Biography.

Background.

He was born at 31 Union street, East Stonehouse, Plymouth on 9 January 1866, the son of Royal Navy bandsman William Eastman Palmer who had by then become a journeyman photographer. The name "Christian" came from the boy's grandmother Christian Branton Eastman Lewis, who married his grandfather Henry Palmer, a shoemaker, in Okehampton, Devon in 1826. Fred C's father W.E. Palmer married Maria Louisa Eales on 13 March 1860 and they were living in James Street, Stoke Damerel, in 1861 and ten years later at 13 Frances Street at St Andrew's in Plymouth. She was a "photographic artist", which could mean that she tinted or drew on prints from glass negatives or somehow enhanced daguerreotypes, and it was probably her influence which brought the profession of photography into the family. So W.E. Palmer became a photographer in the mid-1860s, and had twelve children including seven sons, at least five of whom were trained as photographers. The business was named William Eastman Palmer & Sons, and Frederick Christian was the third son. His brothers who trained as photographers were William George, John Eastman, Ernest Charles and Henry Reginald. In 1881 in East Barnet Fred C. was 15 years old and had started his photographic apprenticeship. In 1891 when Frederick Christian was 25 years old, he was still living at home and the family was at Hopetown Villa, Leicester Road, East Barnet. At that time his father William Eastman Palmer was still described as a journeyman photographer.

Adult life.

In 1894 Frederick Christian Palmer was married in the parish of St George Hanover Square to Eleanor Florence M. Maltby, who had been born in Highbury in 1873. They had three children: Leslie Reginald, born 1896; Muriel Audrey, born in 1902; and Joyce Selwyn, born in 1905. The first two were born in Barnet, and the third in Herne Bay. In 1901 Frederick was practising as a photographer and the family was living at Gresham Cottage in Plantagenet Road in New Barnet. In 1911 they were all at Palmer's Tower Studio in Herne Bay; Frederick was again listed in the census as a photographer and Eleanor was assisting in the business. He may possibly have been related to Fred T. Palmer (fl.1890–1899), photographer of Ramsgate and Croydon.  Palmer may have moved to Watford around 1936–1937 but did not die there; his daughter Muriel Audrey had married Charles William Raysbrook in 1925 in Strood and then had three children in Watford. He died on 14 March 1941, aged 75 years, of old age at The Grey Cottage, formerly Prospect House, at 1 Prospect Road, Hungerford. His death certificate gives his occupation as master photographer, retired. The term, "master", in this context at that time implied that he had photographers working under him in a studio, and did not refer to a specific qualification. His son Leslie Reginald was present at the death, but it is not known whether The Grey Cottage was the residence of either father or son.

Professional life.

Herne Bay.

Although photographic film was available, it is probable that Fred C. Palmer used large−format glass negatives and that the postcards and portraits were direct prints from these, because of their fine detail. From 1892 to 1903 he was working for the family firm, William Eastman Palmer & Sons, at Bloom House, Leicester Road, New Barnet. From 1903 to 1922 he was working as a photographer and picture-frame maker in Herne Bay, at 21 High Street from 1903 to 1905 (where Kent Kebab is, as of 2011), and at Telford Villa, 6 Tower Parade from 1907 to 1922. Between 1910 and 1916, Fred C. Palmer was a freelance "Herne Bay Press" newspaper photographer, who worked from Tower Studio in Tower Parade on the Sea Front where he took portraits. He had a small shop or kiosk called "The Art Gallery" on the sea front, separate from the studio, where he sold postcards and portrait prints. He produced postcards of important town events, such as the grand opening of Herne Bay Pier's Grand Pier Pavilion by the Lord Mayor of London on 3 August 1910, and the grand opening of the King Edward VII Memorial Hall by Princess Beatrice on 13 July 1913. His name was usually given as Fred C. Palmer in newspaper photograph credits and on the backs of his picture postcards.

World War I.

During World War I there are no written records of Fred C. Palmer, but he did produce postcards of war-wounded Belgians recuperating in Canterbury and Herne Bay, of a possible 1914 recruitment rally and of soldiers larking about. There was a shortage of silver for use on photographic plates, so this may be why he appears to have been limited to photographing the troops and war-wounded and perhaps other work until 1920.

Swindon.

Around 1920–1921 Palmer took over the studio of the established photographer William Hooper at 6 Cromwell Street, Swindon. Street directories state that he was there between 1923 and 1936. The building is now demolished. He published postcards and portraits and was freelance photographer for local newspapers; the same professional pattern as in Herne Bay before the war. Swindon Council used his photographs. He retired around 1936–1937 at the age of approximately 70 years, and died in 1941.

Photograph of Grand Pier Pavilion, 1910.

Palmer's 1910 photograph of the illuminated Grand Pier Pavilion was incorporated as found object art in an artwork by Marcel Duchamp following the latter's visit to Herne Bay in 1913. Duchamp cut out Palmer's photo from a leaflet and attached it to "Note 78" in "The Green Box" describing his plans for a work called "The Large Glass" (1915–1923). The notes including Palmer's photograph were published in two limited editions, and were considered part of, and not just an adjunct to, the "Large Glass" artwork.  In August 2013 a "Duchamp in Herne Bay 1913–2013" festival was organised in the town to celebrate and explore Duchamp's 1913 visit to Herne Bay and the relationship between that experience and his artwork. Palmer's postcard of the Grand Pier Pavilion, illuminated, was used to promote that festival.

Portraits of Edmund Reid.

In 1910–1912 Palmer photographed Edmund Reid who had been head of the Metropolitan Police Service CID at the time of the Whitechapel murders. Reid had retired to Hampton-on-Sea, a settlement which was fast sinking into the Thames Estuary prompting the old man to make attempts at publicity and to demand assistance from the Council. Palmer photographed this eccentric character amid the progressing disaster and gave or sold the images to Reid in the form of postcards. The old man retailed Palmer's photographs from a kiosk, calling the collection an "art gallery". Reid was mocked for selling postcards of himself and calling it art, but when Duchamp chose to take another Palmer photograph home in 1913 and made an artwork of it, Reid's insight was validated.

One example: the Ronald Cecil Concert Party postcard.

The Ronald Cecil Concert Party postcard shows a crowd on the Herne Bay seafront around 1913, including rehearsed and choreographed tableaux vivants by actors. It was apparently produced in response to the contemporary eagerness of aficionados to collect and examine (with a hand lens) the detailed prints made from large glass negatives. The signature of such a postcard is the inclusion of tableaux signifying the fleeting moment, and in this example it is the running boy about to go out of frame on the left, and the policeman checking his watch in the foreground. The positions of the actors would be held still for the camera at a prearranged moment, which may have been announced by the chiming of the clock tower out of frame to the right, or a call from the man on the right of the stage. Some of the tableaux are as follows:  (1) The suffragette mounting a bicycle and incidentally showing a little more ankle than such a young woman might intend at that time, in the right foreground. She is wearing black stockings, which in 1913 could signify a servant or actress. (2) The young man acting "hot under the collar", apparently being berated by a woman, and exchanging a glance with a well-dressed and confident young dandy in sports jacket and white shoes, with one hand in pocket and the other possibly holding a cigarette. (3) Ronald Cecil himself apparently falling backwards in the crowd, although nobody around him turns to look. This is at the centre-back of the crowd. The viewer's attention is drawn to Cecil's fall by the insouciant young man standing below the lamppost in cap and three-piece tweed suit and arms akimbo, looking directly at Cecil falling. (4) Two housemaids – G.M. Warner, known as Little Warner, and her fellow servant, both employed from age 12 by the boys' school at St George's Terrace – are walking in the aisle between the concert party audience and the fence. They are carrying posters or leaflets for the concert party, and were supposed to do something with the former, but were prevented by the presence of children.  The regatta in the background suggests a Saturday, and the beams from the late afternoon sun passing through the windows on both sides of the Grand Pier Pavilion suggest a time of around 4.30pm. Among the public, a private nurse in uniform can be seen on the right, and the deckchair boys employed from age 12 are near the left foreground in the aisle between stage and fence.

Art gallery.

"Art gallery" was Edmund Reid's name for his postcard collection of photographs by Palmer.

Frederick Christian Palmer (East Stonehouse, Plymouth 1866 − Hungerford 1941; fl.1892–1935), known professionally as Fred C. Palmer, was the main public photographer of Herne Bay, Kent in the early years of the 20th century, working from Tower Studio. He photographed all the civic events in Herne Bay before 1914, and made portraits of the eccentric Edmund Reid, the erstwhile head of Metropolitan Police Service CID who had investigated the Whitechapel murders and then retired to Hampton-on-Sea, Herne Bay. In 1913 Marcel Duchamp used Palmer's 1910 photograph of the illuminated Grand Pier Pavilion as found object art in his "Note 78", part of his "Green Box" artwork. In the 1920s and early 30s, Fred C. Palmer took over William Hooper's Cromwell Street studio in Swindon, again producing local postcards, photographing prominent people and doing freelance work for local newspapers and the Council.


Biography.

Linetskaya was born in Moscow, and is Jewish and plays with a Star of David necklace around her neck. She is coached by George Akopian. Her mother introduced her to tennis at age 6; she hit balls against school building for practice. Her father's Simon Linetsky is a professor of mathematics with a black belt in karate, and her mother Maria is an artist. She studied psychology for three years at Moscow University and plans to study via online education to receive an MBA. She speaks Russian, English and some Dutch. She is superstitious about stepping on court lines.

Tennis career.

Early success.

