Transactions.

Free agency.

The 2010 off-season had one of the most talented free agent pools in recent NBA history. The list of free agents included All-Stars LeBron James, Chris Bosh, Dwyane Wade, Dirk Nowitzki, Carlos Boozer and Amar'e Stoudemire, as well as other veteran players such as Ray Allen, Joe Johnson, Allen Iverson, Tracy McGrady, Shaquille O'Neal and Paul Pierce. Below are the major free agency signings, including the sign and trade agreements, that occurred during the off-season.

Preseason.

NBA Europe Live 2010 was played October 3, 2010 – October 7, 2010, featuring the New York Knicks, Minnesota Timberwolves, Los Angeles Lakers and teams from Europe (Armani Jeans Milano and Regal FC Barcelona) The Dallas Mavericks and the Phoenix Suns played in Indian Wells, California, on October 9 for their outdoor special. The Houston Rockets and New Jersey Nets played in the fifth annual NBA China Games on October 13 in Beijing, and October 16 at Guangzhou. The preseason schedule was released in August.

Regular season.

The regular season began on Tuesday, October 26, 2010, and ended on Wednesday, April 13, 2011. The Opening Day schedule on TNT had the Miami Heat face the Boston Celtics, followed by the Los Angeles Lakers' championship ring and banner ceremony and their game against the Houston Rockets. The opener began at 7:30 p.m. ET. On Christmas Day, ABC and ESPN had a five-game set, with ABC broadcasting the game between the Celtics and the Orlando Magic, and the Heat against the Lakers, which started at 2:00 p.m. ET. On Martin Luther King Day, ESPN aired the game between the Chicago Bulls and the Memphis Grizzlies at 1:00 p.m. ET, while NBA TV aired the Sacramento Kings–Atlanta Hawks matchup at 4:00 p.m. ET. TNT capped off the holiday with a doubleheader, beginning with the Magic facing the Celtics, followed by the Oklahoma City Thunder facing the Los Angeles Lakers, beginning at 8:00 p.m. ET. The full schedule was released on Tuesday, August 10, 2010.  Other much-anticipated games include: on October 28, 2010, John Wall, the No. 1 pick in the 2010 NBA draft, made his NBA debut as the Washington Wizards visited the Magic on TNT. On December 2, LeBron James returned to Cleveland for the first time since the Decision as his Heat faced the Cavaliers on TNT. The Celtics–Lakers rivalry renewed on January 30, 2011 (at Los Angeles on ABC) and on February 10, 2011 (at Boston on TNT) in a rematch of the 2010 NBA Finals. On March 4–5, 2011, the New Jersey Nets and Toronto Raptors faced off in two regular season games held at London's O2 Arena.

Standings.

By conference.

Notes

Playoffs.

The 2011 NBA Playoffs began on Saturday April 16, with the Conference Finals concluding on Thursday, May 26. The NBA Finals began on Tuesday, May 31 due to both Conference Finals ending in five games. ESPN began their playoff broadcast on April 16, and continued every Friday and Saturday thereafter, with the Sunday-Thursday schedule reserved for TNT (some Saturday first-round games apply) and NBA TV. ABC continued broadcasting early-round playoff coverage every Sunday afternoon, with select Saturday afternoon broadcasts. The first round playoff coverage was non-exclusive except for ABC-covered games, in which local sports networks (e.g. Fox Sports Net, Comcast SportsNet) still aired the game in their home market. TNT aired the Eastern Conference Finals while ESPN aired the Western Conference Finals. The NBA Finals were shown on ABC. Nationwide radio coverage was on ESPN Radio for select playoff games, the entire Conference Finals and NBA Finals.

Awards.

Players of the week.

The following players were named the Eastern and Western Conference Players of the Week.

Players of the month.

The following players were named the Eastern and Western Conference Players of the Month.

Rookies of the month.

The following players were named the Eastern and Western Conference Rookies of the Month.

Coaches of the month.

The following coaches were named the Eastern and Western Conference Coaches of the Month.

NBA All-Star break.

The 2011 NBA All-Star Game was played on February 20, 2011, at Staples Center in Los Angeles. This game was the 61st edition of the National Basketball Association (NBA)'s annual basketball festivities, and was also the fifth All-Star Game held in Los Angeles; the city previously hosted in 1963, 1972, 1983 and 2004. As with the 2004 event, it was jointly hosted by the Lakers and the Clippers. The Western Conference All-Stars defeated the Eastern Conference 148–143, with the Lakers' Kobe Bryant named as MVP for the fourth time, tying the record of Bob Pettit.

Salary cap.

On July 7, the NBA announced that the salary cap for the 2010–11 season would be $58.044 million, an increase of $0.344 million from previous season's $57.70 million, and would go into effect on July 8 as the league's "moratorium period" had ended and teams could begin signing free agents and making trades. The increase came as a surprise as the league initially predicted a decrease in the salary cap. On March, before the playoffs, the league projected that the salary cap would be around $56.1 million. The tax level for the season was set at $70.307 million, with each team paying a $1 tax for each $1 by which it exceeds $70.307 million. The mid-level exception was $5.765 million for the season and the minimum team salary, which was set at 75% of the salary cap, was $43.533 million. The maximum salaries for players are set at $13.604 million for players with zero to six years of experience, $16.324 million for players with seven to nine years of experience, and $19.045 million for players with more than 10 years of experience.

The 2010–11 NBA season was the 65th season of the National Basketball Association (NBA). The 2011 NBA All-Star Game was played on February 20, 2011, at Staples Center in Los Angeles. The season concluded with the Dallas Mavericks defeating the Miami Heat in six games, 4 games to 2, to win their first NBA title, and Dirk Nowitzki was named Finals MVP. Chicago's Derrick Rose was named the 2010–11 NBA MVP.

2010-11 NBA赛季是NBA联盟第65个赛季。常规赛从2010年10月27日持续到2011年4月14日。在季后赛中,达拉斯独行侠4:2迈阿密热火获得总冠军。


Characters and settings.

"Archer" follows the exploits of eight dysfunctional secret agents and supporting staff of the International Secret Intelligence Service (ISIS), a fictional New York-based intelligence agency. The group consists of Sterling Archer, the show's narcissistic, womanizing protagonist; Malory Archer, the retired agent-turned-ISIS director and Sterling's snarky, emotionally distant mother; Lana Kane, Sterling's love interest and mother of his infant daughter, and by far the most professional field agent at ISIS; Ray Gillette, the agency's openly gay bomb specialist; Pam Poovey, the head of the agency's Human Resources department who is often ridiculed by her peers; Cyril Figgis, a mild-mannered accountant-turned-agent; Cheryl Tunt, Malory's delusional, psychotic personal assistant; and Dr. Algernop Krieger, a bizarre, morally bankrupt scientist with little regard for the well-being of his subjects.  The show features an array of supporting characters, several of whom gained expanded roles in subsequent episodes. Major supporting roles in "Archer" include Slater, an arms dealer and agent for the CIA; Katya Kazanova, head of the KGB and Sterling's former love interest; and Barry Dylan, Sterling's archnemesis, who vows to kill him.  Early seasons of "Archer" take place in an anachronistic, Cold War-esque universe. Real-life events and people from said period are therefore referenced frequently, although the comedy's timeline is intentionally vague. This, according to art director Neal Holman, allowed producers the freedom to "cherry pick the stuff [they] like and ignore the elements that [they] don't." In "Archer" subsequent years, Reed developed new settings and character arcs, often with self-contained stories, as he explored new concepts for the comedy, much like an anthology. These seasons see the group attempt to complete a number of laborious tasks in highly unusual circumstances, generally to no avail, that involve sustaining an illegal cocaine operation to keep afloat, contract work for the CIA, and running a private, Los Angeles-based detective agency after being blacklisted from espionage by the US government. The show's eighth season, "Archer Dreamland", transpires in Sterling's subconscious, re-imagining the core cast as stock characters from a noir film set in Gangland-era 1947 Los Angeles. The ninth season, "", continues this arc as the characters are again re-envisioned as inhabitants of a remote South Pacific island circa 1939. The tenth season, titled "Archer: 1999", imagines the main characters travelling in a retro-futuristic vision of outer space.

Seasons.

Syndication and streaming.

The cable television network Comedy Central has exclusive US broadcast syndication rights for "Archer". The terms of the deal cover the show's existing content and a commitment for future seasons. Comedy Central began airing the series on their network on March 2, 2015, in one-hour program time slots. In the United Kingdom, Viceland owns exclusive cable syndication rights for "Archer"s first five seasons. In Canada, the show is syndicated nationally on Adult Swim, and new episodes are aired in tandem with the American broadcast.  In 2014, Amazon Prime and Hulu purchased online streaming rights to "Archer" as part of multiyear licensing agreements with 20th Television. Beginning in 2018, Hulu retains exclusive streaming rights to the show in the US via a new licensing agreement with 20th Century Fox.

Production.

Development.

Before the creation of "Archer", Adam Reed worked on animated comedies with executive producer and longtime collaborator Matt Thompson. The pair later became renowned for their work on a number of Adult Swim television projects, chiefly "Sealab 2021" and their follow-up "Frisky Dingo", which aired for several years. After the cancellation of "Frisky Dingo" in 2008, Reed took a vacation to Spain to brainstorm ideas for a new project. His experience traversing the Vía de la Plata, and people watching in Plaza Mayor in nearby Salamanca, enabled him to conceptualize his vision of "Archer". Reed recalled in an interview, "So I sat on the Plaza Mayor for three days—drinking either coffee or beer or gin, depending on the time of day—surrounded by these Spanish women who seemed both unaware and completely aware of their beauty. Occasionally they would glance over—and catch me gaping at them—and just smile at me like, 'I know, right?' And for three days, I couldn't even splutter "Buenos dias" to any of them—not once. And thus was Sterling Archer born—he would've absolutely sauntered over to a table full of those women and sat down and ordered an entire case of cava or whatever." Nevertheless, he believed developing a sitcom with the theme of global espionage was inevitable given his proclivity for adventure-driven comedy. The "James Bond" franchise, "" (2006), and "The Pink Panther" franchise were Reed's inspiration as the series, then under the working title "Duchess", began taking definite form.  By August 18, 2009, following Reed's pitch to FX, the network commissioned six episodes for "Archer". FX initially commissioned the project as a companion series for their situational comedy "It's Always Sunny in Philadelphia", but the network ultimately delayed "Archer" premiere to the following January because of the demanding production schedule, and "The League" became "Philadelphia" companion show instead. Despite this, the pilot, "Mole Hunt", aired as a test screening on September 17, 2009, following the season five premiere of "Philadelphia". The pilot was not featured in program listings or otherwise promoted by FX; rather the network merely informed select television critics of the broadcast.  FX moved "Archer" to FXX's broadcast lineup in 2017 as part of an aggressive strategy to increase the network's output of animated programming. FX had planned the move before the show's seventh season, in conjunction with the debut of "Cassius and Clay", but decided against it after "Clay" abrupt cancellation. The tenth season premiered on May 29, 2019.

