Bhadeshwar

Bhadeshwar Union () is a Union Parishad under Golapganj Upazila of Sylhet District in the division of Sylhet, Bangladesh. It has an area of 33 square kilometres and a population of 50,000.

History
The Union was established in 1959.

Geography and climate
Bhadeshwar Union is located in the Golapganj Upazila. It borders the Kushiyara River in the east, Ghilachhara and Mogla Bazar in the west, Dhakadakshin and Lakshanabandh in the north and Sharifganj Union in the south. It has an area of 33 square kilometres.

Bhadeshwar has a typical Bangladesh tropical monsoon climate (Köppen Am) bordering on a humid subtropical climate (Cwa) at higher elevations. The rainy season from April to October is hot and humid with very heavy showers and thunderstorms almost every day, whilst the short dry season from November to February is very warm and fairly clear. Nearly 80% of the annual average rainfall of  occurs between May and September.

Administration
Bhadeshwar constitutes the no. 8 union council of Golapganj Upazila. It contains 35 villages and 12 mouzas, divided into 9 wards.
Ward 1: Naliuri, Noorpur, Terapur, Krishnapur, Ujanmeharpur
Ward 2: Purbabhag, Fatehkhani, Rajapur, Silimkhani, Faqirtul, Noapara
Ward 3: Kolashahar, Maijbhag, Silimpur
Ward 4: Dargah Dair, Shaykhpara, Dakshinbhag
Ward 5: Teraguli, Dokharpara, Morarkiyar, Poshchimbhag
Ward 6: Dakshingaon, Uttargaon
Ward 7: Shiteshwar, Khomiyapaon, Masura Borobari
Ward 8: Gotargaon, Shaykhpur, Goaspur, Kuliya, Niyagul, Katakhaler Par
Ward 9: Fatehpur, Haortola

Demographics
Bhadeshwar has a population of 50,000. 24,800 are male and 25,200 are female. According to the 2011 Bangladesh census, Bhadeshwar had 4,082 households. The literacy rate (age 7 and over) was 75%, compared to the national average of 51.8%.

Language and culture
The native population converse in their native Sylheti dialect but can also converse in Standard Bengali. Languages such as Arabic and English are also taught in schools. The Union contains 56 mosques and 9 eidgahs. The cemeteries are as follows:
Shah Syed Bahauddin Putla Qabarstan (near Dakshinbhag Mosque)
Shukkur Shah Qabarstan (Pashchimbhag)
Manikpirer Tilla (Purbabhag-Kolashohor)

Sports
There are five sports clubs in the Union. These are: Rongdhonu Cricket (Dakshinbhag), Tringanga Football (Dakshinbhag), Pashchimbhag Volleyball Team, Dakshinbhag Volleyball Team, Muslim Brotherhood (Bhadeshwar). The latter team were champions in the Dhakadakshin-Dattarail Football Tournament with their players; Habib Parvez winning Man of the Match in the finals and Jubayr winning Man of the Series.

Economy and tourism
Bhadeshwar has five Haat bazaars and three banks. The Kura Nodi upper bridge is a well known tourist attraction. The bazaars are as follows:
 Bhadeshwar Maqaam Bazar in Dakshinbhag
 Kurir Bazar in Dokharpara
 Mirganj Bazar in Shaykhpur
 Purbabhag Bazar

Rice is a major crop in the area. Maqaam Bazar is the town centre situated at the bank of Kuranodi. Maqaam Bazar is famous from freshwater fish and locally produced. Mirganj-Bazar is also in Bhadeshwar, situated at the bank of Kushiyara River. Mirganj Bazar once attracted merchants from all over the subcontinent during the time of Mughal empire. Foreign remittance is a major source of income within the region.

The Union is home to 11 mazar (mausoleum)s. These include:
Mazar-e-Shah Syed Bahauddin Putla and Mazar-e-Phool Shah, Dakshinbhag
Mazar-e-Shukkur Shah, Pashchimbhag
Mazar-e-Qatal Shah, Maijbhag
Mazar-e-Pir Shah, Pirtillah, Purbabhag-Kolashohor
Mazar-e-Arkum Shah, Khomiya-Shiteshwar
Mazar-e-Shah Naqi Ali, Kuti Miyar Deri, Faqirtul
Mazar-e-Lal Shah, Dokharpara
Mazar-e-Shodai Shah, Shaykhpur
Mazar-e-Shah Uthman Ghani Singai, Haortola

Education
The Union has a literacy rate of 75%. It has 23 government primary schools, 2 private primary schools, 4 kindergartens, and one private women's college. There are 13 madrasas (including two Alia Madrasahs and 7 Qawmi Madrasahs).

Bhadeshar was a well-renowned place to study in Assam province during British Raj. Bhadeshwar has some of the oldest schools within the region. Bhadeshwar Purbabhag Primary School is the oldest primary school established in 1818. Bhadeshwar Nasir Uddin High School was once the most renowned High School within the greater Assam. Bhadeshwar Womens College, founded in 1989, received the best educational institute in Bangladesh award in 2002. Salima Khanom Girls High School is another oldest secondary school in the village. It was built by Ghawth Ahmad (1915-1989) in 1938 (officially 1940). He named the school after his mother.