In February 2005 Linetskaya beat World No. 11 Vera Zvonareva 6–4, 6–2 in Thailand. In March she defeated World No. 2 Amélie Mauresmo 2–6, 6–2, 7–5 third round in Indian Wells.

Problems.

In late November 2005, Linetskaya's coach Joe Giuliano was barred for life by the WTA Tour for violating Section 14, part IV, of the WTA code of conduct, which bars coaches from "non-consensual sexual contact". Her father, Simon Linetskiy, was suspended for two years. The bans resulted from events incidents at La Costa's Acura Classic in August 2005. Linetskiy was charged with suspicion of battery after his daughter had injuries treated at a hospital.  She did not play between January 2006 and February 2007. She dropped off the rankings computer altogether.

Comeback.

In February 2007 she won the Montechoro, Portugal tournament. The following month she won both the Ramat HaSharon 2 and the Raanana tournaments in Israel, without dropping a set in either tournament.

Evgenia Simonovna Linetskaya (, ; born 30 November 1986) is an Israeli female professional tennis player. Linetskaya has won seven singles and one doubles titles on the ITF tour in her career. On 4 July 2005, she reached her best singles ranking of world number 35. On 20 February 2006, she peaked at world number 283 in the doubles rankings.


Early years.

Pollak graduated Corona del Sol High School in Tempe, Arizona in 2003. While at Corona del Sol he played offensive guard and defensive tackle, and was regarded as a three-star recruit by "Rivals.com". He received many honors including All-Region honors from Prep Star, first-team All-Arizona by The Arizona Republic and first-team All-City and All-Conference recognition as a senior. Pollak also was a star baseball pitcher receiving first-team All-Region, All-East Valley, and All-Conference.

College career.

Pollak attended Arizona State from 2003-2007. Pollak was a starter at center during his junior and senior year. In 2006, he received All-Pac-10 Conference second-team and in 2007 he received first-team All-Pac-10 Conference honors. During his senior year, he was a finalist for the Rimington Trophy, which is awarded to the nations top center. In 2007, he received the Tim Landers Iron Man Award, Cecil Bono Team Captain Award, and Pat Tillman Award, all awards given out by the Arizona State Sun Devils.

Professional career.

Indianapolis Colts.

Pollak was drafted by the Indianapolis Colts in the second round of the 2008 NFL Draft. The Colts moved Pollak to guard and as a rookie he started 13 of 13 games. In 2009, Pollak entered as the starter at right guard.

Carolina Panthers.

Pollak signed with the Carolina Panthers on March 22, 2012.

Cincinnati Bengals.

Pollak signed with the Cincinnati Bengals on April 12, 2013.  On March 7, 2014, Pollak re-signed with the Bengals on a three-year contract.  The Bengals released him on February 20, 2015.

Michael David Pollak (born February 16, 1985) is a former American football guard who played seven seasons in the National Football League (NFL). He was drafted by the Indianapolis Colts in the second round of the 2008 NFL Draft. He played college football at Arizona State.


Background.

SFR Yugoslavia was a federal republic consisting of republics including SR Serbia, which in turn had two autonomous provinces, SAP Vojvodina and SAP Kosovo. Kosovo was inhabited mostly by Kosovo Albanians and the 1974 Yugoslav Constitution gave Kosovo a then-unprecedented level of autonomy, but after Josip Broz Tito's death in 1980, Kosovo's autonomy began to be questioned by Serbian politicians.  Following the 1981 riots in Kosovo, which the League of Communists of Kosovo declared to be a product of Albanian nationalism, Serbia reacted by a desire to reduce the power of the Albanians in the province, and promoted a campaign claiming that Serbs were being pushed out of the province primarily by the growing Albanian population and not the state of the economy. In November 1988, 2,000 Albanian miners protested for the preservation of autonomy by marching from the southern mines to Kosovo's capital Pristina with support from another 6,000 other citizens along the way.

1989 strikes.

The League of Communists of Serbia under Slobodan Milošević engaged in a process of replacement of provincial leaders known as the "anti-bureaucratic revolution", whereby the local politicians were overthrown and replaced by Milošević loyalists. As the National Assembly of Serbia was preparing constitutional changes that would have formally reduced the level of provincial autonomy, about 1,350 Trepča miners began their underground hunger strike on 20 February 1989 with similar demands about the preservation of the region's autonomous status and the resignation of pro-Milošević politicians of Kosovo. After the announcement of the strike Linda Abrashi, daughter of the head of the mines contacted journalist Goran Milić, who set up interviews with the workers in the underground mines. As Milić considered the broadcast of the interviews by Belgrade TV unlikely, he managed to broadcast them with the assistance of another journalist Bane Vukašinović, who at that time was located in Skopje. After the broadcast, the heads of Belgrade TV ordered Milić to return to Belgrade and the miners' strike report was his last one from Kosovo.  In Belgrade, media and Serbian politicians accused Azem Vllasi, a provincial leader of the League of Communists, as the instigator of the strikes, although he denied any involvement in the events. Milošević prepared a plan that would allow him to send police reinforcements to Kosovo, but his plan didn't have the majority vote needed by the other members of the federal Presidency of Yugoslavia. Stipe Šuvar negotiated with the miners as a representative of the League of Communists of Yugoslavia. After about a week, some 180 miners had been hospitalized.  On the evening of 27 February 1989, Rahman Morina, Ali Shukriu and Husamedin Azemi, heads of the pro-Milošević faction in Kosovo, resigned. Late in the evening, the Presidency of Yugoslavia met and decided on "special measures" for Kosovo that effectively instituted an unrestricted state of emergency.  Only 50 strikers were left, the ones who had barricaded themselves inside the "Stari trg" mine, at 850 m underground. At midnight, the Special Anti-Terrorist Unit descended through the fire escape shafts, as elevators where disabled, and started arresting the strikers.  The aforementioned "special measures" prompted a move of 1,500 federal police troops under Serbian leadership to Kosovo, where they began a campaign of oppression of Kosovo Albanians or re-establishing a civil order.

Aftermath.

A day after the end of the strikes the Slovenian Committee for Human Rights and the Slovene Writers' Association held a mass meeting in Cankar Hall, where Serbian interventionism in Kosovo was condemned and support for the strikers was expressed. During the meeting Jožef Školč, head of the Slovene Youth Organization (SYO) compared the situation of the Albanians in Yugoslavia to that of the Jews during WWII, while Milan Kučan, head of the League of Communists of Slovenia labeled the strike as a defense of Yugoslavia. The SYO also introduced a badge based on the star of David with the text "Kosovo My Homeland". In response against the Slovenian actions a protest that attracted about a million people was held in Belgrade, while the Association of Writers of Serbia (AWS) broke off its relations with the Slovene Writers' Association. The Belgrade protesters among others requested the cancellation of the resignation of Morina, Shukriu, Azemi and the arrest and execution of Vllasi. In protest the Albanian members of the AWS left the organization and accused the Serbian writers of support to the repression of Albanians.  About a month after the end of the strike the parliament of Kosovo was surrounded by tanks and the Serbian police and the deputies were brought in to vote for the effective revocation of the region's autonomy. Most of the Albanian deputies abstained in order to invalidate the process as a two-thirds majority was required for constitutional amendments, however, the amendments were declared passed. The region's provincial status was not formally abolished as Milošević needed its vote to gain influence in the federal presidency of Yugoslavia.

The 1989 Kosovo miners' strike was a hunger strike initiated by the workers of the Trepča Mines on 20 February 1989 against the abolition of the autonomy of the Province of Kosovo by the Socialist Republic of Serbia. The strike quickly gained support in Slovenia and Croatia, while in Belgrade protests were held against the Slovenian, Albanian and Croatian leaderships. It eventually ended after the hospitalization of 180 miners and the resignation of the leaders of the League of Communists of Kosovo Rahman Morina, Ali Shukriu and Husamedin Azemi.


Etymology.

The word is most commonly considered to be derived from Old French "escorgier" - "to whip", going further back to the Vulgar Latin "excorrigiare": the Latin prefix "ex"- "out, off" with its additional English meaning of "thoroughly", plus "corrigia" - "thong", or in this case "whip". Some connect it to, "to flay", built of two Latin parts, "ex"- ("off") and, "skin".

Description.