Writing.

Scriptwriting an episode consumes three weeks of the production schedule. As the comedy's main writer, Reed typically creates the first draft during pre-production, which he submits to his team of producers and art directors. From there, they analyze the script for each character, cast guest stars, and create basic concept designs, before Reed develops a final script to submit to FXX. A typical "Archer" episode goes through a page of dialogue per minute.  "Archer" uses the standard setup of a workplace comedy, where "subversively unlikeable" characters play off bawdy, reference-heavy humor, rapid-fire dialogue, and interaction-based drama. Early episodes parody spy film and routinely mock cliches of the genre. By the end of the fourth season, however, Reed questioned the longevity of the comedy's spy premise and began contemplating a new direction for "Archer", impelled by the then-growing associations of ISIS with the identically initialled jihadist group. Newer seasons experiment with the standard format of an anthology, each with their own self-contained arc, new settings, a disparate set of personae for each character, even distinct humor. Reed said, "Once we started making them, and having a good time making them, [we thought] 'what are some other things we can do now that the boundaries have sort of been passed?'"  Cultural references on "Archer" cover a wide spectrum of society and the human condition, in film, literature and music for example. Some—chiefly references to literature—are obscure, and the audience often may not notice them in a single viewing. Reed cites his time as a university English major as the primary forebear for the show's literary references. "Archer" also develops a unique self-referentiality through character-based jokes, catchphrases, and running gags that evolve over multiple episodes. For example, Sterling or another character may yell "phrasing" in response to any sexually suggestive remark. Neil Genzlinger of "The New York Times" argues that "Archer" uses "a caustic brand of humor that isn't for everybody but that has brought the show a dedicated fan base."

Animation.

"Archer" animation style mirrors the aesthetic of "Mad Men" and mid-century comic art in the style of Jack Kirby and Steve Ditko, among others. Line work is pronounced by thick, bold outlines, in contrast to the very fine, thin line work characteristic of prime time comedies such as "The Simpsons" and "Family Guy". Production of the comedy involves a workforce of 150 specialized artists from Reed and Thompson's Atlanta-based company Floyd County Productions, quadrupled the workforce that oversaw its freshman season.  "Archer"s production process uses Adobe software—Photoshop, Illustrator, and After Effects—as well as visual effects programs such as Toon Boom Harmony and Cinema 4D for compositing and animation. This begins with storyboarding, typically after a script has been approved, and lasts around 11–13 weeks per episode. Four episodes are produced in tandem at any given session, generally in staggered phases. In the initial stages of animation, art director Chad Hurd and producer Neal Holman storyboard set pieces with a team of artists based on specifications in the script. After a series of design revisions and reviews, these skeletal designs are then rendered as 3D models in Autodesk 3ds Max, employing a variety of animation and special effects techniques. The illustration team takes various screenshots of the 3D models once they have been completed, and the resulting images are enhanced by specialized artists in After Effects.  The characters are composed in Illustrator using referential material, among them photos of models and actors in costume. Because "Archer" is produced using limited animation, characters are rendered as digital puppets, and not hand-drawn on paper and digitally composited for traditional cel animation. Costumes may or may not be reproduced depending on their animatability; too much detail can hurt a character's animatability. These body pieces are then separated into basic components and layers, much like an action figure, and rigged in After Effects. Consequently, one given pose can turn into a range of others, which, according to producer Bryan Fordney, creates "the illusion of more animation on screen than what is actually present." A similar technique is used in the animation of a character's face—head illustrations are divided into basic components that can be turned "off" and "on" in sequence, lending the appearance of facial movement and expression. Source code is often implemented to ensure better automation and a more fluid range of motion.  Once compositing begins, compositors enhance the visual palette of artwork from three or four departments until it "looks like it was made by a single artist." For elaborate scenes like action sequences, artists develop several composites, which are then superimposed on stock footage using special effects.

Title sequence and music.

Holman cited "Catch Me If You Can" (2002), "The Incredibles" (2004), "Kiss Kiss Bang Bang" (2005), and the work of Saul Bass as strong stylistic influences in the creation of "Archer" title sequence. When he was developing the original sequence, the rough draft version consisted of style frames with roiling flame silhouettes of the characters coalesced on a charred, black background. The crew initially struggled to develop an opening theme they believed was compatible with the premise of "Archer", but once the show's eponymous theme song had been completed, Holman felt his idea was too melodramatic and went in a different direction. He created the finalized version of the sequence from several segments, each reviewed by the producers, because of the demanding production schedule. The standard opening of "Archer" has gone through six iterations—a replacement of shots at the start of the show's sixth season, and brand new sequences for its fifth, seventh, eighth, ninth and tenth seasons.  "Archer" did not employ a composer to develop a soundtrack in its first four seasons, but instead used a compilation of needle drop stock music. By season five, musician JG Thirlwell was hired as the composer for the comedy's jazz-influenced score, brought to the producers' attention for his work on "The Venture Bros.".

Voice actors.

"Archer" has a principal cast of eight actors: H. Jon Benjamin, Jessica Walter, Aisha Tyler, Judy Greer, Amber Nash, Chris Parnell, Lucky Yates, and Adam Reed. Benjamin voices the show's titular character, Walter voices Malory Archer, Tyler plays Lana Kane, Greer portrays Cheryl Tunt, Nash plays Pam Poovey, Parnell voices Cyril Figgis, Yates portrays Dr. Algernop Krieger, and Reed plays Ray Gillette. Reed was expected to play the titular role in the original pilot, but was recast because producers felt his voice-over did not service the character's dialogue well. When Benjamin received the offer, he was surprised since he did not believe his voice was suitable for the part. At one point, Benjamin used a British accent for the character, but Reed insisted he use his normal speaking voice.  Walter was the first significant casting choice on "Archer". Producers contracted her shortly after they sent out character descriptions to talent agencies, and they promoted her involvement to recruit actors for the project. Greer agreed to "Archer" because of her wish to break into voice acting, although she initially believed the series was too provocative for network TV. Nash did not audition for her part; rather, the actress was approached by Reed and Thompson, whom she had previously collaborated with in "Frisky Dingo", while she was recording DVD extras for their program. Yates was brought onto "Archer" at Nash's request, after Krieger was given a more prominent speaking role.  In addition to the main cast, episodes often feature guest voices from a range of professions. Major supporting roles in "Archer" are played by George Coe (until his death in 2015), Jeffrey Tambor, Christian Slater, Jon Hamm, Allison Tolman, Dave Willis, Ona Grauer, Keegan-Michael Key, Bryan Cranston, and J.K. Simmons, among others. Some stars appear as themselves, or portray fictionalized caricatures of themselves, such as Slater, Kenny Loggins, as well as the late Anthony Bourdain and Burt Reynolds.  "Archer" cast members record their lines individually rather than at group recording sessions to accommodate their work schedules. The producers therefore do not host table reads or rehearsals. Reed or another producer may be present at a session, or direct actors over the phone in the event they are not together. Recording sessions can take place anywhere, but are typically held at studios in Atlanta, Los Angeles, and New York, depending on the actor's home base.

Reception.

Reviews.

"Archer" has been well received by the media. A number of TV critics have complimented the work of the voice actors, often singling out Benjamin for further praise: Tim Goodman from "The Hollywood Reporter", for example, viewed Benjamin's acting as the bedrock of "Archer", "mixing rants, mumbling, whining and a stop-and-start delivery style that is note-perfect for comedy." Other reviewers cited the writing, the crude sensibility, and characterization among the show's most satisfying attributes: the main characters have been described as "exceedingly well-defined." Chris Barton of the "Los Angeles Times" called "Archer" "the smartest, strangest animated show on TV this side of "Rick and Morty"," and "Entertainment Weekly" journalist Ken Tucker praised the series for its "solid plotting, vividly distinct characters, and some of the most unexpected punchlines and sight-gags in prime time."  "Archer" willingness to experiment with anthologized tropes is a principal topic of discussion among critics. Some journalists felt these arcs provide the show greater creative license to explore deeper within itself. While the comedy received positive feedback for staying true to form "in the service of something much grimier and at once totally fresh" in early seasons, later "Archer" episodes have been subjected to criticism as the tone and emphasis of the show evolves. By the eighth and ninth seasons, some critics believed that despite having greater visual appeal, "Archer" too often sacrifices narrative continuity and humor through increasingly predictable and uninspired writing.  The series has been included on a number of best of lists. "TV Guide" ranked "Archer" among the 60 greatest TV cartoons of all time, and the show placed within the top ten on "Entertainment Weekly" 25 Greatest Animated TV Series. Similarly, "The New Yorker", in a non-ranked rundown of 2014's most noteworthy programs, called "Archer" "good counter-programming for every horrible thing in the news."

Related media.

Companion books.

A number of companion books have been published by HarperCollins' imprint It Books:

Tour.

"Archer" success allowed the ensemble to embark on a nationwide tour, "Archer Live!", where the actors performed scenes from the show's repertoire. The tour commenced with shows in Los Angeles, San Francisco, Philadelphia, and New York—sporadic dates were later added to the itinerary. Live readings may also be held at promotional events such as the San Diego Comic-Con International.

Album.

FX released "Cherlene (Songs from the Series Archer)", a compilation of country music, on March 3, 2014, through digital media. The album features a cover of "Danger Zone", with guest vocals by Kenny Loggins, as well as three original tracks composed by Aaron Lee Tasjan. Kevn Kinney, frontman of Drivin N Cryin, led music production of "Cherlene". Kinney had met Adam Reed a decade earlier, and was hired after a lunch meeting with the writer and Matt Thompson in Atlanta. In preparation for his services, Kinney viewed "Archer" first three seasons to familiarize himself with Cheryl Tunt—the eponymous character of "Cherlene". The album was recorded at Griffin Mastering, Inc. with a group that included Tasjan, David Franklin, and Drivin N Cryin member Dave V. Johnson on instrumentation. Jessy Lynn Martens provided Cheryl's singing voice, chosen because of her subdued Southern accent and likeness to Judy Greer's voice. "Cherlene" received positive reviews and peaked at number 68 on iTunes' best-selling albums chart.

Film.

In June 2016, Thompson and executive producer Casey Willis discussed the possibility of a feature-length "Archer" film with "The Daily Beast". According to Thompson, this discussion happens "once every two years" among Reed and the producers, although work on the project would likely not begin until after the show ends. They cited Jon Hamm as their ideal choice of actor to portray Sterling if it's commissioned as a live-action adaptation.

Crossover and other appearances.