Frankenstein (2015 film)

Frankenstein (stylised as FRANK3N5T31N) is a 2015 updated adaptation of Mary Shelley's Frankenstein, directed by Bernard Rose.

The film is told from the monster's point of view as he is created, escapes into the modern world and learns about the dark side of humanity.

Plot
Victor Frankenstein (Danny Huston) and his wife, Elizabeth (Carrie-Anne Moss), are scientists who bring to life Adam: a fully-grown, handsome, young man (Xavier Samuel) with the mind of an infant. Adam's cells fail to replicate correctly and he soon develops deformities on his face and body. Dr. Frankenstein attempts to euthanize his creation with lethal injections but Adam thrashes and screams as the chemicals surge through his body. Victor then chokes him. Later, two scientists attempt to dissect an apparently dead Adam but he regains consciousness and kills both men.

Adam escapes into a nearby forest and lives by scavenging. He adopts a friendly stray dog with whom he travels to the city. In a park he meets a little girl (Mckenna Grace) and they play a game of throwing sticks into a lake. Adam, still thinking it's a game, picks up the girl and throws her into the water as well. She starts to drown, so he jumps in and saves her. When he brings her to shore, however, two policemen try to arrest him and shoot his barking dog to death. Adam assaults one officer and kills the other for killing his dog. A vigilante mob then chases Adam down while calling him a monster.

Adam is taken to a police station where he is put into a straitjacket. When officers ask his name, Adam replies with "Monster", using the name the mob used for him, the same name he would use for himself in all social interactions. Almost completely non-verbal, he gives them Elizabeth's ID badge and calls her his mom. Elizabeth is brought to the station and denies knowing Adam, effectively abandoning him.

Two vengeful policemen drive Adam to an empty lot, beat him and shoot him in the head. However, he survives, awakens hours later and wanders until he meets Eddie, a blind, homeless man (Tony Todd). Recognizing a childlike soul, Eddie kindly takes Adam under his wing. Adam's deformities worsen, but he continues to learn about the world and his ability to speak improves.

Some time later, Eddie convinces a friendly prostitute named Wanda (Maya Erskine) to take Adam to a hotel to have sex with him but Wanda insists that he shower first. After he emerges from the shower, Wanda realizes how extensive his deformities are and tries to leave. Distraught, Adam snaps her spine while trying to prevent her from leaving. Eddie, having heard Wanda's screams, enters the room and discovers she's dead. He then angrily beats Adam with his cane. Adam ends up accidentally killing Eddie as well.

Feeling hopeless and angry, he uses the GPS on Wanda's phone to guide him to the Frankensteins' residence. While walking along a highway, Adam encounters two police officers, one of them being officer Banks, the same officer who shot him in the head several days earlier. The officers order Adam to stop. Instead, Adam grabs Banks' gun and shoots his partner. Banks and Adam recognize each other and Adam shoots Banks in the head.

Adam encounters the Frankensteins after arriving at their luxurious home. Adam attacks Victor but Elizabeth calms him down. They show Adam his true origins and tell him that they named him Adam. He is angry to learn that he was created by the Frankensteins and that Victor was already attempting to replace him with another artificially created human. While Adam is distracted, Victor knocks him down and injects him with a sedative. Victor then attempts to decapitate him with a surgical handsaw while he's unconscious. Elizabeth tries to stop Victor by hitting him with a metal tray. Victor then swings the saw at her and accidentally slices her neck open. Victor flees and Elizabeth quickly bleeds to death.

Adam takes Elizabeth's body into the nearby woods. He solemnly builds a large fire which he uses to immolate both Elizabeth and himself. While engulfed in flames he cries, "I am Adam!"

Cast

Xavier Samuel as Adam
Carrie-Anne Moss as Elizabeth Frankenstein
Danny Huston as Victor Frankenstein
Tony Todd as Eddie
Maya Erskine as Wanda
Mckenna Grace as Molly
Matthew Jacobs as Dr. Marcus
Jeff Hilliard as Officer Banks
Jorge Luis Pallo as Officer Lincoln
Ron Roggé as Officer Woodcock
Rob Mars as Officer Crawford
Mary Gallagher as Amy Johnson
John Lacy as Mark Rubin
Jeordie Osbourne White as Skid Row Man

Release
The film premiered April 12, 2015 at the Brussels International Fantastic Film Festival, followed by the Louisiana International Film Festival on May 9, 2015. The film was released on home video on February 23, 2016.