A scourge (; diminutive: ) typically consists of several thongs fastened to a handle. A well known configuration of a scourge is the cat o' nine tails. The cat o' nine tails has two versions: the navy version is made of thick ropes with knotted ends, the army and civil prison versions are usually made of leather.  The scourge, or flail, and the crook are the two symbols of power and domination depicted in the hands of Osiris in Egyptian monuments. The shape of the flail or scourge is unchanged throughout history. However, when a scourge is described as a 'flail' as depicted in Egyptian mythology, it may be referring to use as an agricultural instrument. A flail was used to thresh wheat, not implement corporal punishment.  The priests of Cybele scourged themselves and others. Such stripes were considered sacred.  Hard material can be affixed to multiple thongs to give a flesh-tearing "bite". A scourge with these additions is called a scorpion. is Latin for a Roman and is referred to in the Bible: 1 Kings 12:11: "...My father scourged you with whips; I will scourge you with scorpions" said Rehoboam, referring to increased conscription and taxation beyond Solomon's. The name testifies to the pain caused by the arachnid. Testifying to its generous Roman application is the existence of the Latin words 'carrying a whip' and 'often-lashed slave'. According to the Gospel of John, Pontius Pilate, the Roman governor of Judea, ordered Jesus to be scourged. Scourging was soon adopted as a sanction in the monastic discipline of the fifth and following centuries. Early in the fifth century it is mentioned by Palladius of Galatia in the, and Socrates Scholasticus tells us that, instead of being excommunicated, offending young monks were scourged. (See the sixth-century rules of St. Cæsarius of Arles for nuns, and of St. Aurelian of Arles.) Thenceforth scourging is frequently mentioned in monastic rules and councils as a preservative of discipline. Its use as a punishment was general in the seventh century in all monasteries of the severe Columban rule.  Canon law (Decree of Gratian, Decretals of Gregory IX) recognized it as a punishment for ecclesiastics; even as late as the sixteenth and seventeenth centuries, it appears in ecclesiastical legislation as a punishment for blasphemy, concubinage and simony. Though doubtless at an early date a private means of penance and mortification, such use is publicly exemplified in the tenth and eleventh centuries by the lives of St. Dominic Loricatus and St. Peter Damian (died 1072). The latter wrote a special treatise in praise of self-flagellation; though blamed by some contemporaries for excess of zeal, his example and the high esteem in which he was held did much to popularize the voluntary use of a small scourge known as a discipline, as a means of mortification and penance. From then on the practice appeared in most medieval religious orders and associations.  The practice was, of course, capable of abuse, as demonstrated in the thirteenth century by the rise of the fanatical sect of the Flagellants, though in the same period we meet with the private use of the "discipline" by such saintly persons as King Louis IX of France and Elisabeth of Hungary.

Metaphoric use.

Semi-literal usages such as "the scourge of God" for Attila the Hun (i.e. "God's whip with which to punish the nations") led to metaphoric uses to mean a severe affliction, e.g. "the scourge of drug abuse".

A scourge is a whip or lash, especially a multi-thong type, used to inflict severe corporal punishment or self-mortification. It is usually made of leather.


Youth.

Jaroslav was born on January 28, 1912 in Klášter Hradiště nad Jizerou. His father Emil was a shoemaker and farmer by occupation. His mother Gabriela, born as Macharovská, was a homemaker. Jaroslav had seven siblings.  Jaroslav attended a vocational brewer training. Subsequently, he worked as a brewer up until the beginning of his military service in 1933. Although he started military service in Mladá Boleslav, he reallocated to Prague's infantry regiment after completing basic training. As Jaroslav finished the military service, he returned to his brewing occupation. In 1938 Jaroslav shifted to a sommelier position.

In Exile.

In October 1939, Jaroslav headed to France. However, to be able to do so, Jaroslav had to walk across Slovakia, Hungary, the rest of the Balkans, Turkey, and Syria. From Syria, he sailed to France. When finally in France, Jaroslav reported to the foreign section of the Czechoslovakian Army. On January 4, 1940, in Agde, he was assigned to the 1. infantry regiment of the Czechoslovakian Army. While Jaroslav was part of this regiment, he fought in the Battle of France.  After the fall of France, Jaroslav evacuated to the United Kingdom. In the UK, Jaroslav joined the 1. infantry battalion. On December 1, 1940, he passed driving tests and was promoted to Gefreiter, a second rank. Between February 21 and March 27, 1942, Jaroslav passed sabotage and parachuting courses. From October 26 to July 1942, Jaroslav completed courses focused on industrial sabotage, receipt of aircraft, civilian employment, conspiracy, and further aspects of parachuting. During this period, Jaroslav was promoted to a corporal rank and became a member of the platoon Pewter and later the Platinum-Pewter. In August 1944, Jaroslav moved to a station in Bari, Italy, where he was waiting for further orders.

Deployment.

Jaroslav was deployed as a paratrooper in the area of Nasavrky on February 17, 1945. Along with his partners from Platinum-Pewter, Jaroslav begun executing orders related to military intelligence and also the organization and receipts of secret air shipments. He executed most of these actions in the area of the Bohemian-Moravian Highlands.

After WWII.

On May 8, 1945, Jaroslav was promoted to a second lieutenant. During the same year, he married and had two children. Continuously, Jaroslav worked his way up to the rank of senior lieutenant of infantry. During this period, Jaroslav worked across various military positions, including the commander of the 71st parachute battalion's paratrooper school or at the Grande Prague's headquarters. On October 23, 1948, Jaroslav was promoted to the captain of infantry. He served as the chief of a military garrison at Mimoň. Soon, he was promoted to the staff captain rank.  The Communist Party of Czechoslovakia seized power during 1948. For political purposes, numerous World War II veterans were dismissed from the military service. Jaroslav was dismissed on August 31, 1951. He was not given any justification for the dismissal. Contrariwise, the party banned Jaroslav from obtaining any employment other than in the heavy industry, mining, or agriculture. Additionally, Jaroslav and his family, including his two young children, were given 24 hours to abandon their home. The government took their property without offering any compensation. Later on, Jaroslav was able to obtain employment as a construction worker and then as a driver. After eight years, in 1959, Jaroslav was permitted to start working within the Veterinary Research Institute in Brno. Jaroslav died on August 11, 1972.  In 1992, the Czech government recognized Jaroslav's contribution to anti-Nazi resistance. In memoriam, Jaroslav was promoted to the rank of lieutenant colonel of infantry and received several awards and recognitions. In 1995, he was also given a memorial plate publicly displayed in a proximity of the brewery in Hradiště nad Jizero.  His son is a veterinary and politician. The son was a member of the Parliament's lower house, the Chamber of Deputies of the Czech Republic. He represented the ODS.

Jaroslav Pešán (28. January 1912 Klášter Hradiště nad Jizerou – 11. August 1972 Brno) was a Czechoslovakian soldier, paratrooper, World War II veteran, and a member of the Resistance in the Protectorate of Bohemia and Moravia.


Biography.

Early life.

Leonard (Leonhard) Rotter was born on September 14 1895 in Floridsdorf (Austria), which later became a part of Vienna, to Leonhard and Albine Rotter. In 1900, the family moved to Prague (Czech Republic). He was trained as a woodcarver by František Liška (1909—1912) and later studied at the State Technical School in Prague under professors Jan Maudr and Alois Bouda. In 1914—1917 he studied sculpture at the School of Applied Arts in Prague under the guidance of professors Ludvík Wurzel, Štěpán Zálešák, and Josef Drahoňovský, where he focused on portraits and busts.

From World War I to World War II.

During the First World War, Leonard Rotter was seriously injured as a soldier and his injury left permanent nerve consequences. After the end of the war he returned to Prague to continue in sculpture art. He started to work independently, initially in a provisional studio situated in a laundry and later in his own studio in Hradčany in Na Valech.  In 1926 the sculptor settled with his family in Žižkov and moved his studio first to Dlouhá Street and later to the Old Town to the spacious Kinský Palace. However, he had to vacate after the occupation in 1939. He acquired a new space in the Tyrš House in Malá Strana, where he worked until his death in 1963.  The artist married Julia Tolde and the couple raised an only child, daughter Romana Rotterová, who was born in 1931 and also became an artist and graphic.  In 1945, during the bombing of Prague, an air strike hit the studio of Leonard Rotter and destroyed almost all of his work.

Death.

The sculptor interrupted his artistic activity only briefly due to health problems in the early 1960s, when his left hand had temporarily been paralyzed after a stroke.  He died suddenly of a heart attack in the middle of the process of his work on July 14, 1963 in a small apartment in Malá Strana.

Work.

Plastic art.

The early work of Leonard Rotter has included sculpture portraits and busts of some of the leading Czech figures of the 19th and 20th centuries, such as professor of conservatory and harpist Václav Klička [] or the painter Láďa Novák [], published in the magazines Zlatá Praha 1924/1925 and 1925/1926, respectively, as well as a portrait of the prominent Czech Egyptologist Professor František Lexa. He also created portraits of historical figures, such as the 17th century's Czech revolutionary leader Jan Sladký Kozina, and many others.  Since the beginning of his artistic career, free creation has remained the core of his work - he created a number of smaller sculptures with philosophical themes such as "Eternal Question", "Life and Love", "Desire", "Twilight", and others. He also cooperated with a Czech lodge of Freemasons and created for them several works with the symbolism of order.  His red marble (slivenec) statue of the Czech poet Karel Hynek Mácha, based on several designs created for the Society for the Restoration of Karel Hynek Mácha's Memorial, was elevated and ceremonially unveiled in 1936 at the north coast of the Mácha Lake in Staré Splavy near Doksy, on the top of Jarmilina skála, the rock where Jarmila, one of the main figures in the poet's most famous work - Máj, jumped into the lake and ended her life. In 1939, however, the statue was torn down by Sudeten German Party ("Sudetendeutsche Heimatfront" of Konrad Henlein) during the fascist occupation of the area. Later, it was requested by Bělá pod Bezdězem and relocated further from the lake on top of Hůrka, where it remains till today, although the locality does not have the original context to the Society's intent. The original design is now stored in the Museum in Česká Lípa.  In 1937, his 2,5 meter-high clay sculpture of a blacksmith was installed on the front of the house of a famous Czech engineer, Emil Kolben, at his residence in Břevnov at the street Na Vypichu (today's Bělohorská No. 1202). The statue was destroyed during the reconstruction of the house in 1979.

Fine art and watercolours.

In the late thirties (1930s), Leonard Rotter embraced the technique of watercolor, as the demand of plastic art generally declined due to the difficuilt war times. His aquarelles mostly depicted various alleys and monuments of Prague. He dedicated many years to create paintings of the Convent of St. Agnes.

Legacy.