"Fugue and Riffs", "Archer's" season four premiere, is a crossover episode with the Fox series "Bob's Burgers", which also stars H. Jon Benjamin as the title character. It features a cameo of the Belcher family and Sterling, in a fugue state, assuming an identity identical to the main protagonist of "Bob's Burgers". John Roberts reprises his role as Linda for the appearance. Reed devised the idea of a "Bob's Burgers" crossover because he was a fan of the series. According to H. Jon Benjamin, "He asked me to ask Loren Bouchard, [...] so I was the middle man. It went really smoothly. It was around a 15-20 second phone call—then they turned it over to hundreds of thousands of lawyers." "Archer" also partook in a brief, high octane comedy skit for the late-night talk show "Conan".  The characters of "Archer" have appeared in other media as part of broad marketing campaigns for the show. "Sports Illustrated Swimsuit Issue" featured Lana, Cheryl, and Pam in a spread for their March 2016 issue to promote the seventh season, while a 2014 "Esquire" advertisement showcases Sterling in ready-to-wear from Ermenegildo Zegna and Saint Laurent. Similarly, to promote "" (2017), Fox released an animated short film featuring Sterling's encounter with Eggsy Unwin.

Archer is an American animated sitcom created by Adam Reed for the basic cable network FX. Debuting on September 17, 2009, it follows the exploits of a dysfunctional intelligence agency, led by Sterling Archer (voiced by H. Jon Benjamin) and seven of his colleagues—Malory Archer (Jessica Walter), Lana Kane (Aisha Tyler), Cyril Figgis (Chris Parnell), Cheryl Tunt (Judy Greer), Pam Poovey (Amber Nash), Ray Gillette (Adam Reed) and Dr. Algernop Krieger (Lucky Yates). "Archer" premise evolves as the comedy assumes the standard setup of an anthology in later seasons, each with self-contained arcs, new settings, a disparate set of personae for each character, even distinct humor. Beginning with the eighth season in 2017, the show was broadcast on sibling network FXX.

间谍亚契(Archer)是一部由美国FX电视频道推出的成人动画喜剧。制片人为亚当·瑞德(Adam Reed)。讲述的是发生在一家国际机密情报机构ISIS(全称 International Secret Intelligence Service,第六季开始并入CIA)的故事。虽说是间谍剧,但是大多数情况下讲述的还是办公室的一些鸡毛蒜皮的琐事。


Education.

Friedman was born in Orlando, Florida on July 20, 1954, and grew up in North Woodmere, New York, graduating from Hewlett High School in the Class of 1971. As a young man he aspired to becoming a physician. He entered a six-year medical program out of high school and received his M.D. at the age of 22. But after a year-long fellowship working in the laboratory of Mary Jane Kreek, he fell in love with the science life. "As a doctor, you're trained to absorb the facts you're given and accept them," says Friedman. "Science is almost the opposite. It's a frontier of discovery that's always moving. And I decided I wanted to do research." Friedman started his affiliation with the Rockefeller University in 1980, where he was awarded a Ph.D. degree in 1986. Friedman received a BS from Rensselaer Polytechnic Institute in 1973 and M.D. degree from Albany Medical College in 1977 and completed a medical residency at Albany Medical College in 1980. From 1980 to 1981, he also served as a postgraduate fellow at Cornell University Medical College.

Career and research.

Friedman was appointed Assistant Investigator with the Howard Hughes Medical Institute at The Rockefeller University in 1986, promoted to Associate Investigator in 1991, and Investigator in 1996 and received the Marilyn M. Simpson professorship in 1998.  When Friedman started his own laboratory at The Rockefeller University, he turned his attention to the question of weight regulation. Working with a special strain of mice, he set out to identify the hormone that normal animals use to control their appetite - a molecule that was missing in the plump rodents. After eight years—on May 8, 1994, at 5:30 a.m.—he found what he was looking for: evidence that he'd located the gene that produces the hormone he later dubbed "leptin", after the Greek word for "thin" (λεπτός "leptos"). "It was astonishingly beautiful", he says of the x-ray film that nailed the gene, a piece of data that now hangs on his office wall.  Numerous lines of evidence have suggested that energy balance in animals and humans is tightly controlled. With the identification of leptin and its receptors by Friedman's laboratory, two of the molecular components of a system that maintains constant weight were identified. Leptin is a hormone secreted by the adipose (fat) tissue in proportion to its mass that in turn modulates food intake relative to energy expenditure. Increased fat mass increases leptin levels, which in turn reduces body weight; decreased fat mass leads to a decrease in leptin] levels and an increase in body weight. By this mechanism, weight is maintained within a relatively narrow range. Defects in the leptin gene are associated with severe obesity in animals and in humans. Leptin acts on sets of neurons in brain centers that control energy balance. Leptin also plays a general role in regulating many of the physiologic responses that are observed with changes in nutritional state, with clear effects on female reproduction, immune function and the function of many other hormones, including insulin.  Leptin feeds into the circuit of neurons in the brain that controls eating and energy expenditure. When an animal loses weight, leptin concentrations fall. This dip in leptin levels instructs the body to search for food. In studies of obese mice, Friedman has found that leptin actually restructures the brain, rewiring the neural circuit that controls feeding. The hormone reinforces the nerve cells that encourage the body to slenderize and prunes the neurons that compel eating.  Friedman has published over one hundred and fifty publications and over ten book chapters.  He is also involved in the research related to the 1st inbred rat model of obesity and aging, also known as WNIN/Ob obese rats developed in National Institute of Nutrition, Hyderabad, India.

Awards and honors.

Friedman's work in the area of obesity and the leptin gene has led to Friedman receiving many prestigious awards:  His work on leptin also garnered him much television time, including an appearance on the PBS show "Scientific American Frontiers" in a long interview with host Alan Alda.

Personal life.

Friedman now lives in New York City with his wife, Lily, and his twin daughters: Alexandra and Nathalie.

Jeffrey M. Friedman (born July 20, 1954) is a molecular geneticist at New York City's Rockefeller University and an Investigator of the Howard Hughes Medical Institute. His discovery of the hormone leptin and its role in regulating body weight has had a major role in the area of human obesity. Friedman is a physician scientist studying the genetic mechanisms that regulate body weight. His research on various aspects of obesity received national attention in late 1994, when it was announced that he and his colleagues had isolated the mouse ob gene and its human homologue. They subsequently found that injections of the encoded protein, leptin, decreases body weight of mice by reducing food intake and increasing energy expenditure. Current research is aimed at understanding the genetic basis of obesity in human and the mechanisms by which leptin transmits its weight-reducing signal.

杰弗里·M·弗里德曼(英语:Jeffrey M. Friedman,1954年-7月20日),美国医学家,纽约市洛克菲勒大学的分子遗传学家,和霍华德·休斯医学研究所的研究员。他发现了激素瘦素和它对调节人体体重的作用。


Ukrainian Catholic Archeparchy of Przemyśl–Warsaw

乌克兰希腊礼天主教普热梅希尔-华沙总教区

Ecclesiastical province.

The Metropolitan has a single Suffragan Diocese :

Statistics.

As per 2014, it pastorally served 30,000 Eastern Catholics in 69 parishes and 2 missions with 44 priests (33 diocesan, 11 religious), 4 deacons, 96 lay religious (14 brothers, 82 sisters), 7 seminarians.

History.

In 1087 the Eparchy of Przemyśl was established in the Principality of Peremyshl as Eastern Orthodox eparchy.  The town initially did not adhere to the Union of Brest (1595-96) thus having for a short period two bishops. In 1679, Innocenty Winnicki became the Orthodox bishop and on 23 June 1691 Innocenty publicly accepted the Union for himself and for his eparchy, and he remained the only bishop of the town after that the Greek Catholic bishop on the same year moved to Chełm. Innokentiy Vynnyckyj was succeeded in 1700 by his brother by Yurij Vynnyckyj who later became Metropolitan of Kiev and Galicia.  On 10 February 1934, it lost territory to establish the Apostolic Administration of Łemkowszczyzna  In 1946, Bishop Josaphat Kotsylovsky was arrested and extradited to the USSR, where he died in prison. In Poland, where the city of Przemysl and a majority of the eparchy was located (a portion was in the Ukrainian SSR), all priests were arrested and given sentences of between four and ten years. One hundred Ukrainian Greek Catholic priests remained in Poland. After their release, they kept a low profile, serving in the Latin rite Church, many as convent chaplains. Sixteen worked giving pastoral care to Ukrainian Catholics at pastoral centres. In 1977, the Roman Catholic Primate of Poland's Vicar-General for Ukrainian Greek Catholics was also named Dean of the Przemysl Eparchy by the Vatican. Cardinal Josyf Slipyj objected to this action as contrary to his prerogatives and appointed the same priest Administrator of the eparchy. In 1981, a second Vicar-General to the Primate was appointed for Ukrainian Greek Catholics in Poland outside of the traditional boundaries of the Przemysl Eparchy.  On 16 January 1991, it gained back the territory from the suppressed daughter Apostolic Exarchate of Łemkowszczyzna (above, promoted in 1941, de facto defunct since 1947).  On 24 May 1996, the eparchy was promoted to Metropolitan Archdiocese of Przemyśl–Warszawa (Polish) / Przemysl–Warsaw (English) / Przemyśl–Varsavia (Curiate Italian) / Premislien(sis)–Varsavien(sis) ritus byzantini ucraini (Latin adjective).  It enjoyed a Papal visit from the Polish Pope John Paul II in June 1999.

The Ukrainian (Greek) Catholic Archeparchy of Przemyśl–Warsaw (, ) is an archeparchy (Eastern Catholic archbishopric) of the Ukrainian Greek Catholic Church "sui iuris" (Byzantine Rite in Ukrainian language) in Poland, depending on the Roman Congregation for the Oriental Churches.

乌克兰希腊礼天主教普热梅希尔-华沙总教区(、、)是波兰一个东仪天主教总教区(乌克兰希腊礼),下辖一个教区。


Background and development.

In 1982, Madonna was working with producer Reggie Lucas on her debut album. She had already composed three songs when Lucas brought one of his own compositions to the project, calling it "Borderline". However, after recording the song, Madonna was unhappy with the final version, feeling that Lucas used too many instruments and did not consider her ideas for the song. This led to a dispute between the two. After finishing the album, Lucas left the project without altering the songs to Madonna's specifications. Hence, Madonna brought her then-boyfriend John "Jellybean" Benitez to remix "Borderline" and two other recorded tracks. On hearing the final version, Seymour Stein, head of Sire Records, declared, "I dared to believe this was going to be huge beyond belief, the biggest thing I'd ever had, after I heard 'Borderline'... The passion that she put into that song, I thought, there's no stopping this girl."

Recording and composition.