Reception
Rotten Tomatoes has the film at 100%, based on 10 reviews. Pat Torfe for Bloody Disgusting said "A strong central performance by Samuel, with some great modern reimaginings of scenes from the novel that perfectly mirror the original story, make for an emotional and dramatic horror tale." Louis H.C., also writing for Bloody Disgusting, said of the film "Rarely have we seen the Modern Prometheus translated so earnestly on the big screen" and "If you’re a fan of the original story or just in the mood for some stellar storytelling, give this one a shot." Gareth Jones writing for Dread Central gave the film four and a half stars writing "Melodramatic at turns, Bernard Rose’s Frankenstein is nonetheless a remarkably affecting piece of filmmaking sporting some wince-inducing gore and extreme violence."


Rosa 'Abraham Darby'

Abraham Darby (synonyms AUScot, Candy Rain, Country Darby tree) is a popular apricot rose cultivar which was introduced by David Austin in England in 1985. The English rose was bred by crossing the climber 'Aloha' with the floribunda 'Yellow Cushion' and is named after the industrialist Abraham Darby, the constructor of the first iron bridge, which is situated less than 15 km from David Austin's nurseries. The naming happened in collaboration with the Ironbridge Gorge Museum Trust.

'Abraham Darby' is an old-fashioned looking rose with many large, showy flowers with a classic quartered shape in an apricot-pink colour which varies with climate and age. It ranges from soft apricot pink on the inside, pale yellow on the outside in warmer areas to a rich peachy pink with lighter edges in cooler climates. Additionally the colour pales as the flower matures.
The cupped flowers have an average diameter of  and up to 70 petals. They usually have strong, fruity fragrance, grow in small clusters and appear abundantly throughout the season. As the rather heavy flowers tend to bow their heads, Abraham Darby is suited to be trained as a climber.

The cultivar is winter hardy down to −20 °C (USDA zone 6 – 10b) and generally disease resistant, but can be susceptible to rust. The vigorous plant grows very bushy growing approximately  high and  wide. It is almost thornless and has glossy, leathery foliage of a medium to dark green colour. Due to its long arching shoots, it can be grown as a freestanding shrub or trained as a climber, if given some support. The cultivar can be used in flower beds, rose borders, landscaping or as container rose in sunny or partially shaded locations, and is well suited as cut flower.

'Abraham Darby' is used as a parent rose and was used to hybridise the cultivars 'Crown Princess Margareta' (1991), 'Golden Celebration' (1992), 'Pat Austin' (1995) and 'Marianne' (2001).


U.S.D. Zagarolo

Unione Sportiva Dilettantistica Zagarolo was an Italian association football club located in Zagarolo, Lazio.

History
The club was founded in 1968.

In the summer 2012, after the relegation to Eccellenza Lazio, the club was dissolved.

Phoenix club
In 2012, to continue the football history of the town, Promozione Lazio club, A.S.D. Real Torbellamonaca 1970, of the  frazione of Rome, was renamed to A.S.D. Real T.B.M. Zagarolo.

In mid-2013, after the promotion, the side transferred the seat and its sports title of Eccellenza Lazio to the city of Frascati, becoming A.S.D. Lupa Castelli Romani. Because of this transaction, Real TBM Zagarolo has effectively disappeared from the Italian football panorama.

Colors and badge
Its colors were all dark red.


USS Entemedor (SS-340)

USS Entemedor (SS-340), a Balao-class submarine, was a ship of the United States Navy named for the entemedor, a fish of the  electric ray family found in shallow waters from Baja California to Panama.

SS-340, originally named Chickwick, was renamed Entemedor on 24 September 1942 and launched on 17 December 1944 by Electric Boat Co., Groton, Conn.; sponsored by Mrs. E. V. Izac; and commissioned on 6 April 1945, Lieutenant Commander W. R. Smith, Jr. in command.

Service history

United States Navy

World War II
Entemedor reached Pearl Harbor on 29 June 1945 from New London, en route to Midway Atoll for advanced training and to prepare for war patrols. She put to sea on her first war patrol on 24 July, and served as lifeguard for air strikes on Marcus Island before sailing on to patrol off Japan. When hostilities ceased, she was ordered to Saipan, where she arrived 17 August.

Post-War
The submarine returned to Seattle on 22 September 1945, and began a program of training operations along the west coast from San Diego. In 1946-1947, she made extended cruises in the Far East, basing at Subic Bay. She was decommissioned and placed in reserve at Mare Island Naval Shipyard on 10 December 1948.

Recommissioned on 24 October 1950, Entemedor trained off the coast of California, and on 2 January 1951 sailed for New London and through the remainder of the year operated in the Atlantic. On 31 January 1952, she entered the Electric Boat Co.'s yard for an extensive GUPPY IIA modernization, was placed in commission in reserve on 28 February 1952, and returned to active status 17 October 1952.

Every second year beginning in 1953, Entemedor deployed to the Mediterranean to serve with the 6th Fleet, and from her home port at New London also sailed for a midshipman cruise to northern European ports in the summer of 1958, and the Isle of Portland, England, in February 1960. Her stateside operations included participation in large-scale exercises off the east coast and in the Caribbean, and serving as target for Task Force "Alfa", in development of antisubmarine warfare techniques. Through 1962 she continued to operate from New London.