František Dvořák, Czech art historian, about Leonard Rotter at the exhibition of his watercolour paintings of Malá Strana and Hradčany districts, in 1957 at Malostranská beseda:  ""... He knows both districts with his heart, not just with his eyes, he can depict them internally, not just with his technique, he knows his topics for several decades and he likes them"."

Selection of works.

"Desire", 1940s  "Eternal question", 1940s  "Life and Love", 1930s  "Twilight", 1930s  "Globus"  "K. H. Mácha", 1936  "Blacksmith", 1937  "Emil Zátopek"  "Convent of St. Agnes", 1959  "Prague Venice", 1959  "Funambulists at St. Castulus", 1949

External links.

Leonard Rotter - akvarely a sochy, Horácká galerie, Youtube video

Leonard Rotter (September 14, 1895, Vienna-Floridsdorf - July 14, 1963, Prague) was a Czech sculptor, woodcarver, and watercolour painter. He is not identical with the landscape painter signed as L. B. Rotter from Uherské Hradiště, whose oil paintings are often presented in auctions under the identity of Leonard Rotter.


Personal life.

Asderaki was born on 27 January 1982 in Chalcis, Greece. As a youngster, she started playing tennis. She was once ranked the seventh best under-16 tennis player in Greece.  Asderaki has lived in England and now lives in Australia with her husband Paul Moore. The couple married in 2012 in London, and they had their first child in July 2018.

Career.

Asderaki has a gold umpiring accreditation from the International Tennis Federation. She started as a line judge at her local tennis club in 1997, and she earned her first ITF umpiring badge in Thessaloniki in 2000. From 2000 to 2008, she studied umpiring in Luxembourg. She is the only current international Greek tennis umpire.  Asderaki's first professional event was in Athens in 2000. The event had a prize equivalent to around 10,000€ for the winner. Asderaki started umpiring internationally in 2001, and her first international event was in Israel. Asderaki umpired at the 2004 Summer Olympics in Athens, Greece. In 2007, she started regularly umpiring in WTA tour events.  In 2011, Asderaki umpired in the women's singles events at Wimbledon, and the US Open. During the US Open final, she had a verbal disagreement with Serena Williams, after overturning a point as Williams had shouted during the rally. Williams later said that Asderaki was "ugly on the inside," although Williams later claimed that she had mistaken Asderaki for another umpire that she had disagreed with on a previous occasion.  In 2013, Asderaki umpired the women's singles final at Wimbledon. In 2015, Asderaki became the first woman to umpire a men's US Open tennis final when she umpired the final between Novak Djokovic and Roger Federer. Her umpiring performance was seen as so good that she was more popular than Djokovic and Federer on social media after the final, and Asderaki considers it the highlight of her career. In 2016, she umpired at the Australian Open, her home grand slam, for the first time. She umpired at the 2018 Fed Cup whilst pregnant. She umpired at the 2019 Wimbledon Championships, included the men's singles semi-final between Novak Djokovic and Roberto Bautista Agut. She umpired a 2019 US Open match between Federer and Damir Džumhur during which Džumhur was criticised for shouting at Asderaki. In 2020, Asderaki umpired the Australian Open women's singles final between Sofia Kenin and Garbiñe Muguruza.

Eva Asderaki (, born 27 January 1982), also known by her married name Eva Asderaki-Moore, is a Greek tennis umpire, who has umpired international tennis matches since 2001. She has umpired at all four Grand Slam tournaments, and in 2015, she became the first woman to umpire a men's US Open tennis final.


Background.

The previous long-duration expedition to Mir, EO-3, was intended to break the record for spaceflight duration of 326 days set by Yuri Romanenko during Mir EO-2. The physician Valeri Polyakov was sent to the station part way through EO-3 so that he could observe the cosmonauts at the end of their record duration flight. Polyakov then stayed aboard Mir to observe the EO-4 crew.

Crew.

Volkov, the only crew member who had been to space before, had one previous spaceflight. It was a two-month mission in 1985 to the space station Salyut 7, launched by the spacecraft Soyuz T-14. This expedition, Salyut 7 EO-4, was intended to be 6 months long, but the Commander Vladimir Vasyutin became ill, and the mission was shortened, forcing the cosmonauts to leave the station unmanned. Volkov became father of the first ever second-generation cosmonaut, when his son Sergey Volkov became Commander of the International Space Station's Expedition 17 in 2008.  This was Krikalev's first spaceflight, and he went on to have a further five missions to space. As of 2010 he holds the record for the longest cumulative time spent in space, at 803 days. His most recent spaceflight was in 2005, as Commander of the International Space Station's Expedition 11.  Polyakov, a physician, arrived at the station part way through the previous expedition, Mir EO-3. He had never been in space before, but would later have one more spaceflight, which would span three Mir expeditions: EO-15, EO-16, and EO-17. His second spaceflight, launched on Soyuz TM-18 in January 1994, would last 437 days, and as of 2010, still holds the record for the longest ever spaceflight.

Mission highlights.

During this mission experiments in 16 different fields were performed as topografic and spectrografic research of the Earth surface, biological and medical research (including blood and heart-tests).

Launch.

The French president at the time, François Mitterrand, insisted on attending the launch of the Soyuz TM-7, of which Frenchman Chrétien was a crew member. This caused the launch to be delayed by four days, and hence reducing Chrétien's time in space. Mitterrand flew to the launch site in Baikonur in a Concorde.  On November 28, two days after launch, the Soyuz TM-7 spacecraft docked to Mir, and for the first time six cosmonauts were simultaneously aboard the complex.

Mir Aragatz.

From November 28 to December 21, 1988, there were six people aboard the station: the three crew members of EO-4, Titov and Manarov who were finishing EO-3, and the visiting French cosmonaut Jean-Loup Chrétien who had launched aboard Soyuz TM-7 on 26 November. Chrétien's flight was referred to as the French "Aragatz" mission. This was Chrétien's second spaceflight, his first was a short mission to Salyut 7, which was launched with the spacecraft Soyuz T-6, and lasted for about a week. After 24.8 days aboard the station, Chrétien returned to Earth aboard Soyuz TM-6 on 21 December.  A highlight of the Aragatz mission was the spacewalk which was performed by Volkov and Chrétien on 9 December 1988, and lasted for 5 hours and 57 minutes. It was the first spacewalk conducted by someone not from the Soviet or U.S. space programs. Its purpose was to install the 240 kg French experimental deployable structure, known as ERA, and a panel of material samples.  On December 15, 1988, Titov and Manarov's 359th day in space, the EO-3 crew officially broke the spaceflight duration record by the required 10%; the record had previously been set by Yuri Romanenko, who had a 326-day spaceflight aboard Mir during EO-2. Both the French mission and EO-3 ended when Chrétien, Titov, and Manarov landed in the spacecraft Soyuz TM-6 on December 21, which occurred six hours after undocking from Mir.

Progress 39.

On December 27, shortly after Soyuz TM-6 departed, the expedition's first Progress resupply spacecraft docked with the station, two days after its launch. This model of resupply spacecraft, Progress 7K-TG, had been used for resupply missions to Soviet space stations since 1978. Progress 39 delivered 1,300 kg of supplies to the EO-4 crew, and remained docked to the station for 42 days.  During this time, Progress 39 was used to boost the orbit of the space station. This was necessary due to the greater than normal atmospheric drag. The extra drag was caused by atmospheric expansion, which in turn was caused by the solar maximum occurring at the time, during solar cycle 22. The boost changed the Perigee and Apogee of the station from 325 km and 353 km AMSL to 340 km and 376 km, respectively. After the boost, Krikalev reported that he was unable to visually detect the change in altitude.  The EO-4 crew filled Progress 39 with waste and excess equipment used during the Aragatz mission, and then the spacecraft undocked on February 7, and was intentionally destroyed during atmospheric reentry later that day.

Progress 40.

On February 10, the next resupply spacecraft, Progress 40 was launched, and it docked with Mir two days later. It remained docked to Mir for 18 days. During this time, it was announced that due to delays in the production of the Kristall module, the launch of the next Mir module, Kvant-2, would also be delayed. It was also announced that as a result, Mir would be left unmanned following EO-4.

Progress 41.

The final Progress resupply spacecraft of the expedition docked with the station on March 19, and remained docked for 33 days. Progress 41 was the second last Progress spacecraft to use the original design (the last being Progress 42, which resupplied Mir EO-6 in 1990). The updated design would be called Progress-M, and its first flight would be Progress M-1 in August 1989, just prior to the arrival of the Mir EO-5 crew in September.

Leaving Mir unmanned.

All three crew members left Mir on board Soyuz TM-7 on 27 April 1989, bringing EO-4 to an end. For Volkov and Krikalev the mission lasted for 151d 11h 08m and for Polyakov 240d 22h 34m.

Mir EO-4 (also called Principal Expedition 4) was the fourth long-duration expedition to the Soviet space station Mir. The expedition began in November 1988, when crew members Commander Aleksandr Volkov and Flight Engineer Sergei Krikalev arrived at the station via the spacecraft Soyuz TM-7. The third crew member of EO-4, Valeri Polyakov, was already aboard Mir, having arrived in August 1988 part way through the previous expedition, Mir EO-3.


Early career.