"Borderline" was recorded in February 1983 and presented a change in Madonna's normal vocal tone. A sentimental track, the song talks about a love that is never quite fulfilled. According to author Santiago Fouz-Hernández in his book "Madonna's Drowned Worlds", the song's lyrics like "Something in way you love me won't let me be/I don't want to be your prisoner so baby won't you set me free" depicted a rebellion against male chauvinism. Madonna used a refined and expressive singing voice, backed by Lucas's instrumentations. The song is considered to be the best example of the working relationship between Lucas and Madonna, as Lucas pushed the singer to find emotional depth in the song. Although sounding icy, the chorus is contemporary in style, and the song's vocal range was later used by Madonna as her own personal range through her whole music career. It opens with a keyboard-rich intro played on a Fender-Rhodes electric piano and a catchy synth melody provided by Fred Zarr. Bass player Anthony Jackson doubled Dean Gant's synth bass to provide a solid and more complex texture.  The chords in the song were inspired by the 1970s disco sound in Philadelphia, as well as Elton John's musical style. The chord sequences evoke Bachman-Turner Overdrive's song "You Ain't Seen Nothing Yet", while the synth phases display Madonna's typical musical style. The song is set in common time with a moderate tempo of 120 beats per minute. It is composed in the key of D major with Madonna's vocal range spanning from F to B. The song follows in the chord progression of D–C–G in the first verse to Bm–Em–A–F in the pre-chorus, and changes to A–F–Bm–A–E and G–D–A in the chorus.

Critical reception.

Author J. Randy Taraborrelli, in his biography of Madonna, called "Borderline", along with "Holiday", the two key recordings that helped establish Madonna's base in the music industry. He added that Madonna's sober voice made the track "as close to an old Motown production as a hit could get in the dance-music-driven eighties." Author Maury Dean, in his book "Rock 'n' Roll Gold Rush", called the song "echoey boogie" with "saucy-style and come-hither magnetism." Author Rikky Rooksby in his book, "The Complete Guide to the Music of Madonna", called it harmonically the most complex track of her debut album. Stephen Thomas Erlewine from AllMusic called the song effervescent. Sal Cinquemani of "Slant Magazine" called the song soulful. Commentator Dave Marsh in his book, "The Heart of Rock & Soul", said that the "music's too damn good to be denied, no matter whose value system it disrupts." Journalist Roxanne Orgill in her book, "Shout, Sister, Shout!", commented that "Borderline" was the song that made Madonna the star that she is. Thom Duffy of "Orlando Sentinel" commented that "Borderline" was a song that "introduced Madonna, the helium-induced pop star, and a siren kitten."  The song placed number 84 on "Blender" magazine's "The 500 Greatest Songs Since You Were Born." "Time" also included it on the critic list "All-Time 100 Songs", stating that "Madonna went on to sing more-clever songs ('Material Girl'), more-showy songs ('Like a Prayer'), more-sexy songs ('Justify My Love'). But 'Borderline,' her first top-10 hit, captures the essence of her pop appeal, its freshness, simplicity and vitality." Pitchfork Media considered the song the 106th-best of the 1980s, stating that "'Borderline' is one of the first laid bricks in the cathedral of Madonna's mythology, four minutes of emotional helium that became her first Top 10 hit on the heels of an iconic music video."  At the 1984 "Billboard" Music Awards, "Borderline" received two nominations, in the categories of Best New Artist and Best Choreography in a Music Video, but did not win either. In September 2014, the song was placed at number two on "Rolling Stone"s list of "100 Best Singles of 1984". "Rolling Stone"'s Carrie Grant described the track as a "melodic synth-a-palooza with the plunky low end", also noting that Madonna's vocals were restrained on the song, but sounded emotional. "The radio remix, which trims nearly three minutes from the tune, boasts one of Madge's most iconic fade-outs, standing by as she "la la la"s into the void."

Commercial performance.

In the United States, the song became Madonna's first top-ten hit when it reached number ten on the "Billboard" Hot 100 list of June 16, 1984. It charted for 30 weeks, becoming Madonna's longest-charting single in the United States (tied with "Take a Bow" in 1995). The song reached number four on the Hot Dance Music/Club Play chart. It also became a crossover success by charting on the Hot Adult Contemporary Tracks chart at number 23. On October 22, 1998, the song was certified gold by the Recording Industry Association of America (RIAA) for shipment of one million copies. In Canada the song debuted at number 56 in the "RPM" issue dated August 4, 1984 and reached number 25 on September 15, 1984. The song was on the chart for 14 weeks.  In the United Kingdom, where the song was released on June 2, 1984, it was only able to reach number 56. However, upon the song's re-release on January 1, 1986, it spent nine weeks on the British chart, peaking at number two. The song was certified gold by the British Phonographic Industry (BPI) in February 1986. According to the Official Charts Company, the song has sold 310,000 copies in the United Kingdom. Across Europe, the song topped the chart in Ireland and entered the top ten in Belgium and the Netherlands. It also peaked at number 23 in Switzerland and number 12 in Australia.

Music video.

"Borderline" was filmed on location in Los Angeles, California from January 30 to February 2, 1984 and was the first video that Madonna made with director Mary Lambert, who later also directed "Like a Virgin", "Material Girl", "La Isla Bonita" and "Like a Prayer". Author Allen Metz noted how the video portrayed Madonna's then-"burgeoning star quality". The video is regarded as one of Madonna's career-making moments and was shown regularly on MTV. In the video, Madonna plays a young street denizen enticed by a British photographer, who publishes her picture on a magazine cover and makes romantic advances. The girl is emotionally torn between the photographer and her Latino boyfriend (Louie Louie), with whom her troubled relationship mirrors the struggle many Hispanic women faced with their men. The video narrative weaves the two relationship stories together in color and black-and-white. In the color sequences, Madonna sings, flirts and seduces her boyfriend, and in the black-and-white sequences she poses for the photographer, who also courts her.  The video shows Madonna in her usual style in those years, with her hair in a haystack and wearing lace gloves, high-heeled boots with thick socks and her trademark "boy-toy" belt. She changes clothing from one shot to another, in color as well as black and white, while wearing an unusual array of clothes including crop-tops, T-shirts, vests and sweaters coupled with cut-off pants and jeans, as well as a couple of evening gowns. Posing for the photographer, Madonna looks towards the camera with challenge in her eyes, depicting sexual aggression. At one point, she starts spraying graffiti over some lifeless classical statues, portraying herself as a transgressor who breaks rules and attempts innovation.  Lambert said that there was "no formula" used when making the "Borderline" video and that they were "inventing it as we went along." In the January 1997 issue of "Rolling Stone", Lambert described the video and its plot as, "Boy and girl enjoy simple pleasures of barrio love, girl is tempted by fame, boy gets huffy, girl gets famous, but her new beau's out-of-line reaction to a behavioral trifle (all she did was to spray-paint his expensive sports car) drives her back to her true love." The portrayal of the street life reflected Madonna's life in the gritty, multiracial streets and clubs that she had haunted while her career was beginning, while the depiction of high fashion reflected the popularity and success she was experiencing. With the video, Madonna helped break the taboo of interracial relationships. Although at first it seems that Madonna denies her Hispanic boyfriend in favor of the photographer, later she rejects him, implying her desire to control her own sexual pleasures and to cross established pop borderlines with lyrics like "You just keep on pushing my love, over the borderline". The contrasting image of Madonna, first as a messy blonde in the street sequence and later as a glamorous high-fashion blonde, suggests that one can construct one's own image and identity. Madonna's "street" image depicted in the video allowed her to appeal to Hispanic and black youths.  The "Borderline" video attracted early attention from academics, who noted the symbolism of power in the two contrasting scenes. The photographer's studio is decorated with classical sculptures and nude statues holding spears, phallic symbols. In contrast, phallic symbols portrayed in the Hispanic neighborhood include a street lamp that Madonna embraces and a pool cue held erect by Madonna's boyfriend. Author Andrew Metz commented that with these scenes, Madonna displayed her sophisticated views on the fabrications of feminity as a supreme power rather than the normal views of oppression. Author Carol Clerk said that the videos of "Borderline" and "Lucky Star" established Madonna not as the girl next door, but as a sassy, smart and tough funny woman. Professor Douglas Kellner, in his book "Media Culture: Cultural Studies, Identity, and Politics Between the Modern and the Postmodern", commented that the video depicted motifs and strategies that helped Madonna in her journey to become a star. The clothes Madonna wore in the video were later used by designers like Karl Lagerfeld and Christian Lacroix.

Live performances.

The song was performed by Madonna on The Virgin Tour (1985) and the Sticky & Sweet Tour (2008). On the Virgin Tour, Madonna performed the song wearing a black, fringed micro-top and similar skirt, with her belly button exposed, and multiple crucifixes in various sizes hanging from different parts of her body. Madonna performed the song in its original version, appearing from behind a silhouette and descending steps while waving her hands and singing. The performance was not included on the "" VHS in 1985.  "Borderline" was added to the set list of the first leg of Madonn'a Sticky & Sweet Tour in 2008 during the "old school" section of the performance, in which Madonna wore gym shorts, sneakers and long socks. The outfit was designed by Jeremy Scott and was a reference to Madonna's old days in New York. Madonna performed a punk-pop version while playing a purple electric guitar before a backdrop showing Keith Haring's cartoons and graphical imagery. Jon Pareles of "The New York Times" called the performance enthusiastic and punk-pop. Nekesa Mumbi Moody of "USA Today" called it a "rocked out performance". Caryn Ganz of "Rolling Stone" called it a "Cheap Trick-style power pop song [performance]." The song was not included in the 2009 leg of the tour and was replaced by a rock version of Madonn'a 1985 single "Dress You Up".  In June 2016, Madonna appeared on "The Tonight Show Starring Jimmy Fallon" and closed the show by performing a slow, soul version of "Borderline", watched by then-President Barack Obama. An acoustic version of "Borderline" was performed on Madonna's one-off concert in Melbourne, "". The show started with Madonna riding a tricycle in a clown costume with a billowing dress and pink-and-yellow stockings. She began the performance by saying: "I don’t have bipolar disorder but I am a little borderline". Writing for "The Guardian", Monica Tan praised the singer for "knowing her jokes were shit but using them as a segue into songs".

Cover versions.