Turkish Navy
Entemedor was decommissioned and struck from the Naval Vessel Register on 31 July 1972. She was transferred (sold) to Turkey - under the terms of the Security Assistance Act- on 24 August 1972, renamed TCG Preveze (S 345), the second submarine of that name. She was decommissioned and struck from the Turkish Naval rolls in 1987.


Pith (restaurant)

Pith was a four-seat supper club in New York City that was open from September 2015 until May 31, 2016.

History
Pith was first opened in September 2015 by Columbia University student Jonah Reider in his dorm room. Reider, a native of Newton, Massachusetts, has no culinary training but comes from a family that loves cooking. Originally, Reider would regularly cook four-course meals for his friends there; these meals gained greater attention when the university newspaper (and, later, the New York Post) wrote about him. Reider officially opened Pith later that month, and by the next month, reservations for it were booked for the rest of the year. He later relocated the club to his off-campus apartment, and he hired United Talent Agency to represent him. In April 2016, Reider's landlord emailed him to tell him that he would terminate Reider's lease on May 31, 2016.


Electoral district of McKell

McKell was an electoral district of the Legislative Assembly in the Australian state of New South Wales, created in 1988, largely replacing the abolished district of Elizabeth. It was named after William McKell, former Premier of New South Wales (1941–1947), in inner Sydney. It was abolished in 1991 and largely replaced by Port Jackson.

Its only representative was Sandra Nori, who later represented Port Jackson.

Members for McKell

Election results

1988


Aleksandrs Isakovs

Aleksandrs Isakovs (born 16 September 1973 in Daugavpils) is a former football defender from Latvia. He has played 58 international matches for the Latvia national team. He debuted in 1997, and played at the Euro 2004. He started his career in Dinaburg FC, and played for Lokomotiv Nizhniy Novgorod, before joining Latvian champion team Skonto FC. He ended his career in FK Daugava Daugavpils.

After the end of his career, he became the sporting director of his former club Daugava Daugavpils. Since 22 October 2012 Isakovs has been the head of Daugavpils Sport administration. Isakovs specialty is also a sports teacher.

After retiring from professional football Isakovs began playing futsal. He participated at the Daugavpils futsal championship, winning the gold medals in the 2009/2010 season.


Snead's Green

Snead's Green, sometimes written Sneads Green, is an area of Droitwich Spa, Worcestershire, England.

Francis Moule, of Snead's Green House, sold the manorial rights in 1809. The house had been owned by the Moule (or Moyle) family since 1621.


Morris Park station

Morris Park is a station on the IRT Dyre Avenue Line of the New York City Subway served by the 5 train at all times. It is at Paulding Avenue and the Esplanade in Morris Park, Bronx.

History

The station was first placed in service in 1912 as part of the New York, Westchester and Boston Railroad, a subsidiary of the New York, New Haven and Hartford. The line was designed for the weight of the heaviest main line steam trains.

The emblem of the NYW&B, was the caduceus, a staff entwined with serpents that has served as a symbol of commerce since Classical times.  It is cast into several locations of the concrete facade facing the Esplanade. The NYW&B offered frequent service between 138th Street in the South Bronx and White Plains and Port Chester in Westchester County. The White Plains and Port Chester branches diverged at Mount Vernon Junction near Columbus Avenue along the boundary between Mount Vernon and Pelham.

The two outer tracks at Morris Park were for trains that made local stops in the Bronx, and went to Port Chester. The two inner tracks were for express trains that made limited stops in The Bronx, and went to White Plains. The trains were powered by 11,000 volt 25 Hz alternating current supplied from overhead catenary. The cut-off stumps of the catenary bridges remain along the right of way and can be seen from the south ends of the platforms.

The NYW&B was doomed by the bankruptcy of its patron, the New Haven. Service ended in 1937.

A few years later, the portion in The Bronx became part of the New York City Transit System. Initial subway service was a shuttle (nicknamed "The Dinky") to the old NYW&B platforms at East 180th Street. In the late 1950s, the construction of a flying junction with the White Plains Road line allowed Dyre Avenue trains to enter the East 180th Street subway station and continue to Manhattan.

Around this period, the Morris Park platforms were extended towards the south to accommodate ten-car subway trains. This required reducing the height of the outboard plate girders of the bridge over Colden Avenue so that the bottoms of the platforms would be above the tops of the girders. The massive overdesign of the bridge allowed ample margin for trimming the girders.

On November 24, 1979, an R22 car, #7602, was involved in a rear-ending accident here.

The Bronx-bound platform was closed for renovation from February 17, 1992 to August 31, 1992, earlier than its expected reopening in late fall 1992. As part of the project, the station received new benches, fluorescent lighting, an upgraded electrical system and stairway from the station building to Paulding Avenue. The station renovation was to be fully completed in November with repairs to the station building, including a new ceiling, a new clay-tile roof, and new windows and doors.