Malár played on loan at Slavia Prague during the spring part of the 1998–99 Gambrinus liga, scoring four goals.  Malár had a spectacular season in the 1999–2000 Czech 2. Liga, scoring hat-tricks in two consecutive games. The first one, against Prostějov, took 37 minutes, while the second, a week later against Bohdaneč took more than an hour. At the winter break his tally was 16 goals for Synot in the first 15 matches of the competition. This led to him signing a new contract with the club in December 1999, lasting until June 2002. He finished the season as the league's top scorer with 24 goals, helping his club to first place and promotion to the Gambrinus liga.

Late career.

Malár joined Sparta Prague in December 2001, although his spell lasted just half a year and he subsequently returned to Synot.  After two more years at Synot, which changed its name to Slovácko, Malár headed to Zlín, where he continued to play top-flight football, albeit just for one season. Another season at Slovácko followed, before Malár signed a two-year contract with Viktoria Plzeň in September 2006. He later returned to Zlín in 2007 for one last spell in the top flight, leaving half-way through the 2008–09 Gambrinus liga, in which Zlín were ultimately relegated.  Malár went on to play on a non-professional basis for MSK Břeclav in the MSFL in 2009. In 2012 Malár was playing fifth-tier football for FC Kyjov 1919, scoring his first goal for the club in a 1–0 win against IE Znojmo in September 2012.

Vladimír Malár (born 12 February 1976) is a Czech former football player. He played in the top flight of his country, making more than 200 top-flight appearances in the Gambrinus liga.


LC circuits.

Resonance of a circuit involving capacitors and inductors occurs because the collapsing magnetic field of the inductor generates an electric current in its windings that charges the capacitor, and then the discharging capacitor provides an electric current that builds the magnetic field in the inductor. This process is repeated continually. An analogy is a mechanical pendulum, and both are a form of simple harmonic oscillator.  At resonance, the series impedance of the two elements is at a minimum and the parallel impedance is at maximum. Resonance is used for tuning and filtering, because it occurs at a particular frequency for given values of inductance and capacitance. It can be detrimental to the operation of communications circuits by causing unwanted sustained and transient oscillations that may cause noise, signal distortion, and damage to circuit elements.  Parallel resonance or near-to-resonance circuits can be used to prevent the waste of electrical energy, which would otherwise occur while the inductor built its field or the capacitor charged and discharged. As an example, asynchronous motors waste inductive current while synchronous ones waste capacitive current. The use of the two types in parallel makes the inductor feed the capacitor, and "vice versa", maintaining the same resonant current in the circuit, and converting all the current into useful work.  Since the inductive reactance and the capacitive reactance are of equal magnitude, so where formula_3, in which is the resonance frequency in hertz, is the inductance in henries, and is the capacitance in farads, when standard SI units are used.  The quality of the resonance (how long it will ring when excited) is determined by its, which is a function of resistance: formula_4. An idealized, lossless circuit has infinite, but all actual circuits have some resistance and finite, and are usually approximated more realistically by an circuit.

RLC circuit.

An RLC circuit (or LCR circuit) is an electrical circuit consisting of a resistor, an inductor, and a capacitor, connected in series or in parallel. The RLC part of the name is due to those letters being the usual electrical symbols for resistance, inductance and capacitance respectively. The circuit forms a harmonic oscillator for current and resonates similarly to an LC circuit. The main difference stemming from the presence of the resistor is that any oscillation induced in the circuit decays over time if it is not kept going by a source. This effect of the resistor is called damping. The presence of the resistance also reduces the peak resonant frequency of "damped" oscillation, although the resonant frequency for "driven" oscillations remains the same as an LC circuit. Some resistance is unavoidable in real circuits, even if a resistor is not specifically included as a separate component. A pure LC circuit is an ideal that exists only in theory.  There are many applications for this circuit. It is used in many different types of oscillator circuits. An important application is for tuning, such as in radio receivers or television sets, where they are used to select a narrow range of frequencies from the ambient radio waves. In this role the circuit is often referred to as a tuned circuit. An RLC circuit can be used as a band-pass filter, band-stop filter, low-pass filter or high-pass filter. The tuning application, for instance, is an example of band-pass filtering. The RLC filter is described as a "second-order" circuit, meaning that any voltage or current in the circuit can be described by a second-order differential equation in circuit analysis.  The three circuit elements can be combined in a number of different topologies. All three elements in series or all three elements in parallel are the simplest in concept and the most straightforward to analyse. There are, however, other arrangements, some with practical importance in real circuits. One issue often encountered is the need to take into account inductor resistance. Inductors are typically constructed from coils of wire, the resistance of which is not usually desirable, but it often has a significant effect on the circuit.

Example.

A series RLC circuit has resistance of 4 Ω, and inductance of 500 mH, and a variable capacitance. Supply voltage is 100 V alternating at 50 Hz. At resonance formula_5. The capacitance required to give series resonance is calculated as:  Resonance voltages across the inductor and the capacitor, formula_8 and formula_9, will be:  As shown in this example, when the series RLC circuit is at resonance, the magnitudes of the voltages across the inductor and capacitor can become many times larger than the supply voltage.

Electrical resonance occurs in an electric circuit at a particular "resonant frequency" when the impedances or admittances of circuit elements cancel each other. In some circuits, this happens when the impedance between the input and output of the circuit is almost zero and the transfer function is close to one.


Concept.

Systems design is a process of defining and engineering the architecture, methods, and interfaces necessary to accomplish a goal or fulfill a set of requirements. In open systems architecture the design includes intentional provisions to make it possible to expand or modify the system at a later stage after initial operation. There is no one specific universal OSA, but it is essential the specific OSA applicable to a system is rigorously defined and documented. For example, in information technology and telecommunication, such design principles lead to open systems.

Telecommunications.

In telecommunication, open systems architecture (OSA) is a standard that describes the layered hierarchical structure, configuration, or model of a communications or distributed data processing system. It enables system description, design, development, installation, operation, improvement, and maintenance to be performed at the abstraction layers in the hierarchical structure. Each layer provides a set of accessible functions that can be controlled and used by the functions in the layer above it. Each layer can be implemented without affecting the implementation of other layers. The alteration of system performance by the modification of one or more layers may be accomplished without altering the existing equipment, procedures, and protocols at the remaining layers.  Examples of independent alterations include the conversion from wire to optical fiber at a physical layer without affecting the data link layer or the network layer, except to provide more traffic capacity, and the altering of the operational protocols at the network level without altering the physical layer.

Open systems architecture is a system design approach which aims to produce systems that are inherently interoperable and connectable without recourse to retrofit and redesign.


History.

A-Eon Technology is a privately funded company co-founded by Trevor Dickinson. The focus of A-Eon was on the high-end and a partnership with Hyperion Entertainment was formed to allow discussion with key AmigaOS 4 developers about what such a next generation AmigaOS 4 computer would need. With the end of the AmigaONE line from Eyetech and lack of success porting the OS to third party machines, A-Eon decided to continue the AmigaONE line themselves with more up to date technology. One important decision made during this early phase was that the AmigaOne X1000 should be a complete system built around a bespoke motherboard with a customised case and peripherals. This contrasts with the adapted reference design strategy used by Eyetech for the original AmigaOne series.  Even before the 'wish list' was completed, hardware design company Varisys had been chosen as a partner based on their track record both with the PowerPC architecture and with parallel computing. The decision to form a partnership with Varisys had the consequence of bringing XMOS chips to the AmigaOne X1000, as it is the connection between XMOS and the Varisys team, dating back to earlier work on the Inmos Transputer, that led to the suggestion of including an XMOS XCore chip on the X1000 motherboard. This XCore chip is referred to by A-Eon as the 'Xena' Coprocessor.  The first prototype machines were manufactured during mid-2009 and Hyperion Entertainment began the process of porting the AmigaOS to the X1000 in late 2009. By mid-June 2010, the X1000 was booting AmigaOS from hard disk and the machine made its debut at the Vintage Computer festival at Bletchley Park on the weekend on the 19 and 20 June 2010.

Release.

The original intention was that the machine would be available before Summer 2010, but A-Eon Technology announced at the Vintage Computer festival that the release had been delayed. By August 2011, hardware designer and manufacturer Varisys had begun the first production run of revision 2.1 boards destined for the AmigaOne X1000 beta test team. In January 2012 A-Eon announced that Amiga Kit would start shipping the AmigaOne X1000 to customers with AmigaOS4.1 Update 5. It would also be supplied with a license for AmigaOS4.2 which could be downloaded when it is released by Hyperion Entertainment some years after it was announced.

Specifications.

The specifications from A-EON Technology's website:

Xena coprocessor.

The 'Xena' coprocessor is an XMOS XCore MCU integrated on the X1000 motherboard and connected a non-standard expansion slot, called the 'Xorro' slot, named after the Zorro bus used in the Commodore Amiga. However, it uses a PCI-express like connector, using a custom I/O layout. The XMOS processor is connected to the local CPU bus in addition to the Xorro slot, allowing timing critical custom hardware to be controlled by the I/O optimized XCore without loading the main processor.

Xorro.

Xorro is a new slot using an industry standard PCIe ×8 form factor to give access to the 'Xena' I/O. This will be the route to Xena's 64 I/O lines, which are dynamically configurable as input, output, or bidirectional. 'Xorro' will allow bridging Xena to external hardware for control purposes, to internal systems, or to other XCore processors. This last point is worth more exploration; XCore is a parallel processing architecture; more XCores can be chained together if more computing power is required.(XK-XMP-64 Development Board). Reference boards have been made with up to 256 cores, offering a theoretical 102400 MIPS.

Reception.