In 2000, an electro-industrial cover of the song by Nivek Ogre of OhGr was included on the tribute compilation album "Virgin Voices: A Tribute To Madonna, Vol. 2". Heather Phares of AllMusic said that Ogre's version "missed the mark." Chicago pop punk band Showoff recorded a cover for the 2002 compilation album "Punk Goes Pop". In 2006 singer Jody Watley covered the song for her album "The Makeover". Watley's downtempo version attained UK release as a single in October 2009. An acoustic folk cover of the song by The Chapin Sisters was included on the 2007 Madonna tribute album "Through the Wilderness". In 2008, singer Duffy performed "Borderline" at Radio 1's Big Weekend in Mote Park, Maidstone, Kent, England. The Flaming Lips and Stardeath and White Dwarfs recorded a cover of the song for the 2009 Warner Bros. Records compilation, "Covered, A Revolution in Sound". Stephen Thomas Erlewine of AllMusic described the cover recording as turning Madonna's version "inside out". Counting Crows performed the song at the Royal Albert Hall in 2003, and an MP3 version was released on the band's website on March 17, 2009. The performance was criticized by ABC News, calling it anticlimactic. In 2010, the TV show "Glee" covered the song in the episode "The Power of Madonna" in a mashup with the song "Open Your Heart", performed by Cory Monteith and Lea Michele. And in 2010, the song was covered live, in an acoustic version by Scottish singer Steve Mason.

Credits and personnel.

Credits adapted from the album liner notes.

"Borderline" is a song recorded by American singer Madonna for her eponymous debut album "Madonna" (1983). It was released on February 15, 1984 by Sire Records as the album's fifth single. Written and composed by its producer Reggie Lucas, the song was remixed by Madonna's then-boyfriend John "Jellybean" Benitez. The singer used refined and expressive vocals to deliver lyrics about an unfulfilled love.

《爱的极限》(英语:Borderline)是美国女歌手玛丹娜在1984年2月发行的歌曲,是她首张同名录音室专辑《玛丹娜》中推出的第五首单曲,它在告示牌单曲榜最高成绩为第10名,成为玛丹娜第一支TOP 10单曲。


侠胆雄狮 (1987年电视剧)

Premise.

The series follows the developing relationship between the characters and the division between New York and the hidden world beneath it. In a twist from the original tale, however, this "beast" does not transform into society's idea of beauty after gaining the love of Catherine. Rather, Vincent's inner beauty is allowed to remain the focus of who he is, and it is Catherine's life that transforms from her relationship to Vincent.  In the third season after the death of the character Catherine, Jo Anderson became the new female lead playing Diana Bennett, a criminal profiler investigating Catherine's murder.

Production.

As the title indicates, the premise of the series is inspired by the fairy tale "Beauty and the Beast"; in particular, there is some connection to the Jean Cocteau's 1946 French film, "La Belle et la Bête".  George R. R. Martin, who would later write the "A Song of Ice and Fire" book series which were later adapted into the acclaimed television series "Game of Thrones", was a writer and producer on the show.  In 2004 and 2007, "Beauty and the Beast" was ranked #14 and #17, respectively, on "TV Guide"s Top Cult Shows Ever.

Series synopsis.

Season 1.

Catherine Chandler (played by Linda Hamilton) is abducted, beaten, slashed and left to die in Central Park because she was inadvertently mistaken for somebody else. She is rescued and cared for by Vincent (played by Ron Perlman) who has taken her to Father (played by Roy Dotrice), head of a hidden community of people dwelling in tunnels below the city of New York. Ten days later, Catherine returns to the surface with the promise of keeping Vincent's secret and the challenge to go on after her terrible attack. After completing her recovery, her life begins a serious transition: she takes self-defense lessons, leaves her comfortable job at her father's law firm and joins the Manhattan District Attorney's office as an assistant district attorney. Her first action involves her asking Carol Stabler about those men who attacked her, where she states that they were part of an illegal escort service run by Martin Belmont. When Catherine is attacked by Martin Belmont's men, she is saved by Vincent, who mauls the men.  During the course of the first season, the production team fashioned a blend of romance and crime drama, which used both Catherine's position as an ADA and her will to help Vincent and his world to place her in moments of physical danger that would bring the idealized romantic figure of Vincent to the surface world as her guardian angel.

Season 2.

During its second season, the series shifted its focus slightly to add more character development, as the central characters spent considerable time exploring their relationships with the inhabitants of the Tunnel World, where Catherine had finally been accepted as a friend and "Helper" (someone who assists the Tunnel community with what they need to survive and by keeping their secret). More people from the World Above turned up for emotional support and healing in the secure environment of the World Below.  Near the end of the season, however, in an effort to boost faltering ratings, the action orientation returned as a result of the misleadings of the recurrent villain Paracelsus (played by Tony Jay). In a cliffhanger final episode, Catherine is seen walking down a tunnel into a chamber, where Vincent is suffering from a violent madness.

Season 3.

When the series returned for its abbreviated third season late in 1989, Linda Hamilton had announced her decision to leave the series as she was pregnant at the time. It was a decision that, along with the network's desire to attract more male viewers, would have serious repercussions for the show's continued survival. In the resolution to the previous season's cliffhanger, Catherine rescued Vincent from his inner demons but was kidnapped by a man named Gabriel (played by Stephen McHattie), the ruthless head of a huge criminal empire she had been investigating, which was trying to corrupt the D.A.'s office. She was killed, but not before giving birth to Vincent's son, who was held hostage by the evil Gabriel. Catherine's boss and close friend Joe Maxwell (Jay Acovone) hired Diana Bennett (Jo Anderson), a criminal profiler with the police department, to track down Catherine's killer. Quite naturally, her investigation ultimately led her to the now darkly obsessed and grieving Vincent.  Although still popular with its dedicated fans, the darker, more resolutely violent aspects of the reworked concept, coupled with the fatal loss of the all-important central relationship between Catherine and Vincent, led to further declining ratings and, ultimately, cancellation.

Nielsen ratings.

Note: Ratings data from TVTango.com

Home media.

CBS DVD (distributed by Paramount) has released all three seasons of "Beauty and the Beast" on DVD in region 1. They also released "Beauty and the Beast: The Complete Series", a 16-disc box set featuring all 56 episodes of the series.  On 11 November 2014, CBS Home Entertainment released a repackaged version of the complete series set which featured a lower price but did not include the bonus disc that was part of the original complete series set.  Fabulous Films has released the entire series on DVD in region 2.  Shock Entertainment has released the entire series on DVD in region 4.  A Blu-ray release in region 2 was announced for March 2011, but was canceled.

Fandom.

An active fan community (self-titled "Helpers" or "the tunnel community") arose during the show's run, helping organize a petition drive to assure that there would be a third season. They have published fanzines, fan fiction and collections of filk music inspired by the show, and as of 2013 continue to hold various fan conventions around the world.

Reboot.

CBS Television Studios, which owns the rights to the series, developed a reboot for the series. It was executive produced by Ron Koslow, the creator of the original, along with the earlier show's producers, Paul Junger Witt and Tony Thomas. The reboot has been described as a "modern-day romantic love story with a procedural twist." In the United States, it aired on The CW.  The television series starred New Zealand actor Jay Ryan as Vincent (the "beast") and Canadian actress Kristin Kreuk as Catherine (the "beauty"). The pilot was filmed in Toronto, Ontario, Canada in March 2012.

Beauty and the Beast is an American fantasy-drama television series which first aired on CBS from September 25, 1987 to August 4, 1990. Creator Ron Koslow's updated version of the fairy tale has a double focus: the relationship between Vincent (Ron Perlman), a mythic, noble man-beast, and Catherine (Linda Hamilton), a savvy Assistant District Attorney in New York, and a secret utopian community of social outcasts living in a subterranean sanctuary. Through an empathetic bond, Vincent senses Catherine's emotions, and becomes her guardian.

《侠胆雄狮》(Beauty and the Beast)是一部美国八十年代播出的电视剧。曾经在香港无线电视TVB的翡翠台和明珠台,及台湾华视播放过。在翡翠台播放时译名为迷城情侠;华视的译名是美女与野兽,是一部属于超级英雄的幻想故事。


Background.

The 2000 Brazilian Grand Prix was the second of the 17 motor races in the 2000 Formula One World Championship and the 29th overall edition of the event. It took place at the 15-turn Autódromo José Carlos Pace in the Brazilian city of São Paulo on 26 March. The high-altitude, anti-clockwise track had significant elevation changes, placing a heavy load of g-force on the left-hand side of drivers' necks. Teams altered their cars to run at medium to high levels of downforce and the dampers, springs and suspensions were optimised to adapt to the bumpy track surface. Formula One's control tyre supplier Bridgestone brought the soft and the medium dry compound tyres to the race.  After winning the preceding Australian Grand Prix—the first of the 17 World Championship races—Ferrari driver Michael Schumacher led the Drivers' Championship with ten points; his teammate Rubens Barrichello was in second with six points, and Ralf Schumacher of the Williams team had four points. British American Racing's (BAR) Jacques Villeneuve was fourth with three points and Benetton driver Giancarlo Fisichella was fifth with two points. In the Constructors' Championship Ferrari led with a maximum amount of 16 points. Williams and BAR tied in third with four points each and Benetton were fourth on four points.  Prior to the event the majority of the 11 teams conducted sessions at various locations across Europe to test their cars and new components. McLaren, Jordan, Williams, Jaguar and Prost elected to test at the Silverstone Circuit in the United Kingdom from 14 to 16 March. Ferrari test driver Luca Badoer performed shakedown runs at the Fiorano Circuit in northern Italy. Olivier Panis of the McLaren test team led on the first two days of testing; on day three, Williams' Jenson Button was the fastest driver. The BAR, Arrows, Sauber and Minardi teams did not test before the Grand Prix.  The press and bookmakers considered Michael Schumacher the favourite to win the race. In response to a statement by McLaren team principal Ron Dennis—who claimed Ferrari was not as competitive as McLaren—Schumacher said he was optimistic over a continuing challenge to McLaren for the rest of the season. McLaren driver David Coulthard stated he foresaw the team starting on the grid's front row and winning, after faulty seals on their pneumatic valve systems forced him and two-time world champion Mika Häkkinen to retire from the preceding Australian Grand Prix: "We weren't beaten fair and square in the race because we dropped out. You have to give Ferrari credit because they won when we dropped out and that's our mistake. But it means we come here believing we are competitive and still have a chance."  Over the month of February, the Autódromo José Carlos Pace was resurfaced in an attempt to reduce its bumpiness. The pit lane exit was moved from the entry of the Senna S chicane to the Repa Opposta straight. A larger run-off area was installed to the outside of Laranjinha turn and its concrete barrier was padded with tyres, after Ricardo Zonta had crashed and been injured during the 1999 race. Charlie Whiting, the Fédération Internationale de l'Automobile (FIA; Formula One's governing body) technical delegate, inspected the circuit and ordered the pit lane barriers to be moved for better driver access. The drivers had mixed feelings over the resurfacing work. Eddie Irvine of the Jaguar team criticised the track's condition. His teammate Johnny Herbert described the bumps approaching the start/finish straight as "horrendous" and raised concerns over a repeat of an accident sustained by Stéphane Sarrazin in 1999. Barrichello and his teammate Michael Schumacher, on the other hand, said the track was better for them.  Several teams altered their cars, either to refine their aerodynamic appendages or to solve reliability problems that emerged during the Australian Grand Prix. McLaren identified an air filter failure that had the pneumatic valve system problem in the previous race, and modified its design to prevent a recurrence. Ford-Cosworth modified its engine lubrication system and the Arrows team altered the design of the steering linkage. The FIA granted Arrows permission to enter the race after changing the design of the headrests to protect the driver in its A21 car.