In the late 1990s, the original concrete exterior walls alongside the station platforms and the original roof that was supported on concrete columns and massive cantilevered timbers were replaced with steel bents supporting a clad metal wall system and a corrugated metal roof deck.

Station layout

The station has two side platforms with four tracks (two center express tracks formerly used by the New York, Westchester and Boston Railway) and is partially underground and partially on an embankment. The underground portion is at the south end of a  long, four-track tunnel under the Bronx and Pelham Parkway. This tunnel includes a four-track underground station called Pelham Parkway about half mile from Morris Park. The heavy construction and high clearances greatly exceed the size and weight requirements of IRT subway cars.

From the 1990s until the early 2000s the platform walls had a red and blue skyline design, before being painted beige. The station was listed on the National Register of Historic Places on July 6, 2005.

Exit
The station's only entrance/exit is a head house at the southwest corner of Esplanade and Paulding Avenue. The head house is notable for its graceful Spanish Mission style architecture and robust reinforced concrete construction. The handsome exterior, with its tall arched windows and tiled roof, has been restored to good condition. It was designed by Alfred T. Fellheimer, who was the lead architect for Grand Central Terminal.

There was formerly an exit at under the tracks with a waiting room that led to the north side Colden Avenue near Lydig Avenue. It is now bricked over.


Veligandla

Veligandla is a village in Prakasam district of the Indian state of Andhra Pradesh. It is located in Veligandla mandal in Kandukur revenue division.


HMS Fencer (D64)

HMS Fencer (D64) was an  escort aircraft carrier that served with the Royal Navy during the Second World War.

She was commissioned by the United States Navy as USS Croatan (CVE-14) (originally AVG-14 then ACV-14), a Bogue-class escort carrier, but was transferred on 20 February 1943 under the Lend-Lease program to the United Kingdom and commissioned by the Royal Navy as HMS Fencer  the same day.

As an anti-submarine warfare carrier, Fencer escorted convoys in the North Atlantic and to
Russia. She also participated in the Operation Tungsten strike on the German battleship Tirpitz where she provided ASW cover for the strike carriers before being transferred to the Pacific as a ferry carrier in October 1944.  Following World War II, she returned to the United States 21 December 1946, stricken for disposal on 28 January 1947 and sold into merchant service 30 December as Sydney.

The ship went through a series of renamings, first to Roma in 1967, then Galaxy Queen in 1970, Lady Dina in 1972 and finally Caribia in 1973 before being scrapped in Spezia in September 1975.

Design and description
There were eight Attacker class escort carriers in service with the Royal Navy during the Second World War. They were built between 1941 and 1942 by Ingalls Shipbuilding and Western Pipe & Steel shipyards in the United States, both building four ships each.

The ships had a complement of 646 men and crew accommodation was different from the normal Royal Navy's arrangements. The separate messes no longer had to prepare their own food, as everything was cooked in the galley and served cafeteria style in a central dining area. They were also equipped with a modern laundry and a barber shop. The traditional hammocks were replaced by three tier bunk beds, eighteen to a cabin which were hinged and could be tied up to provide extra space when not in use.

The ships dimensions were; an overall length of , a beam of  and a height of . They had a displacement of  at deep load.  Propulsion was provided by four diesel engines connected to one shaft giving 8,500 brake horsepower (BHP), which could propel the ship at .

Aircraft facilities were a small combined bridge–flight control on the starboard side and above the  x  flight deck, two aircraft lifts  by , and nine arrestor wires. Aircraft could be housed in the  by  hangar below the flight deck. Armament comprised two 4"/50, 5"/38 or 5"/51  in single mounts, eight 40 mm anti-aircraft gun in twin mounts and twenty-one 20 mm anti-aircraft cannons in single or twin mounts. They had the capacity for up to eighteen aircraft which could be a mixture of Grumman Martlet, Hawker Sea Hurricane, Vought F4U Corsair fighter aircraft and Fairey Swordfish or Grumman Avenger  anti-submarine aircraft.


A-League (1995–2004)

The A-League was a professional men's soccer league which featured teams from the United States and Canada. The A-League emerged from the restructured American Professional Soccer League in 1995 and operated until 2004, after which it was re-branded the USL First Division. During its first season, in 1995, it was the de facto top professional soccer league in both countries, before it was replaced at the top of the United States soccer pyramid by Major League Soccer (MLS) in 1996.

History
The origins of the A-League go back to 1986 and 1987 with the creation of three unrelated semi-professional soccer leagues.  On the north-west coast, the Western Soccer Alliance (WSA), a summer outdoor league, emerged in response to the collapse of the North American Soccer League.  In the southwest United States, the Southwest Indoor Soccer League was created in response to the upsurge in popularity of the Major Indoor Soccer League.  Finally, in 1987, the Canadian Soccer League emerged with eight teams across Canada.

