructed at the Siemens plant at Krefeld in Germany, with the first rolled out for testing at the Wildenrath test circuit in early 2013 as Class 374, with the first unit bearing this UIC identification mark. The intention was for the first unit to enter service in 2014, but the approval was delayed. As a consequence, Eurostar did receive its first unit in 2014 for presentation but operation could only start a year later.


title: British Rail Class 374

text: At the presentation of the first train in London in November 2014, Eurostar announced that they had ordered 7 additional train sets, and that the first e320 service would be at the end of 2015. By November 2014 nine of the 10 trains had been built and all 10 were scheduled to be delivered by April 2016. The seven trains in the second order were all operational by March 2018.


title: British Rail Class 374

text: By April 2013 testing had started at Siemens Mobility's Wegberg-Wildenrath Test and Validation Centre.


title: British Rail Class 374

text: On 27 January 2014 set 4007+4008 was hauled across Belgium by B-Logistiks' TRAXX E 186 199, and on the night of 29/30 January 2014 was dragged by Eurotunnel Class 0001 rescue locomotives via the Channel Tunnel and High Speed 1 to Temple Mills Depot where it arrived at 01:41:30 on 30 January 2014.


title: British Rail Class 374

text: As of July to August 2014, tests were carried out on the LGV Nord line near Lille. The end of 2014 saw testing of one set on the LGV Est due to its higher line speed of 320 km/h.


title: British Rail Class 374

text: The French Railway Safety Board (EPSF) granted an authorisation to run the train in France on 16 October 2015; the approval for operating through the Channel Tunnel was granted on 19 November by the Intergovernmental Commission (IGC). At the beginning of January 2016 the Belgian authority SSICF authorized the operation in its country.


title: British Rail Class 374

text: Eurostar have used the trains to expand its core operation between London St Pancras International, Paris Gare du Nord and Brussels Midi/Zuid. To meet the prospect of increased competition through the Channel Tunnel (primarily from DB), it intends to use them to expand its network to Amsterdam, Frankfurt and Cologne, and more destinations in France. The first Class 374 set entered service in November 2015, ahead of the full launch of the new type; the receipt of the safety authorisation from the Intergovernmental Commission was received earlier than expected, allowing Eurostar to begin utilizing the type on a small number of services for in-service testing. In September 2013, Eurostar announced that its new service between London and Amsterdam, intended to begin operation in December 2016, would be operated by the trains. Since April 2018 the scheduled service to Amsterdam operates with two e320 trains per day.


title: British Rail Class 374

text: In early 2018, the tracks and international platforms at Ashford International underwent a £10-million refurbishment to allow compatibility with Eurostar's e320 trains from 1 April 2018. On 3 April 2018, the Secretary of State for Transport Chris Grayling met the first e320 that called at the station after the works have been called "completed" by the local authority. Problems with "power spikes" which damaged equipment of the new trains, however, initially prevented Class 374 trains from calling at Ashford, with the problem resolved in December 2019.


title: British Rail Class 374

text: The carriages are given a UIC identification marking in half-sets of eight-vehicles as 93 70 3740 "NNN"-"X" GB-EIL, where 93 denotes high-speed EMU, 70 denotes Great Britain, 374 is the class, 40NN (sharing the 4 from the class 374) is the unit number followed by a single digit for each carriage counting from the driving car towards the centre, a check digit (X), GB for Great Britain and EIL for Eurostar International Limited.


title: Distinguished Flying Cross (United Kingdom)

text: The Distinguished Flying Cross (DFC) is the third-level military decoration awarded to officers, and since 1993 to other ranks, of the United Kingdom's Royal Air Force and other services, and formerly to officers of other Commonwealth countries, for "an act or acts of valour, courage or devotion to duty whilst flying in active operations against the enemy".