Practice.

Four practice sessions were held before the Sunday race, two on Friday, and two on Saturday. The Friday morning and afternoon sessions each lasted an hour. The third and final practice sessions on Saturday morning lasted 45 minutes. The weather was hot and clear for the Friday sessions. Barrichello made minor changes to the aerodynamic setup of his car before the first session, and was fastest with a 1-minute and 17.631 seconds lap. Häkkinen, Coulthard, Michael Schumacher, Villeneuve, Prost's Jean Alesi, Fisichella, Heinz-Harald Frentzen of the Jordan team, Sauber driver Mika Salo and Arrows' Jos Verstappen rounded out the session's top ten drivers. During the session, Alesi spun three times and removed the front wing on the third occurrence. Michael Schumacher's session ended early after eight laps due to a driveshaft joint leak and Zonta was restricted to four timed laps after debris accumulation overheated his engine.  With three minutes remaining in the second Friday practice session, Häkkinen bettered his 1999 pole position lap by six-tenths of a second and set the day's fastest lap of 1 minute and 15.896 seconds. Michael Schumacher was second-fastest. Coulthard, Barrichello, Pedro de la Rosa's Arrows, Alesi, Verstappen, Jordan's Jarno Trulli, Villeneuve and Fisichella took third through tenth. A brake and balance problem twice put Ralf Schumacher off the track. Alexander Wurz spun and beached his Benetton in a gravel trap at Mergulho corner. Coulthard spent part of the session in the pit lane as McLaren replaced his front wing after he went into the grass midway through. Verstappen tried a tyre compound that affected his car's setup and put him into a gravel trap at the end of practice.  It continued to be hot and dry for Saturday morning's two practice sessions. Teams tested different ride height setups on their cars, creating a noticeable difference in performance. They also selected the tyre compounds to use for the rest of the weekend. Coulthard led the third practice session with a lap of 1 minute and 15.035 seconds, followed by his teammate Häkkinen, the Ferrari pair of Michael Schumacher and Barrichello, Frentzen, Fisichella, Trulli, Irvine, Minardi's Marc Gené and Alesi. During the session, an engine problem for Michael Schumacher prompted his team to spend an hour and ten minutes changing it. An oil leak in Gastón Mazzacane's Minardi restricted him to five timed laps, and prevented his participation in the final practice session later that day.  Hakkinen led the fourth session with a 1-minute and 14.159 seconds time on his final lap on a new set of tyres, with his teammate Coulthard third. They were separated by Barrichello. His teammate Michael Schumacher was fourth. Trulli was fifth and Fisichella duplicated his third practice result in sixth. Villeneuve, Verstappen, Ralf Schumacher and Frentzen completed the top ten. Barrichello spun twice as he tested a new rear wing. Frentzen and his teammate Trulli ran into a gravel trap and both sustained minor bodywork damage to their cars. Zonta lost track time due to a gearbox actuator fault and ran into a gravel trap. Button's engine failed, laying oil on the racing line between the Laranjinha and Bico do Pato corners. Salo's rear wing failed on the start/finish straight; he spun as he braked before the Senna S chicane and crashed into the wall, but was unhurt.

Qualifying.

Saturday afternoon's one-hour qualifying session saw drivers circulate the track simultaneously. Each driver was limited to twelve laps; their fastest laps would determine the starting order for the race. During this session the 107% rule was in effect, requiring each driver to remain within 107 per cent of the fastest lap to qualify for the race. Heavy rain fell in the session's final hour and the resulting slippery track prevented drivers from improving their best laps. The session was stopped three times because a heavy wind caused a gantry-mounted cardboard advertising hoarding, joined together by nylon ties above the start/finish straight, to detach and fall onto the track. Häkkinen went fastest with 15 minutes to go before the rain fell with a 1-minute and 14.111 seconds lap, earning his second consecutive pole position, his third in Brazil and the 23rd of his career. Häkkinen's teammate Coulthard was second and the Ferrari duo of Michael Schumacher and Barrichello took third and fourth; Schumacher understeered into the grass on his second timed lap, damaging his car's undertray on the corrugations of a high-mounted kerb. He drove the spare Ferrari for the rest of qualifying. Barrichello had to abort a fast lap due to the stoppage. Fisichella, fifth, praised his car's handling. Irvine in sixth was happy with his Jaguar's grip and balance.  Frentzen qualified seventh after Pedro Diniz slowed him. Zonta, eighth, focused on aerodynamic setup to improve his car's handling. Button was fourth early on before falling to ninth. Villeneuve qualified in tenth as traffic slowed two of his timed laps and he ran onto the grass. Ralf Schumacher was the fastest driver not to qualify in the top ten after different spring rates failed to improve the setup of his chassis. Trulli spun into a gravel trap at the Bico de Peto hairpin on his first timed lap. He returned to the pit lane to drive the spare Jordan car; an electronic control unit fault affected its gear selection and left him 12th. Traffic slowed all of Wurz's laps and left him in 13th. Clutch issues left Verstappen in 14th. Alesi, 15th, swerved at more than to avoid the falling advertising hoarding; it damaged his car's front wing. De La Rosa in 16th was slowed by the rain. Car setup issues put Herbert 17th. Gené in 18th ventured onto the track early in the session. Nick Heidfeld used the spare Prost car to secure 19th due to a clutch failure in his race car. Diniz in 20th had a similar rear wing failure to his teammate Salo in 22nd. Fuel pressure problems led Mazzacane to drive the spare Minardi car; he separated the Sauber duo in 21st.

Post-qualifying.

During the second stoppage, Sauber announced its withdrawal from the race, citing a lack of time in Brazil to analyse and rectify the structural integrity of the rear wings on both their cars. The team returned to their Hinwil headquarters and found the track's bumpy surface resulted in both of their cars having higher than anticipated impact loads; Salo had a failure of the lower plane on his rear wing and Diniz's failed on the upper plane.

Qualifying classification.

Notes:

Warm-up.

A 30-minute warm-up session was held on Sunday morning in hot and overcast weather. All drivers fine-tuned their race set-ups and drove their spare cars. Häkkinen set the session's fastest lap at 1 minute and 16.343 seconds, ahead of Michael Schumacher, Coulthard, Barrichello, Verstappen, Ralf Schumacher, Gené, Fisichella and Zonta in positions two to ten. Ten minutes in, Wurz stalled his car at the exit of the pit lane, and the session was stopped. He required the spare Benetton B200 car for the rest of the session. Alesi's engine failed and he switched to the spare Prost AP03, which had a rear wing failure on the bumpy start/finish straight, and caused a second stoppage.  After the warm-up session, and before the race, Prost examined Alesi's rear wing and found that its failure was due to older bodywork parts fitted to his car and readied its spare chassis if required. The team stated they were unconcerned over the safety of their drivers and confirmed their participation in the event.

Race.

The race began at 14:00 local time. The weather at the start was hot and dry with the ambient temperature, the track temperature, and the humidity at 76 per cent. Approximately 72,000 spectators attended the race. On the formation lap, Wurz stalled his engine, and his stationary car delayed Alesi and Herbert; both drivers took up their starting positions. Wurz began the event from the pit lane. Häkkinen made a brisk start from the grid to lead the field going into the Senna S chicane. Coulthard, in second, had wheelspin and was passed by Michael Schumacher, who unsuccessfully challenged Häkkinen for the lead. Coulthard retained third as Barrichello made a slow start. Behind them, Irvine overtook Fisichella for fifth. Verstappen moved from 14th to 11th by the conclusion of the first lap; Button dropped from 9th to 13th over the same distance. Trulli passed Ralf Schumacher and Villeneuve to progress into tenth on the left of the circuit.  As the first two drivers reached the start/finish line, Michael Schumacher, who was close behind Häkkinen throughout lap one, steered off the racing line to pass the latter for the lead heading into the Senna S chicane. Barrichello slipstreamed Coulthard on the start/finish straight and overtook him for third. He then ran wide and Coulthard retook third. Barrichello retook the position by the end of lap two as Coulthard lost the use of the first three gears due to a gearbox fault and was slower in the slow-speed corners. At the front, Michael Schumacher extended his lead over Häkkinen to four seconds by lap four and to 15 seconds by lap 15 with a series of fastest laps. In the meantime, Trulli passed Zonta for eighth, Button overtook Alesi for 13th and Heidfeld lost 16th to de la Rosa. Verstappen progressed from 11th to seventh by passing Villeneuve, Zonta, Frentzen and Fisichella as Alesi overtook Ralf Schumacher, Villeneuve, Zonta and Frentzen to advance to ninth. Three drivers retired from the race during this period: Wurz and Heidfeld had separate engine failures on lap seven and nine and Alesi stopped with an electrical failure at the Bico de Pato hairpin on lap 11.  At the end of lap 14, Barrichello drew close to Häkkinen after the latter ran wide. He slipstreamed Häkkinen and turned left to pass him for second as he braked before the Senna S chicane to start the 15th lap. De la Rosa passed Herbert for 14th on that lap and Trulli overtook Irvine for fifth on lap 16. That lap, Villeneuve retired with a race-long gearbox problem. The Ferrari and McLaren teams employed different pit stop strategies – the Ferrari team planned for two stops whereas the McLaren squad scheduled one stop. Michael Schumacher led by 17.6 seconds over the rest of the field when he commenced the first round of pit stops for fuel and tyres four laps later. He rejoined the track in third and Barrichello led the next two laps until his stop. On lap 21, Irvine lost control of the rear of his car entering the Bico de Pato hairpin and crashed against a tyre barrier. Six laps later, Barrichello entered the pit lane with a hydraulic motor problem that spread from the steering wheel to the throttle linkage. As Barrichello exited the car to retire a small fire was extinguished by his mechanics.  Trulli made the first of two stops from fourth at the end of the 28th lap and he emerged in seventh. At the front of the field, Häkkinen pulled away to lead Michael Schumacher by 12 seconds until he slowed with a loss of oil engine pressure on the 30th lap. He slowed and retired in his garage. Michael Schumacher retook the lead, with the yet-to-stop Coulthard second, Verstappen third and Fisichella fourth. Coulthard lapped to within a tenth of a second of Michael Schumacher as the latter slowed slightly due to an imbalance in all four of his tyres as Ralf Schumacher challenged Fisichella for fourth. On lap 32, Gené retired from eleventh with an engine failure. Verstappen and his teammate de la Rosa made their first pit stops on laps 35 and 37. Four laps later, Frentzen was the first driver on a one-stop strategy to enter the pit lane. Coulthard made his only stop on lap 43 and remained in second position. Michael Schumacher led by 48 seconds when he made his second pit stop on the 51st lap and retained the lead. On the same lap, Fisichella made his only stop and kept third place.  On lap 51, Herbert retired in the pit lane with a gearbox failure. De la Rosa lost concentration and went into a gravel trap four laps later. He rejoined without losing position. Button battled Verstappen and overtook him for seventh on the 56th lap as Trulli made a pit stop from fourth and rejoined the track in fifth. From the 59th lap, Coulthard began to gain on Michael Schumacher, who slowed due to an oil pressure problem. He could not draw close enough to pass, and Schumacher took his second victory of the season, his third in Brazil and the 37th of his career in a time of 1 hour, 31 minutes and 35.271 seconds at an average speed of over a distance of and 71 laps. Coulthard followed 4.302 seconds later and Fisichella took third. Frentzen finished fourth, Trulli fifth and Ralf Schumacher sixth. Button, Verstappen, de la Rosa, Zonta and Mazzacane were the final finishers. The attrition rate was high; only 11 of the 20 starters finished the race.