While the SISL remained virtually unknown to the wider soccer community, the Western Soccer Alliance grew in popularity and inspired the creation of the third American Soccer League in 1988.  By the summer of 1989, these two leagues began considering a merger.  At the same time, the SISL had grown to seventeen indoor teams and had added a summer outdoor schedule, known as the Southwest Outdoor Soccer League with included eight teams.  In 1990, the WSA and ASL merged to form the American Professional Soccer League with twenty-two teams across the United States.  At the same time, the SISL expanded to fourteen outdoor teams.

In 1992, the SISL renamed itself the United States Interregional Soccer League (USISL) and had grown to twenty-one teams.  By the 1993 season, the number of teams in the USISL had doubled to forty-two.

The mergers between all of these leagues continued in 1993 with the collapse of the Canadian Soccer League.  This led to three Canadian teams, the Vancouver 86ers, Toronto Blizzard and Montreal Impact joining the American Professional Soccer League for the 1993 season.  So by the summer of 1993, only two outdoor leagues competed for national attention in North America, the United States Interregional Soccer League and the American Professional Soccer League.  However, by this time, the USISL was growing and the APSL was shrinking.

In 1995, the American Professional Soccer League was down to six teams – two Canadian and four American.  It also changed its name to the A-League.  At the same time, the rapidly growing USISL had split its teams into two leagues, the fully professional Professional League and the semi-professional Premier League.  In 1996, the USISL made one more critical move.  It created a Select League with twenty-one of its most successful clubs.  With the creation of the Select League, the USISL now competed directly with the A-League for Division II recognition.  This led the two leagues, the A-League which was made up the remains of the old Western Soccer Alliance, American Soccer League and Canadian Soccer League, and the USISL to enter merger talks.  The creation of Major League Soccer in 1996 as an American Division I league also spurred the merger.

In 1997, six of the seven remaining A-League teams – Montreal Impact, Colorado Foxes,  Seattle Sounders, Rochester Raging Rhinos, Vancouver 86ers and Atlanta Ruckus, plus two planned A-League expansion teams (Toronto Lynx and Hershey Wildcats) merged with the USISL Select League to form the USISL A-League, a consolidated North American Division II league with twenty-four teams.

In 1999, the USISL renamed itself the United Soccer Leagues (USL).  The USISL A-League then became the USL A-League.  In 2005, the USL A-League was formally renamed the USL First Division or USL-1.

It remained the top league of the Canadian soccer pyramid throughout its existence, with Canadian teams vying for the fan created Voyageurs Cup, until 2006 when Toronto FC debuted in MLS, effectively splitting Division 1 status in Canada between the two leagues. Eventually as the standard of play rose in MLS, by 2010 the USL-1 was effectively Division 2 in Canada.

A-League teams

 Atlanta Silverbacks (1995–2004, as Atlanta Ruckus 1995–98)
 Boston Bulldogs (1997–2000, as Worcester Wildfire 1997–98)
 Calgary Mustangs (2002–04, as Calgary Storm 2002–03)
 California Jaguars (1995–98)
 Carolina Dynamo (1997)
 Charleston Battery (1997–2004)
 Charlotte Eagles (2001–03)
 Cincinnati Riverhawks (1998–2003)
 Connecticut Wolves (1995–2001)
 Edmonton Aviators (2004)
 El Paso Patriots (1997–2003)
 Hershey Wildcats (1997–2001)
 Indiana Blast (1999–2003)
 Jacksonville Cyclones (1997–99)
 Lehigh Valley Steam (1999)
 Long Island Rough Riders (1997–2001)
 Maryland Mania (1999)
 Milwaukee Rampage (1997–2002)
 Milwaukee Wave United (2003–04)
 Minnesota Thunder (1997–2004)
 MLS Project 40 (1998–2000)
 Montreal Impact (1995–2004)

 Nashville Metros (1997–2001) (as Tennessee Rhythm 1999–2000)
 New Orleans Storm (1997–99) (as New Orleans Riverboat Gamblers 1997)
 New York Centaurs (1995)
 New York Fever (1996)
 Orange County Waves (1997–2000), as Orange County Zodiac (1997–99)
 Orlando Sundogs (1997)
 Pittsburgh Riverhounds (1999–2003)
 Portland Timbers (2001–04)
 Puerto Rico Islanders (2004)
 Raleigh Capital Express (1997–2000) (as Raleigh Flyers 1997–98; Raleigh Express 1999)
 Richmond Kickers (1997–2004)
 Rochester Raging Rhinos (1997–2004)
 Sacramento Geckos (1998–99, as Albuquerque Geckos (1998)
 San Diego Flash (1995–2001, as Colorado Foxes (1995–1997)
 San Francisco Bay Seals (1998–2000, as Bay Area Seals (2000)
 Seattle Sounders (1995–2004)
 Staten Island Vipers (1998–99)
 Syracuse Salty Dogs (2003–04)
 Toronto Lynx (1997–2004)
 Vancouver Whitecaps (1995–2004), as Vancouver 86ers (1995–2000)
 Virginia Beach Mariners (1997–2004, as Hampton Roads Mariners (1997–2000; 2002)

Champions

Regular season

Play-off season

Most successful clubs


Huron—Bruce (provincial electoral district)

Huron—Bruce (formerly known as Huron and Huron—Middlesex) is a provincial riding in Ontario, Canada, that has been represented in the Legislative Assembly of Ontario since 1987. It was known as Huron from 1987 to 1999.