text: The award was established on 3 June 1918, shortly after the formation of the Royal Air Force (RAF), with the Royal Warrant published on 5 December 1919. It was originally awarded to RAF commissioned and warrant officers, including officers in Commonwealth and allied forces. In March 1941 eligibility was extended to Naval Officers of the Fleet Air Arm, and in November 1942 to Army officers, including Royal Artillery officers serving on attachment to the RAF as pilots-cum-artillery observers. Posthumous awards were permitted from 1979.


text: Since the 1993 review of the honours system as part of the drive to remove distinctions of rank in bravery awards, all ranks of all arms of the Armed Forces have been eligible, and the Distinguished Flying Medal, which had until then been awarded to other ranks, was discontinued. While remaining a reward for "flying in active operations against the enemy", the requirement was changed from "valour, courage or devotion to duty" to "exemplary gallantry".


text: The DFC had also been awarded by Commonwealth countries but by the 1990s most, including Canada, Australia and New Zealand, had established their own honours systems and no longer recommended British honours.


text: The DFC now serves as the third-level award for all ranks of the British Armed Forces for exemplary gallantry in active operations against the enemy in the air, not to the standard required to receive the Victoria Cross or the Conspicuous Gallantry Cross. Apart from honorary awards to those serving with allied forces, all awards of the DFC are announced in the "London Gazette".


text: A bar is added to the ribbon for holders of the DFC who received a further award, with a silver rosette worn on the ribbon when worn alone to denote the award of each bar.


text: The decoration, designed by Edward Carter Preston, is a cross flory, wide. The horizontal and bottom bars are terminated with bumps, the upper bar with a rose. The decoration's face features aeroplane propellers, superimposed on the vertical arms of the cross, and wings on the horizontal arms. In the centre is a laurel wreath around the RAF monogram, surmounted by a heraldic Imperial Crown.


text: The reverse is plain, except for a central roundel bearing the reigning monarch's cypher and the date '1918'. Originally awarded unnamed, from 1939 the year of issue was engraved on the reverse lower limb of cross, and since 1984 it has been awarded named to the recipient.


text: The ribbon bar denoting a further award is silver, with the Royal Air Force eagle in its centre. Bars awarded during World War II have the year of award engraved on the reverse.


text: The 1.25-inch (32 mm) ribbon was originally white with deep purple broad horizontal stripes, but it was changed in 1919 to the current white with purple broad diagonal stripes.


text: From 1918 to 2017 approximately 22,322 Distinguished Flying Crosses and 1,737 bars have been awarded. The figures to 1979 are laid out in the table below, the dates reflecting the relevant entries in the London Gazette:


text: In addition, between 1980 and 2017 approximately 80 DFCs have been earned, including awards for the Falklands and the wars in the Gulf, Iraq and Afghanistan. In addition, two second-award, and one third-award bar have been awarded.


text: The above figures include awards to the Dominions:In all, 4,460 DFCs have gone to Canadians, including 256 first bars and six second bars. Of these, 193 crosses and nine first bars were for service with the RAF in World War I. For World War II, 4,018 DFCs with 213 first bars and six second bars were earned by members of the Royal Canadian Air Force, with a further 247 crosses and 34 first bars to Canadians serving with the RAF.From 1918 to 1972 the DFC was awarded to 2,391 Australians, along with 144 first Bars and five second Bars.Over 1,000 DFCs were awarded to New Zealanders during the World War II, with the most recent awards for service in Vietnam. In 1999 the DFC was replaced by the New Zealand Gallantry Decoration.


text: A total of 1,022 honorary awards have been made to members of allied foreign forces. This comprises 46 for World War I, 927 with 34 first and three second award bars for World War II, eight with three bars to members of the US Air Force for the Korean War, and one to the US Marine Corps during the Iraq War.


title: Child–Pugh score

text: In medicine, specifically gastroenterology, the Child–Pugh score (or the Child–Turcotte–Pugh (CTP) score or Child Criteria) is used to assess the prognosis of chronic liver disease, mainly cirrhosis. Although it was originally used to predict mortality during surgery, it is now used to determine the prognosis, as well as the required strength of treatment and the necessity of liver transplantation.