Post-race.

The top three drivers appeared on the podium to collect their trophies and spoke to the media in a later press conference. Michael Schumacher stated that pit stop strategy helped him to win the race: "In the past, as you may remember, we could not overtake the McLaren entries, regardless of their strategy. Now we are looking a lot more competitive – which is where we wanted to be – and the season could hardly have started better than it has." Coulthard said his second-place finish provided him the start to his championship campaign after his gearbox problems: "It must have been entertaining for those who had places to watch at the first corner. Given the circumstances, I am very happy with my six points." Fisichella revealed that his car had understeer and oversteer for the first 15 laps until its grip and balance improved. Nonetheless, he said he was pleased to finish third, "This is a great result and will help us to be even more competitive in the future. I am confident about the next race, when we will have some new aerodynamic parts."  All of the top six finishers, except for Fisichella, were found to have excess wear on the wooden planks underneath their cars, in violation of a regulation concerning illegal plank wear. The Ferrari, McLaren, Jordan and Williams teams filed a successful appeal, claiming that the bumpy racing surface caused the wear. All four teams were reinstated after a second inspection caused a hour delay. During the inspection, the front wing endplates on Coulthard's car were found to be above the ground and not as stated in the regulations"." Jo Bauer, the FIA technical delegate, deemed this to have provided Coulthard with a competitive aerodynamic advantage and the stewards disqualified the driver six hours after the race. The technical director of McLaren Adrian Newey rejected an offer from the stewards to transport Coulthard's car to Paris for a fair hearing and agreed to a set of four measurements in São Paulo. McLaren then filed an appeal and stated the car's undertray and chassis was damaged and shifted by vibrations from the bumps on the racing surface. On 4 April, the appeal was heard by a five-man panel at a meeting of the FIA International Court of Appeal in Paris. They rejected McLaren's appeal during the 90-minute hearing and declared the result of the race final.  This promoted every driver behind Coulthard one position; Button was reclassified sixth and became the youngest driver to score a Formula One World Championship point at the age of 20 years, 2 months and 7 days old, breaking Ricardo Rodríguez's record from the 1962 Belgian Grand Prix. On 6 April, the organisers of the Brazilian Grand Prix were summoned to a meeting of the FIA General Assembly. They were fined $100,000 for the track's safety issues and for the three times qualifying was stopped due to falling advertising hoardings. The governing body ruled it as "exceptional circumstances" and allowed the track to remain as part of the series. The president of the FIA Max Mosley said an increased fine or cancelling the race was not imposed because its organisers had submitted evidence to prevent either action from occurring, "Bearing in mind that we allowed the Brazilian promoters to place the signs there – and they probably didn't know what potential there was for the failures which occurred – it seemed only fair to impose the comparatively modest penalty."  Häkkinen spoke of his disappointment over retiring from the lead of the race, "Nothing can describe how I feel, We have been quick all weekend, right the way through, so I am not happy to be leaving Brazil without any points. We have some work to do before the start of the European season." Button was quoted in the press as stating his preference to score points on the track and not be awarded them in a court of appeal, "I heard the news about David as I was making my way to the airport to fly back from Brazil – and I can't say it gave me any great feeling of joy. You want to earn any success through your driving skills, not someone else's misfortune." Eddie Jordan, the owner of the Jordan team, said that both his cars finishing the event demonstrated they could last a full race distance after retiring from the Australian Grand Prix with mechanical issues. Frentzen stated it was as if the team's season had commenced in Brazil and the team still required maintenance to improve their performance, "But we are a very strong team with a good atmosphere, I get along well with Jarno and everything is fine so far."  The gap in the Drivers' Championship after the race stood at 12 points in favour of Michael Schumacher with Fisichella moving from fifth to second as a result of his second-place finish. Barrichello dropped to third and Ralf Schumacher fell to fourth. Frentzen rounded out the top five. In the Constructors' Championship, Ferrari moved further ahead with 26 points and the Benetton team progressed from fourth to second. Jordan's first points of the season put them third while Williams and BAR were fourth and fifth with fifteen races left in the season.

Race classification.

Drivers who scored championship points are denoted in bold.

Championship standings after the race.

Note, only the top five positions are included for both sets of standings.

The 2000 Brazilian Grand Prix (officially the XXIX Grande Prêmio Marlboro do Brasil) was a Formula One motor race held on 26 March 2000 at the Autódromo José Carlos Pace in São Paulo, Brazil. 72,000 people attended the race, which was the second round of the 2000 Formula One World Championship and the 29th overall edition of the event. Ferrari driver Michael Schumacher won the 71-lap race from a third-position start. Giancarlo Fisichella of the Benetton team finished in second and Jordan's Heinz-Harald Frentzen was third.

2000年巴西大奖赛于2000年3月26日在巴西圣保罗因特拉戈斯赛道举行,这是2000赛季的第2场比赛。这场比赛同时还是第29届巴西大奖赛,也是第19次在因特拉戈斯赛道举行的F1比赛。全场比赛共71圈,总赛程306千米。


History.

The Geographical Society was founded at a meeting on 15 December 1821 in the Paris Hôtel de Ville. Among its 217 founders were some of the greatest scientific names of the time, including Pierre-Simon Laplace (the Society's first president), Georges Cuvier, Charles Pierre Chapsal, Vivant Denon, Joseph Fourier, Gay-Lussac, Claude Louis Berthollet, Alexander von Humboldt, Champollion, and François-René de Chateaubriand. Most of the men who had accompanied Bonaparte in his Egyptian expedition were members: Edme-François Jomard, Conrad Malte-Brun, Jules Dumont d'Urville, Jules Paul Benjamin Delessert, Hottinguer, Henri Didot, Bottin and others such as Jean-Baptiste Benoît Eyriès.  The Society was the location of the Arab Congress of 1913, which took place from June 18 to June 23 of that year and marked the confluence of events surrounding the decline of the Ottoman Empire, the beginnings of Arab nationalism, and early Arab reaction to Zionist immigration to Palestine.

Publications.

The Society's revue has appeared monthly since 1822, as "Bulletin de la Société de Géographie" (1822–1899) – offering in octavo format early news of all the discoveries of the nineteenth century – or quarterly, as "La Géographie", with a break from 1940 until 1946. Since 1947 the Society's magazine has appeared three times a year, as "Acta Geographica".  The Society's library, map collection and photograph collection are among the world's deepest and most comprehensive.

Awards.

Grande Médaille d'Or des Explorations.

The Grande Médaille d'Or des Explorations et Voyages de Découverte (Great Gold Medal of Exploration and Journeys of Discovery) has been awarded since 1829 for journeys whose outcomes have enhanced geographical knowledge. Notable recipients have been John Franklin (1829), John Ross (1834), David Livingstone (1857), Ernest Shackleton (1910) and Roald Amundsen (1913).

The Société de Géographie (; ), is the world's oldest geographical society. It was founded in 1821 as the first Geographic Society. Since 1878, its headquarters have been at 184 Boulevard Saint-Germain, Paris. The entrance is marked by two gigantic caryatids representing "Land" and "Sea". It was here, in 1879, that the construction of the Panama Canal was decided.

巴黎地理学会()是一家总部位于法国巴黎的地理学的学会,是世界上历史最古老的地理学学会,设立于1821年。自1878年开始,总部就位于巴黎圣日耳曼大街184号。入口处有两个巨大的分别表现「陆」和「海」的女神柱。1879年,建设巴拿马运河的决策就是在这里做出的。学会现在定期发行有地理学的学术杂志。巴黎地理学会图书馆的地图和照片藏品的水准也是世界顶级。


Description.

The bird was about 7–8 in (18–20 cm) long when fully grown. It was the largest known honey-creeper, although its typical weight is unknown. The bird is sexually dimorphic; the male was brilliant scarlet-orange on head, neck, and breast, with lighter orange on its bottom, and olive brown with orange touches on back, wings, and tail; however, the female was brownish olive, and somewhat lighter below. It had a thick black bill which allowed it to break open seed pods that were found in the trees. In historical times, its range was largely confined to the Kona District of the island of Hawaii, although it was observed in the Kīlauea area in 1895. It was much more widespread prior to the arrival of humans in Hawaii, and related species lived on other islands. In Kona, it co-occurred with the closely related lesser koa finch ("Rhodocanthis flaviceps"), and the Kona grosbeak. The lesser and greater koa finches were once thought by scientists to be the minimum and maximum growth of a single species of koa finch.

Diet.

The greater koa finch was a granivore, preferring the pods and seeds of koa ("Acacia koa"). It was also observed eating caterpillars and aalii ("Dodonaea viscosa") seeds.

Extinction.

The last confirmed sighting was in 1896, although there were sporadic later reports. Like its close relative the lesser koa finch, this bird lived in small stretches of mesic forest on the Big Island of Hawaii. These forests were dominated by its preferred food source, koa ("Acacia koa"), and were logged and replaced with pasture beginning in 1850. Grazing by cattle inhibited the regeneration of koa forest, while introduced black rats ("Rattus rattus") preyed on young birds. Avian pox ("Poxvirus avium") and malaria ("Plasmodium relictum"), spread by mosquitoes, may have also been a factor. However, even before these issues became important, the koa finches were probably already living in marginal habitat due to the loss of lowland koa forest, as evidenced by the extinction of the other koa finch species (which lived on lower-elevation islands) prior to European contact.

The greater koa finch ("Rhodacanthis palmeri") was a species of finch in the family Fringillidae. It was found only in the Hawaiian Islands. It has been extinct since the late 19th century.