On March 22, 1940, the Liberal member, Charles Robertson, died while in office. Premier Mitchell Hepburn (and later, Daniel Conant) refused to call a by-election for three years citing wartime considerations. He said the electorate was "sick and tired of elections." CCF leader Ted Jolliffe opposed Hepburn's choice and took the government to court over the delayed by-election. The Ontario Court of Appeal sided with the government on the issue. Jolliffe said that he would appeal the decision to the Supreme Court but no further action was taken before the 1943 election was called.

Members of Provincial Parliament

Before 1987, there were two districts: Huron—Bruce and Huron—Middlesex:

Huron—Middlesex
Huron—Middlesex was known as Huron before 1975.
James Simpson Ballantyne, Liberal (1934–1943)
Robert Hobbes Taylor, Progressive Conservative (1943–1947)
Thomas Pryde, Progressive Conservative (1948–1958)
Charles MacNaughton, Progressive Conservative (1958–1973)
John Riddell, Liberal (1973–1987)

Election results

2007 electoral reform referendum


The Power of Fear

The Power of Fear (), also known as Evil, is a 2006 Russian gothic horror film directed by Oleg Fesenko and starring Valery Nikolaev in the lead. It is loosely based on Nikolai Gogol's story "Viy".

Plot summary
A journalist (Valery Nikolaev)  is sent on an assignment to investigate paranormal phenomena occurring in a nearby town, but on the way he gets caught up in a haunted mansion to shelter from the rain, from where all his troubles begin.

Cast
 Valery Nikolaev as Ivan
 Evgeniya Kryukova as Marryl
 Lembit Ulfsak as Chief Sheriff
 Arnis Licitis as Mr. Patch
 Juhan Ulfsak as Deputy #1
 Rain Tolk as Deputy #2
 Ita Ever as Old Lady
 Ian Rekkor as Priest
 Peeter Volkonski as Doctor
 Anu Lamp as Kathleen
 Kati Kivitar as Waitress Margo
 Epp Eespäev as Waitress Debora
 Anastasia Ruusmaa as Third Waitress
 Margus Prangel as Mechanic
 Tõnu Kark as Cook

Production
The film was mainly shot in Estonia and had early working titles of The Last Prayer and Viy: In the Power of Fear.


M82 X-2

M82 X-2 is an X-ray pulsar located in the galaxy Messier 82, approximately 12 million light-years from Earth. It is exceptionally luminous, radiating energy equivalent to approximately ten million Suns. This object is part of a binary system: If the pulsar is of an average size, , then its companion is at least . On average, the pulsar rotates every 1.37 seconds, and revolves around its more massive companion every 2.5 days.

M82 X-2 is an ultraluminous X-ray source (ULX), shining about 100 times brighter than theory suggests something of its mass should be able to. Its brightness is many times higher than the Eddington limit, a basic physics guideline that sets an upper limit on the brightness that an object of a given mass should be able to achieve. Possible explanations for violations of the Eddington limit include geometrical effects arising from the funneling of in-falling material along magnetic field lines.

While M82 X-2 was previously known as an X-ray source, it was not until an observation campaign to study the newly discovered supernova SN 2014J in January 2014 that X-2's true nature was uncovered. Scientists looking at data from the NuSTAR spacecraft noticed a pulsing in the X-ray spectrum coming from near the supernova in Messier 82. Data from the Chandra and Swift spacecraft was used to verify the NuSTAR findings and provide the necessary spatial resolution to determine the exact source. After combining the NuSTAR and Chandra data, scientists were able to discern that M82 X-2 emitted both an X-ray beam and continuous broad X-ray radiation.


Archdeacon of Sarum

The Archdeacon of Sarum is a senior ecclesiastical officer within the Diocese of Salisbury, England. He or she is responsible for the disciplinary supervision of the clergy within the five area deaneries (Alderbury, Chalke, Salisbury, Heytesbury and Stonehenge) of the Sarum archdeaconry.

The post is currently held by the Ven Alan Jeans.

History
The first recorded archdeacons in Salisbury diocese occur soon after the Norman Conquest (as they do across England) and there were apparently four archdeacons from the outset. However, no territorial titles are recorded until after . The archdeacons at that time were (in order of seniority) the Archdeacons of Dorset, Berkshire, Sarum and Wiltshire.

The position was redefined in 1843, having been previously generally known as the Archdeaconry of Salisbury; the role is now generally called Archdeacon of Sarum, but both names have been used commonly throughout history.