A-Eon were able to successfully produce a system that did not have hardware issues (unlike previous AmigaONE boards), and in shipping it in volumes that its detractors claimed would be unlikely. It also took significantly longer to arrive than announced.  "The Inquirer" criticized its very high price, comparing the X1000 to a golden chocolate teapot with Amiga fanatics as the target market. "Amiga Future" magazine also mentioned high price along with lack of drivers as main weak points of the fastest hardware available for AmigaOS 4.  Also there was criticism that the Xena chip was simply a 'gimmick' that delivered little to the system, despite many optimistic forecasts of what it could be used for. First use of the new chip is for debugging output of the same computer (no need for second computer).  Finally, the choice of the PA-6T processor has proven controversial. A dual core processor, the second core is not used by AmigaOS.  With the PA6T being an end-of-line CPU, A-EON have announced three new boards, the X3500, X5000/20 and X5000/40 to continue the AmigaOne line using Freescale PowerPC SoC chips. The contract price for developing new motherboard is £1.2 Million

AmigaOne X1000 is a PowerPC-based personal computer intended as a high-end platform for AmigaOS 4. It was announced by A-Eon Technology CVBA in partnership with Hyperion Entertainment. Its name pays homage to the Amiga 1000 released by Commodore in 1985. It is, however, not hardware compatible with the original Commodore Amiga system.


Geography.

Cathan is located at (48.113880, -122.274621).  According to the United States Census Bureau, the CDP has a total area of 2.7 square miles (6.9 km2), of which, 2.7 square miles (6.9 km2) of it is land and 0.04 square miles (0.1 km2) of it (1.12%) is water.

Demographics.

As of the census of 2000, there were 526 people, 176 households, and 136 families residing in the CDP. The population density was 198.1 people per square mile (76.6/km2). There were 181 housing units at an average density of 68.2/sq mi (26.4/km2). The racial makeup of the CDP was 90.11% White, 0.38% African American, 3.61% Native American, 1.52% Asian, 0.57% Pacific Islander, and 3.80% from two or more races. Hispanic or Latino of any race were 2.66% of the population.  There were 176 households out of which 38.6% had children under the age of 18 living with them, 65.3% were married couples living together, 8.0% had a female householder with no husband present, and 22.7% were non-families. 14.8% of all households were made up of individuals and 0.6% had someone living alone who was 65 years of age or older. The average household size was 2.99 and the average family size was 3.28.  In the CDP, the age distribution of the population shows 28.9% under the age of 18, 7.6% from 18 to 24, 30.4% from 25 to 44, 28.9% from 45 to 64, and 4.2% who were 65 years of age or older. The median age was 37 years. For every 100 females, there were 108.7 males. For every 100 females age 18 and over, there were 102.2 males.  The median income for a household in the CDP was $58,875, and the median income for a family was $61,250. Males had a median income of $44,375 versus $31,339 for females. The per capita income for the CDP was $20,940. About 1.5% of families and 1.8% of the population were below the poverty line, including 1.3% of those under age 18 and none of those age 65 or over.

Cathan is a former census-designated place (CDP) in Snohomish County, Washington, United States. The population was 526 at the 2000 census. The CDP was discontinued at the 2010 census.


DDTT series.

VR30DDTT.

Announced by Infiniti on December 15, 2015 the VR30DDTT was first made available in the Infiniti Q50 sedan, followed by the Infiniti Q60 coupé a year later. Both platforms come in a version. It is on the Ward's 10 Best Engines list for 2017 and 2018.  Features:  Applications:

Production.

Production of the VR30DDTT engine began in 2016 at the powertrain plant in Iwaki, Fukushima, Japan.

DETT series.

VR38DETT.

Designated the VR38DETT by Nissan, the engine is currently used in the 2007–present Nissan GT-R and the limited production Nissan Juke-R.  The VR38DETT features 24 valves controlled by dual overhead camshafts (2 per cylinder head) with variable valve timing on the intake only. The block is cast aluminium with plasma-sprayed cylinder liner bores. This coating provides a hard protective layer for the piston rings to slide on as the piston moves up and down during its power cycle. The turbine housings for the two IHI turbochargers are integrated into the exhaust manifolds to decrease weight and bolster vehicle balance. The engine also features a pressurized lubrication system controlled thermostatically. The VR38DETT is equipped with a feedback control system that changes air fuel ratio depending on the engine load which has a significant effect on reducing the fuel consumption. Fully equipped with the first set of catalytic converters, turbos, all of the engine driven accessories, front differential assembly, and turbo outlet pipes, the engine weighs.  Other pertinent features of the VR38DETT include:  Applications:

VR38DETT NISMO Engine Tuning Menu Concept (2016).

It is a version of VR38DETT engine used in Nissan GT-R, with GT3-spec camshaft, connecting rod and connecting rod bolt, intercooler, intercooler piping, turbocharger, NISMO 1st and 2nd catalyzers, titanium muffler.  The engine was unveiled in 2016 Tokyo Auto Salon.

Production.

The engines are hand built by only four specially trained mechanics called "Takumi Craftsmens" on a special line at Nissan's Yokohama plant and their names are badged on every GT-R engine. The cars are built at their Tochigi plant on a shared production line.

The VR is a series of twin-turbo DOHC V6 automobile engines from Nissan with displacements varying from. An evolution of the widely successful VQ series, it also draws on developments from the VRH, JGTC, and Nissan R390 GT1 Le Mans racing engines.


Plot.

Glee club director Will Schuester is informed that the school budget will not cover a handicap-accessible bus to transport the glee club to sectionals, which means that Artie Abrams (Kevin McHale) will have to travel separately from the rest of the club. Will encourages the other club members to support Artie, not only by holding a bake sale to raise funds for a handicap bus, but also by spending time in wheelchairs to experience what life is like for him. Meanwhile, Quinn Fabray (Dianna Agron) is struggling to cover the medical expenses of her pregnancy, and threatens to break up with Finn Hudson (Cory Monteith) if he cannot pay her ultrasound bill. Puck (Mark Salling) fights with Finn, whom he feels is not doing enough to support Quinn. By including cannabis in the cupcakes, Puck ensures the bake sale is a success and offers Quinn the money raised. She apologizes for previously calling him a loser, but refuses to accept the money, and is relieved when Finn is able to find a job.  Rachel Berry (Lea Michele) and Kurt Hummel (Chris Colfer) compete for a solo on "Defying Gravity". The part, normally performed by a female, is initially offered to Rachel, but when Kurt's father Burt (Mike O'Malley) complains to Principal Figgins (Iqbal Theba) that his son is being discriminated against, Kurt is allowed to audition along with Rachel. Burt receives an anonymous abusive phone call about his son's sexual orientation, and Kurt deliberately sabotages his own audition to spare his father further harassment.  Artie reveals the origin of his disability to Tina Cohen-Chang (Jenna Ushkowitz), explaining that he was paralyzed in a car accident at the age of eight. He likens his wheelchair use to Tina's speech impediment. The two go on a date and kiss, but part on bad terms when Tina confesses that she has been faking her speech impediment since the sixth grade, in order to deflect attention from herself, but now feels she no longer needs to, having been given confidence by the glee club.  Having previously removed Quinn from the cheerleading squad due to her pregnancy, coach Sue Sylvester is forced to hold open auditions to find a replacement. She accepts Becky Jackson (Lauren Potter), a sophomore with Down syndrome. Will is suspicious of her motives, increasingly so when Sue donates money to the school to fund three new handicap ramps for students with disabilities. Sue is later seen visiting her older sister, Jean (Robin Trocki), who also has Down syndrome, and lives in a residential home for people with disabilities. In the end, the glee club performs "Proud Mary", staging the entire routine in wheelchairs in support of Artie.

Production.

Kevin McHale deemed "Wheels" the "most serious" episode of "Glee" so far. He enjoyed Artie's character development in the episode, explaining that when he was cast in the role, he did not know Artie's background and thus made up his own backstory for him. He believed that Artie became paralysed later in life, rather than being born that way, which was proven correct in "Wheels". Of the burgeoning romance between Artie and Tina, McHale opined: "I think Tina and Artie will be together. I think they will be a couple for a long time." He explained that from the beginning of the show's production, creator Ryan Murphy expressed the belief that Artie and Tina should be together, and so he and Jenna Ushkowitz deliberately sat close to one another during filming, assuming that it would eventually happen. McHale was shocked by Artie's reaction to Tina's faked stutter, and was initially unsure "why he was being so dramatic". He concluded however: "I really think Artie fell for Tina because they were set apart by their disabilities. They're already kind of outcasts being in glee, but within that group they shared a connection. So he based their whole relationship on that and when it went away, Artie didn't know what to do." McHale and Ushkowitz hope that their characters will ultimately become a couple, as they are best friends in real life. Murphy called "Wheels" "the turning point for the show". He elaborated: "Certainly, after this, it remains a comedy, and it's fun. But writing this made me feel the responsibility of showing the truth of the pain that outcasts go through. It's not all razzle-dazzle show business. It's tough, and it's painful, and it was for me growing up, and it is for most people." Murphy commented that the episode caused him to realize that, as well as highlighting the "fun and glamour" of glee clubs, it is also occasionally "really great [...] to show the underbelly of what people who are different feel."  Recurring characters who appear in the episode are Kurt's father Burt Hummel (O'Malley), glee club members Brittany (Heather Morris), Santana Lopez (Naya Rivera), Mike Chang (Harry Shum, Jr.) and Matt Rutherford (Dijon Talton), school reporter Jacob Ben Israel (Josh Sussman), Principal Figgins (Theba) and former glee club director Sandy Ryerson (Stephen Tobolowsky). "Wheels" guest stars Cheryl Francis Harrington and Jeff Lewis as a nurse and manager at a local residential facility, and also introduces two characters with Down syndrome, Robin Trocki as Sue's sister Jean Sylvester, and Lauren Potter as Becky Jackson, a sophomore at William McKinley High School. Potter is a member of the Down's Syndrome Association of Los Angeles, and was contacted about auditioning through the association's in-house talent agency, Hearts and Hands. Fourteen actresses auditioned for the role, which Potter deemed "a great experience" to perform.