帕氏情棘雀("Rhodacanthis palmeri"),又名大拟管舌鸟、大管<unk>或大槐杨雀,是夏威夷特有的一种管舌鸟,已于19世纪末灭绝。


Life and career.

Bollinger was born in Santa Rosa, California, the son of Patricia Mary and Lee C. Bollinger. He was raised there and in Baker City, Oregon. Bollinger spent a year (1963) as an exchange student in Brazil with AFS Intercultural Programs. He received his B.S. in political science (Phi Beta Kappa) from the University of Oregon, where he became a brother of Theta Chi Fraternity, and his Juris Doctor from Columbia Law School. He served as a law clerk to Judge Wilfred Feinberg of the United States Court of Appeals for the Second Circuit and Chief Justice Warren Burger of the Supreme Court. Bollinger went on to join the faculty of the University of Michigan Law School in 1973, becoming dean of the school in 1987. He became provost of Dartmouth College in 1994 before returning to the University of Michigan in 1996 as president.  Bollinger assumed his current position as president of Columbia University in June 2002. On October 19, 2010, the Board of Trustees announced through a university-wide email that Bollinger has agreed to continue as president for at least the next five years. The board explained as the rationale for its decision to extend Bollinger's contract: "Columbia is thriving on many levels today, and is well positioned for the long-term both locally and globally, because of Lee’s distinctive vision of the university’s vital role in serving our society. But we still have much work to do in building on this extraordinary forward momentum in the years ahead and therefore have every reason to maintain the continuity of Lee's principled leadership."  Bollinger was elected as a member of the American Academy of Arts and Sciences in 1992.

Affirmative action cases.

In 2003, while serving as president of the University of Michigan, Bollinger made headlines as the named defendant in the Supreme Court cases "Grutter v. Bollinger" and "Gratz v. Bollinger". In the Grutter case, the Court found by a 5–4 margin that the affirmative action policies of the University of Michigan Law School were constitutional. But at the same time, it found by a 6–3 margin in the Gratz case that the undergraduate admissions policies of Michigan were not narrowly tailored to a compelling interest in diversity and 20 predetermined points are awarded to underrepresented minorities, and thus that they violated the Equal Protection Clause of the Fourteenth Amendment.  In 2006, affirmative action in university admissions in the state of Michigan was banned by a ballot initiative known as the Michigan Civil Rights Initiative.

President of Columbia.

As president (known as "PrezBo"), Bollinger has attempted to expand the international scope of the University, taking frequent trips abroad and inviting world leaders to its campus. Bollinger has been criticized for taking a neutral public position on controversies regarding the Middle East Languages and Cultures (MEALAC) department and for placing the department in receivership. He has also been the subject of criticism for his role in advocating the expansion of the university into the Manhattanville neighborhood and the possible use of eminent domain to help it seize property there. The Bollinger administration's expansion plans have been criticized as fundamentally incompatible with the 197/a plan for development crafted by the community, and for failing to address the neighborhood's need to maintain affordable housing stock.  President Bollinger has lived in the Columbia President's House since February 2004, after the building underwent a $23 million renovation. In 2008, his salary was $1.7 million. In 2013, Bollinger's total compensation was $4.6 million, making him the highest paid private college president in the United States.  In November 2006, Bollinger was elected to the Board of Directors of the Federal Reserve Bank in New York City, a term lasting for three years.

World Leaders Forum.

Columbia invited Iranian President Mahmoud Ahmadinejad to speak at the World Leaders Forum on September 24, 2007. A number of local and national politicians denounced Columbia for hosting Ahmadinejad. Bollinger described the event as part of "Columbia's long-standing tradition of serving as a major forum for robust debate, especially on global issues." Bollinger released a statement outlining his introduction, explaining to the student body that the free speech afforded to Ahmadinejad was for the sake of the students and the faculty rather than for the benefit of Ahmadinejad himself, whom Bollinger referred to as "exhibiting all the signs of a petty and cruel dictator." Bollinger was criticized by students at Columbia's School of International and Public Affairs, but praised by Bob Kerrey who said that Bollinger "turned what could have been an embarrassment for higher education into something quite positive."

On the media.

On July 14, 2010, he wrote an article for "The Wall Street Journal" calling for the American government to subsidize its journalists.

Personal life.

Bollinger is married to artist Jean Magnano Bollinger. They have two children and five grandchildren. Bollinger's family is Catholic; his daughter, Carey Jean Bollinger, and son, Lee Carroll Bollinger, married in Catholic ceremonies.

Books.

In addition to his academic and administrative positions, Bollinger has written many articles and books on the subject of free speech.

Lee Carroll Bollinger (born April 30, 1946) is an American lawyer and educator who is serving as the 19th and current President of Columbia University, where he is also the Seth Low Professor of the University and a faculty member of Columbia Law School. Formerly the president of the University of Michigan, he is a noted legal scholar of the First Amendment and freedom of speech. He was at the center of two notable United States Supreme Court cases regarding the use of affirmative action in admissions processes. In July 2010, Bollinger was appointed chair of the Federal Reserve Bank of New York board of directors for 2011. Previously, he had served as deputy chair. In 2004, he was honoured to be a member of the American Philosophical Society.

李·卡罗尔·布林格(Lee Carroll Bollinger,1946年4月30日-)是一名美国律师和法学教育家,曾任密歇根大学校长,现任哥伦比亚大学校长。他是美国宪法第一修正案和言论自由领域的著名法学者。也是美国最高法院处理两个平权法案相关案件的核心人物。2010年7月,布林格被任命为纽约联邦储备银行董事会主席,之前担任副主席职务。


Usage.

A batter stands at one end of the cage, with a pitching machine (or, less often, a human pitcher) at the opposing end. The pitcher or pitching machine pitches baseballs to the batter, who hits them. It is recommended to use a protective pitcher's L-screen to prevent batted balls from striking the pitcher or machine.  The cage is used to keep the loose baseballs within a certain range so that they're easy to pick up and are not lost. Batting cages are found both indoors and outdoors.  The interior floor of a batting cage may be sloped, to automatically feed the baseballs back into the automatic pitching machine. The automatic pitching machines using sloped floors usually pitch out a synthetic baseball or softball, rather than an official solid core leather hardball.  Commercial batting cages pitch with several different speeds, which can range from (for softball) to per hour.  Cricket nets and tunnels, used by cricket batsmen are similar in purpose, but bowling machines are much less common than facing a live bowler (this reflects the fact that nearly half of the members of a cricket team are specialist bowlers, and therefore proportionately more bowling practice is needed in cricket than pitching practice in baseball).  Netting can greatly vary in quality and durability. #21 Gauge is suitable for little-league players, #36 Gauge is suitable for High-School players, and #60 is recommended for Commercial facilities and Pro Players. Resources such as this Netting Infographic Guide are helpful for identifying the best netting for an application.

Types.

Indoor.

Indoor batting cages are typically suspended by steel cable lines, 1 line every 6–8 feet. The anchor points being the most important component, typically connected using a steel plate to the wall. Without strong anchors, the netting will sag.

Outdoor.

Outdoor batting cages are typically installed using steel pole sections (2 uprights and 1 cross-bar per section), spaced every 12–20 feet. The greater the span between supports, the more sag in the netting and less usable the cage becomes.

A batting cage (or tunnel) is an enclosed area for baseball or softball players to practice the skill of batting.

棒球打击练习场,为设置机械投球手臂,并设定不同球速、球路,以供棒球打击训练之场地。


Life and work.

He was born in Piraeus by parents of Chiot descent. He inherited his talent in painting from his father, who was had an aptitude in the arts. In 1906, he became the first student of Konstantinos Parthenis, a distinguished Greek painter, while he was studying at the National Technical University of Athens civil engineering, graduating in 1908.  He then continued his studies in Paris and Munich, in sculpture and drawing. In Paris, he attended architecture classes at Ecole des Beaux Arts (Paris). Pikionis was back then introduced to the work of Paul Cézanne and became friends with Giorgio de Chirico. Some Greek painters of the time, such as Georgios Bouzianis and Periklis Giannopoulos, were influential figures during these formative years.  He returned to Greece and after the Balkan Wars, he started studying and working in architecture during which period, he began shifting his focus on the study of the modern Greek architecture. In 1921, he undertook a lecturer position at the 'Morphology' department at the National Technical University of Athens where he stayed until 1923. In 1925, he received a permanent position in the department of decoration as a professor.  Between 1930-1935, he co-published with his good friend, the painter Hadjikyriakos-Ghikas the magazine '3ο Μάτι' (translated as '3rd Eye') where he published many of his texts. The magazine collaborated with many artists and academics, such as Stratis Doukas, Takis Papatsonis, Sokratis Karantinos and others.  His first important work was Moraitis house in Tzitzifies (1921-1923). In 1932, upon the completion of the Elementary School in Pefkakia of Lykavittos, he came to the realisation that his works were not satisfactory and changed his aesthetic perceptions. All of his subsequent architectural works were based on the idea of bridging universalism with regionalism. In the 1940s and 1950s, his architectural creation was limited to designs for graves. However, in the following period, from 1951 to 1957, he was involved in many projects. Among them is the formation of the archaeological site around the Acropolis and Philopappou hill, perhaps his most important work, and the tourist pavilion of St. Demetrios Loubardiaris, seeking its ideal. In 1958, after 35 years of NTUA as a professor, he retired. In 1966 he was elected a full member of the Academy of Athens.  He has been often described as a "critical regionalist" and sometimes as a "European modernist". In 1933, Pikionis with other Greek architects signed the Athens Charter, a manifesto of the modernist movement which published later by Le Corbusier. However he didn't embrace completely the new movement. The leitmotif in his work has been, according to architecture historians, "the epiphany", the contrast between bleached marble and sodden soil.  He died in Athens on 28th of August 1968.

Legacy.

Although he actually built few buildings, Pikionis is revered for the landscaping work in pedestrian areas around the Acropolis of Athens, a work done in the 1950s. Utilizing rough-finished marble in various shapes that appear irregular, yet are strictly geometric, and incorporating expertly chosen local fora on his terraces and steps, Pikionis' work has astounded visitors to the area and remains highly thought of ever since. He utilized similar techniques in creating the children's playground of the municipality of Filothei, an affluent Athens suburban area.

Demetrios ("Dimitris") Pikionis (; 1887–1968) was a Greek architect, and also painter, of the 20th century who had a considerable influence on modern Greek architecture. He was a founding member of the Association of Greek Art Critics, AICA-Hellas, International Association of Art Critics. His oeuvre includes buildings and urban planning in Athens and the entirety of Greece—including several schools and a playground in Filothei, Athens.

季米特里斯·皮吉奥尼斯(、Dimitris Pikionis;1887年-1月26日-1968年-8月28日),是一位希腊建筑师,对20世纪希腊的建筑有着深远的影响。.