title: Child–Pugh score

text: The score employs five clinical measures of liver disease. Each measure is scored 1–3, with 3 indicating most severe derangement.


title: Child–Pugh score

text: In primary sclerosing cholangitis (PSC) and primary biliary cholangitis (PBC), some use a modified Child–Pugh score where the bilirubin references are changed to reflect the fact that these diseases feature high conjugated bilirubin levels. The upper limit for 1 point is 68 μmol/L (4 mg/dL) and the upper limit for 2 points is 170 μmol/L (10 mg/dL).


title: Child–Pugh score

text: Chronic liver disease is classified into Child–Pugh class A to C, employing the added score from above.


title: Child–Pugh score

text: The surgeon and portal hypertension expert Charles Gardner Child (1908–1991) (with Turcotte) of the University of Michigan first proposed the scoring system in 1964 in a textbook on liver disease. It was modified by Pugh et al. in 1972 in a report on surgical treatment of bleeding from esophageal varices. They replaced Child's criterion of nutritional status with the prothrombin time or INR, and assigned scores of 1–3 to each variable.


title: Frontex

text: The European Border and Coast Guard Agency, also known as Frontex (from French: "Frontières extérieures" for "external borders"), is an agency of the European Union headquartered in Warsaw, Poland, exercising in coordination with the border and coast guards of member states the border control of the European Schengen Area, a task within the area of freedom, security and justice domain.


title: Frontex

text: Frontex was established in 2004 as the European Agency for the Management of Operational Cooperation at the External Borders and is primarily responsible for coordinating border control efforts. In response to the European migrant crisis of 2015–2016, the European Commission proposed on 15 December 2015 to extend Frontex's mandate and to transform it into a fully-fledged European Border and Coast Guard Agency. On 18 December 2015, the European Council roundly supported the proposal, and after a vote by the European Parliament, the European Border and Coast Guard was officially launched on 6 October 2016 at the Bulgarian external border with Turkey.


title: Frontex

text: Frontex's budget has increased from the €143 million for 2015 to €543 million for 2021 and the staff of the agency is planned to reach 10,000 by 2027.


title: Frontex

text: The European Border and Coast Guard's national component comprises relevant authorities in each Schengen Area member state, which exercise the day-to-day management of their sections of the external borders of the Schengen Area. They are:


title: Frontex

text: The European Union's agency, titled "European Border and Coast Guard Agency", provides a reserve of European border guards and technical equipment. The agency may purchases its own flagged vehicles. The Member States where this equipment is registered (bigger equipment such as patrol vessels, air crafts, etc.) are obliged to put it at the Agency's disposal whenever needed. This enables the Agency to rapidly deploy the necessary technical equipment in border operations. A rapid reserve pool of border guards and a technical equipment pool is at the disposal of the agency, intending to remove the shortages of staff and equipment for the Agency's operations.


title: Frontex

text: According to a 2021 Guardian investigation, EU member states with Frontex complicity in some cases have been responsible for pushback of almost 40,000 asylum seekers, resulting in 2,000 deaths, in violation of EU and international law. Frontex denies taking part in pushbacks; the claims are currently under investigation by EU anti-fraud agency OLAF.


title: Frontex

text: According to the European Commission the European Border and Coast Guard "will bring together a European Border and Coast Guard Agency built from Frontex and the Member States’ authorities responsible for border management" with day-to-day management of external border regions remaining the responsibility of member states. It is intended that the new European Border and Coast Guard Agency will act in a supporting role for members in need of assistance, as well as to coordinate overall border management of Europe's external borders. Securing and patrolling of the external borders of the European Union (EU, in practice the Schengen Area including the Schengen Associated Countries as well as those EU Member States which have not yet joined the Schengen Area but are bound to do so) is a shared responsibility of the Agency and the national authorities.


title: Frontex

text: Launched in 2021, the European Border and Coast Guard standing corps is the EU's first uniformed service. By 2027, the corps is planned to number 10 000 personnel.