Music and choreography.

The episode features cover versions of Nouvelle Vague rendition of "Dancing with Myself", "Defying Gravity" from "Wicked" and the Ike & Tina Turner rendition of "Proud Mary". "Glee" cast versions of the songs, including both Michele and Colfer's solo performances of "Defying Gravity", were all released as singles available for digital download. While "Proud Mary" and "Dancing With Myself" did not chart, "Defying Gravity" reached number 58 in Australia, 38 in Canada and 31 in America. A duet version of "Defying Gravity" appeared on the soundtrack album "".  Murphy selected "Defying Gravity" for the episode after Colfer relayed a story from his own high school days, whereby his drama teacher refused to let him sing the song because of his sex. Murphy explained: "I found a way to write it into the show because that's in a nutshell what this show is about: someone being told that they can't do something because of what the perception of them is as opposed to what their real ability is." Colfer stated that the opportunity to finally sing the song "really meant the world" to him, and that: "It's absolutely terrifying to watch yourself do something you've dreamed about for such a long time. I know I'm definitely not the best singer, but I think the message, the story behind the song about defying limits and borders placed by others, hopefully all that gets across with the performance. Although I do some very 'Kurtsy' things in the song, it's probably one of the most honest and close-to-heart scenes I've ever filmed or performed for that matter."  "Dancing With Myself" is McHale's first solo performance on the show. Murphy commented that the performance is Artie's chance to "break away from being misunderstood by everyone" and express himself, explaining that although Artie is usually "a very secure guy" who does not care about others' opinions of him, "Wheels" sees his friends take his disability for granted: "So this performance is all about him saying, 'Look, this is who I am, and this is who I want to be. McHale has stated that performing as Artie has made him more aware of the challenges that people with disabilities face: "It's a completely different side of life. More than ever, I realize how grateful I am to be able to get up between each take and walk around. I'm glad that I can represent that kind of life on television so millions of people see it every week. And the whole point of it is to show that Artie can still do everything everyone else can that matters."  "Glee" choreographer Zach Woodlee described "Proud Mary" as the "scariest" number produced to date, citing concerns with choreographing an entire routine in wheelchairs and problems building the correct staging. Woodlee explained the stage ramps were initially built too steeply, preventing the actors from ascending them in wheelchairs, and that the actors experienced problems learning to distribute their weight correctly, flipping the wheelchairs over backwards: "It was like roller derby. All of the actors would fall backwards and hit their heads—particularly Lea Michele. You lose your balance really quick when you try to go up a ramp in a wheelchair. Amber Riley caught an edge going down a ramp and fell off completely. There were pile-ups; there were crashes. Basically, everything that could go wrong, did." Murphy specified to Woodlee that cast members should not be able to leave their wheelchairs during the number, as: "Artie doesn't get to get up ever, so I didn't want anyone to get up." Woodlee agreed: "If it looked too fun and easy, it wouldn't read right. Ryan really wanted people to understand what Artie deals with."

Reception.

"Wheels" was watched by 7.35 million US viewers, and attained a 3.3/8 rating/share in the 18–49 demographic. It was the twenty-second most watched show in Canada for the week of broadcast, attaining 1.69 million viewers. In the UK, the episode was watched by 1.877 million viewers (1.463 million on E4, and 414,000 on E4+1), becoming the most-watched show on E4 and E4 +1 for the week, and the most-watched show on cable for the week.  Director Paris Barclay was nominated for the Directors Guild of America Award for Outstanding Directing of a Comedy Series for his work on "Wheels", competing against "Glee" creator Ryan Murphy, who was nominated for his work on "Glee" pilot episode. The 62nd Primetime Emmy Awards again saw Barclay nominated for the "Outstanding Directing for a Comedy Series" award for "Wheels" against Murphy for "Pilot". O'Malley was also nominated for the "Outstanding Guest Actor in a Comedy Series" award for his role in the episode as Burt Hummel. Production mixer Phillip W. Palmer and re-recording mixers Joseph H. Earle Jr. and Doug Andham were nominated for the "Outstanding Achievement in Sound Mixing for a Television Series" award at the 2009 Cinema Audio Society Awards for their work on "Wheels". The episode was honored at the 2010 Television Academy Honors for exemplifying "Television with a Conscience". The Academy of Television Arts & Sciences called it a "dynamic" episode, which "paint[s] a portrait of how we treat others—and how we can do it better."

Critical reaction.

The episode attracted criticism from a committee of performers with disabilities, who felt that casting an able-bodied actor to play a disabled student was inappropriate. "" star Robert David Hall commented: "I think there's a fear of litigation, that a person with disabilities might slow a production down, fear that viewers might be uncomfortable." "Glee" executive producer Brad Falchuk responded that while he understood the concern and frustration of disability advocates, McHale had the singing and acting ability and charisma required for the role and: "it's hard to say no to someone that talented". McHale has stated that he is pleased to represent a character in a wheelchair, and that: "I think what's great about it is just because he's in a wheelchair, he can still do what everyone else does." Kristin Dos Santos of E! Online refuted criticism of the episode, opining that: Wheels' is all about empowering people with disabilities and sends out an uplifting message to the disabled community." Gerrick Kennedy of the "Los Angeles Times" expressed a similar sentiment, stating: "Here we have an episode bluntly addressing the complexities of disability and doing so with so much respect and dignity, and there are complaints about Artie not being wheelchair-bound in real life? Cooooome on, guys."  Tim Stack for "Entertainment Weekly" called "Wheels" a "great, great episode", stating that it made him cry several times. MTV's Aly Semigran also commented that the episode brought her to tears, suggesting that Lynch's performance was Emmy-worthy and deeming "Wheels" "a truly standout hour of TV". Raymund Flandez of "The Wall Street Journal" reviewed the episode positively, calling Artie's rendition of "Dancing With Myself" "catchy" and "upbeat" and praising Rachel's "Defying Gravity" audition, which he wrote: "leaves us wanting for more." Kennedy described the episode as "sheer perfection", and James Poniewozik of "Time" made the pun: ""Glee" always been a pleasure, but if it raises its storytelling ambitions this way, it can really defy gravity."  Alan Sepinwall of "The Star-Ledger" wrote that while he generally finds "Glee" to be "a show with a serious identity crisis", he did not dislike "Wheels" as much as previous episodes. Sepinwall wrote that while "Glee" can be "broad and in-your-face and self-congratulatory", this episode was "much more human-scaled [and] much more interesting." Maureen Ryan of the "Chicago Tribune" similarly commented that while other episodes of "Glee" lack "coherence and narrative drive", "Wheels" did not have this problem, describing it as "a case study of what "Glee" does right" and deeming Artie and Kurt's storylines "provocative and thoughtfully handled."  Mike Hale of "The New York Times" felt that the episode was problematic. He thought that having Kurt sabotage his own audition sent out a "mixed message", and believed that actress Lauren Potter was "used as a prop in the continuing humanization of Sue Sylvester." Hale wrote that the storyline felt "smarmy and artificial", though praised Lynch for making the scene with Sue's sister "warm and real". "Entertainment Weekly" Dan Snierson felt that the revelation about Sue's sister was "a little manipulative", though wrote that he "didn't care in that glorious moment." He hoped that "Glee" writers would not humanize Sue too often, however, fearing that she would lose her "dictatorial swagger". Eric Goldman for IGN rated the episode 7.5/10, commenting: "I really hope that episode was about getting a lot of 'issue' storylines out of the way all at once, because that was a lot of overkill." He felt that, although the episode contained "the usual strong humor, warm character moments and catchy musical performances", overall it felt "very afterschool special".

"Wheels" is the ninth episode of the American television series "Glee". Written by series co-creator Ryan Murphy and directed by Paris Barclay, the episode premiered on the Fox network on November 11, 2009. "Wheels" sees the glee club hold a bake sale to raise money for a handicap accessible bus, so that club member Artie (Kevin McHale) can travel with them to sectionals and Will (Matthew Morrison) challenges the students to experience life from a different point of view. Quinn (Dianna Agron) struggles with the medical expenses incurred by her pregnancy, and Puck (Mark Salling) renews his offer to support her. Sue (Jane Lynch) accepts a student with Down syndrome onto the cheerleading squad, and Kurt (Chris Colfer) and Rachel (Lea Michele) compete for a solo performance.


Background and composition.

The season one finale of "Glee" first aired on Fox on June 8, 2010, in the US. The episode sees the fictional William McKinley High School glee club New Directions compete at the 2010 Midwest Regional Show Choir Championships. Director Will Schuester (Matthew Morrison) decides to have New Directions pay tribute to American rock band Journey. This was not only as homage to the cast's cover of "Don't Stop Believin' in the season one premiere that led to his decision to remain at the school, but as a representation of the path undertaken to arrive at the Regionals level of competition. They perform a medley of Journey songs: the love ballad "Faithfully", with Lea Michele and Cory Monteith on lead vocals as Rachel Berry and Finn Hudson, respectively, transitions into a mashup of "Any Way You Want It" and "Lovin', Touchin', Squeezin". This ends with a reprise of "Don't Stop Believin", where each cast member sings a portion of the song. Rival choir Vocal Adrenaline performs a cover of Queen's "Bohemian Rhapsody" thereafter, with Jesse (Jonathan Groff) on lead vocals. At the end of the episode, New Directions decides to show appreciation for Schuester with a rendition of Lulu's "To Sir With Love", the theme of the 1967 film of the same name. He returns the honor, performing Israel Kamakawiwoʻole's reinvention of "Over the Rainbow" along with glee club member Puck (Mark Salling).  The EP, along with its track listing, was announced in an official press release on May 26, 2010. It was released on June 8, 2010 in the US, and on June 14, 2010, in the UK. "Lovin', Touchin', Squeezin" was previously covered in the series' pilot episode. The 1981 single "Don't Stop Believin" was also previously performed in the pilot, as well as in the season one episode "The Rhodes Not Taken". The songs in the EP all fall under the genres of pop and rock.

Critical reception.

"The Denver Post" Ricardo Baca enjoyed the familiar nature of the songs on the EP, and liked "Faithfully" best of the Journey covers. He felt, however, that the music of "Don't Stop Believin" outshone the vocals of the cast. Andrew Leahey of AllMusic gave the album a rating of two-and-a-half stars out of five. A writer for Reuters called the Journey medley "heartfelt and uplifting" and Jessica Derschowitz of CBS News found it "fantastic". Gerrick Kennedy also enjoyed it, highlighting its emotional nature and complimenting the entire cast's vocals. IGN's Eric Goldman thought the reprise of "Don't Stop Believin" worked well, and liked not only the connection to the pilot, but also its musical rearrangement. Bobby Hankinson of "The Houston Chronicle" enjoyed "Don't Stop Believin" best of the performances but "Vanity Fair"'s Brett Berk deemed it unnecessary in the medley, and felt the cast would have done better to showcase more of "Lovin', Touchin', Squeezin". Berk enjoyed "Bohemian Rhapsody" best, giving it a rating of four stars out of a possible five, though he thought it was too predictable a song choice. "Time" James Poniewozik opined the song was one of "Glee" best, but was contemplative of which choir's performance was the better. Berk felt the lyrical context of "To Sir With Love" was trite and Hankinson was impressed by the song, calling it "sweet". "Over the Rainbow" was called "lovely" by the former and Derschowitz decided it was a "perfect" closing song.  Former Journey frontman Steve Perry gave an interview to American magazine RadarOnline, as co-writer of several Journey tracks, and praised the use of his songs on the show: ""Glee" has opened up catalog of songwriting and introduced those songs to a whole new generation that would have otherwise never heard them." The Regionals version of "Don't Stop Believin" earned a Grammy nomination for Best Pop Performance by a Duo or Group with Vocals for the ceremonies in 2011. Following this nomination, the song was included on the compilation album "2011 Grammy Nominees".

Chart performance.

The EP debuted at number one on both the US "Billboard" 200 and Soundtracks charts, selling 154,000 copies there. The album became the cast's third number-one album on the "Billboard" 200. Reaching the top of the chart on June 26, 2010, it did so three weeks after "". This beat the cast's own record for the shortest span between number-one debuts with different releases, previously held with "" and "Volume 3 Showstoppers". It entered at number two in Canada and the United Kingdom, selling 14,000 copies in the former. On the Irish Albums Chart, "Journey to Regionals" entered the week of June 10, 2010 at number 14 and ascended to the top position the next week, taking the spot from "Volume 3 Showstoppers". The EP entered at number seven in Australia on July 4, 2010, climbing four places to its peak three weeks later, and in Mexico, a peak of fifty-nine was reached. Second-week sales in the US amounted to 39,000 copies as the EP dropped to the tenth position on the "Billboard" 200. The EP has spent a total of 39 weeks on the Soundtracks chart.  Although none of the tracks were released as singles, all of the tracks managed to chart in several countries (with the new version of "Don't Stop Believin'" charting under the original entry). On the "Billboard" Hot 100, "Faithfully" debuted highest the week of June 26, 2010, at number 37. The same week on the Canadian Hot 100, "Over the Rainbow" led the "Glee" debuts at number 31. The song was also highest on the Australian and UK Singles Chart, at numbers 42 and 30, respectively. In Ireland, "Any Way You Want It / Lovin' Touchin' Squeezin" charted as highest of the "Glee" entries at number twenty on June 17, 2010. "Don't Stop Believin" was regarded as a re-entry of the group's debut single by most chart companies; in addition to the debut of the new tracks, it climbed from 71 to 33 in the UK and from 49 to 24 in Ireland. It re-entered the single charts of the US at 59 and Canada at 37, setting a new peak for the song in the latter. Only the Australian Recording Industry Association regarded it as a separate song, who placed it at number 67 the week of July 12, 2010.  With sales figures provided by Nielsen SoundScan, a list of the twenty most successful "Glee" songs was released by Yahoo! Music on October 22, 2010. The best-selling song, with 1,005,000 copies sold, was "Don't Stop Believin"—84,000 of those came from sales of the Regionals reprise. "Faithfully" was also on the list, at number eighteen with 159,000 copies. The EP's five new "Billboard" Hot 100 entries brought the cast's total appearances on the chart to 64, an accomplishment that placed them seventh among all artists, between Elton John (67) and Stevie Wonder (63). "Billboard" noted an increase in sales of the original seven songs rising in percentages ranging from 23% ("Don't Stop Believin") to 557% ("To Sir With Love"). Additionally, Journey's compilation "Greatest Hits" (1988) saw a 62% increase in sales, rising from 104 to 57 on the "Billboard" 200.

Promotion.

The cast embarked on an American concert tour, Glee Live! In Concert! starting in May 2010 in promotion of their first season. From the EP, "Faithfully" and "Any Way You Want It / Lovin' Touchin' Squeezin" were included on the set list. Morrison appeared on dates in New York City to sing "Over the Rainbow" whilst playing the ukulele. He was accompanied by Salling when he again sang the number at the annual White House Easter Egg Roll in 2010. In addition, he also performed the song at The O Arena in London with Leona Lewis on June 16, 2010, as part of Lewis' tour, The Labyrinth. On December 5, 2010, the cast appeared on the seventh season of UK reality TV series "The X Factor" to perform "Don't Stop Believin".  Source: allmusic.

Glee: The Music, Journey to Regionals is the second extended play (EP) by the cast of musical television series "Glee". Containing six songs from the season one finale "Journey to Regionals", it was released on June 8, 2010, the same day the episode aired. Half of the tracks are cover versions of songs by American rock band Journey. The EP debuted at the top of the US "Billboard" 200 and Soundtrack charts, with first-week sales of 154,000 copies. Unlike previous "Glee" releases, no singles were released from this album, but all of its tracks managed to appear on multiple national charts. Songs were generally received favorably, with many enjoying the Journey covers. The setlist of Glee Live! In Concert!, the cast's first concert tour, included three songs from the "Glee: The Music, Journey to Regionals".


Evaluation of the year.

Richard Brody of "The New Yorker" said, "2012 has been a good year for Hollywood and off-Hollywood. Note, once more, the remarkable Hollywood nexus of the Gotham and Independent Spirit nominees, as the path of independent financing becomes ever more significant for filmmakers whose work doesn’t fit into franchise formatting. And that’s a good thing, from the perspective of filmmaking—whether it means that directors and actors share producers’ risks in getting their work made, or that complicit producers give a director’s vision free rein. But the latter notion makes some critics uneasy. There’s an undercurrent of thought—one rooted in an antiquated and nostalgic vision of a halcyon classic Hollywood that supposedly both reached the masses and made modest and un-self-conscious art—that looks to producers to restrain the idiosyncrasies of directors and fit them into a readily marketable package of popular appeal. These critics yearn for the adversarial relationship of producer and director, seeing the producer as the supporter of democratic values and the director as a sort of egomaniacal élitist who, unrestrained, would spend someone else’s money frivolously to make a movie that would please himself and his friends. Of course, that relationship becomes adversarial only if the producer doesn’t see himself as a sort of benefactor, a patron of the arts whose very role is to finance and to foster individual expression—and, as ever, it all depends on who the individual is and what the nature of the vision is. It’s fairly obvious that strong producers improve films made by mediocre directors but often constrain or dilute the distinctiveness and individuality of the work of good ones. There is a political agenda hidden within the critics’ aesthetic preference for the strong hand of the producer, as critics demagogically put themselves in the position of defenders of the people—defending them from radical outliers and finding popular tastes with which to align themselves. It’s another case of left and right agreeing without common ground and leading to bad policy—and, in this case, bad art."

Highest-grossing films.

The top 10 films released in 2012 by worldwide gross are as follows:

The following tables list films released in 2012. Most notably, the two oldest surviving American film studios, Universal and Paramount both celebrated their centennial anniversaries, marking the first time that two major film studios celebrate 100 years, and the Dolby Atmos sound format was launched for the premiere of "Brave". The "James Bond" film series celebrated its 50th anniversary and released its 23rd film, "Skyfall". Six box-office blockbusters from previous years ("Beauty and the Beast", "", "Titanic", "Raiders of the Lost Ark", "Finding Nemo", and "Monsters, Inc.") were re-released in 3D and IMAX. Also 2012 in film marked the debut for high frame rate technology. The first film using 48 F.P.S., a higher frame rate than the film industry standard 24 F.P.S., was "".