List of archdeacons

High Medieval
Archdeacons in Salisbury diocese:
?–bef. 1085: Gunter of Le Mans
bef. 1089–aft. 1089: Robert (probably archdeacon in Berks)
bef. 1099–1121 (res.): Everard of Calne (became Bishop of Norwich)
bef. 1099–bef. 1122 (d.): Hubald (probably archdeacon in Dorset)
bef. 1121–aft. 1122: Joel
bef. 1121–1123 (res.): Alexander of Lincoln (became Bishop of Lincoln)
?–1133 (res.): Nigel (became Bishop of Ely)
Archdeacons of Salisbury:
bef. 1133–bef. 1139: Ernald (probably Ernald, later Abbot of Kelso and Bishop of St Andrews)
bef. 1153–aft. 1154: Henry
bef. 1157–aft. 1173: Jordan (probably later Dean of Salisbury)
bef. 1184–aft. 1174: Savaric FitzGeldewin (also Archdeacon of Northampton)
bef. 1180–aft. 1191: Azo
bef. 1193–aft. 1238: Humphrey of Bassingbourn or de Bassingeburn (previously Archdeacon of Wilts)
bef. 1241–aft. 1244: Stephen
bef. 1245–aft. 1271: Nicholas de Capella
bef. 1275–aft. 1307: Thomas Wychampton or de Wickhampton (alias de Grano)

Late Medieval
bef. 1309–aft. 1328: Walter Hervy or Hervey
?–1309: Raymond de Planell (never gained possession)
: Raymond Cardinal de Fargis (cardinal-deacon of Santa Maria Nova; claimant)
bef. 1329–bef. 1348 (d.): Robert Luffenham
11 July–25 October 1330: Richard de Bury or d'Aungerville (unsuccessful royal grant; revoked)
bef. 1348–bef. 1361 (d.): Roger de Kington
5 September 1361–aft. 1375: Roger de Cloune
bef. 1383–1 July 1384 (exch.): Thomas Butiller
1 July 1384 – 1402: William Potyn (unsuccessful exchange)
1400–1402 (d.): Walter FitzPiers (royal grant)
1402–14 December 1404 (exch.): Henry Chichele
14–26 December 1404 (exch.): Walter Medford (became Archdeacon of Berkshire)
26 December 1404 – 1418 (res.): Simon Sydenham (became Dean of Salisbury)
18 April 1418–bef. 1419 (d.): John Holand
bef. 1419–1419 (d.): John Chitterne
9 September 1419 – 1420 (res.): John Stafford
7 December 1420 – 1426 (res.): William Alnwick (became Bishop of Norwich)
4 July 1426 – 1432 (res.): Alexander Sparrow (became Archdeacon of Berkshire)
24 September 1432 – 1433 (res.): John Norton (became Archdeacon of Berkshire)
18 October 1433–aft. 1435: Stephen Wilton
bef. 1439–1441 (res.): Adam Moleyns (became Dean of Salisbury)
28 October 1441–bef. 1444 (res.): Richard Andrew
21 July 1444–bef. 1446 (res.): Peter Cardinal Barbo, cardinal-deacon of Santa Maria Nova

18 July 1446–bef. 1465 (d.): Richard Caunton
11 July 1465–bef. 1471 (d.): Roger Radclyffe
22 November 1471–?: William Eure
?–bef. 1499 (d.): Edmund Chaderton (also Archdeacon of Totnes from 1491 and Archdeacon of Chester from 1493)
22 August 1499 – 1503 (res.): Geoffrey Blythe (became Bishop of Coventry and Lichfield)
21 November 1503–bef. 1524 (d.): George Sydenham
2 March–April 1524 (d.): James Bromwich
10 April 1524–bef. 1526 (d.): Henry Rawlyns
bef. 1535–bef. 1539 (d.): Richard Duck
2 August 1539 – 20 July 1546 (res.): Edward Layton

Early modern
20 July 1546–bef. 1554 (deprived): Robert Okinge (deprived)
6 July 1554–bef. 1583 (d.): Richard Chaundeler
20 January 1583 – 8 March 1615 (d.): Ralph Pickover
12 March 1615 – 25 May 1625 (d.): William Barlow
27 June 1625–bef. 1643 (d.): Thomas Marler
7 August 1643–?: William Buckner
24 January 1658 – 16 January 1664 (d.): Anthony Hawles
23 January 1664–bef. 1670 (d.): Joshua Childrey
30 September 1670 – 27 March 1671 (d.): John Sherman
10 May 1671 – 4 June 1674 (d.): John Priaulx
12 June 1674 – 29 December 1694 (d.): Thomas Lambert
14 January 1695 – 1 November 1710 (d.): Joseph Kelsey
6 November 1710 – 1727 (res.): John Hoadly (became Bishop of Ferns and Leighlin)
23 September 1727–bef. 1732 (res.): Joseph Sager
12 July 1732 – 2 May 1766 (d.): Samuel Rolleston
22 May 1766 – 14 May 1804 (d.): William Whitworth
9 June 1804 – 10 July 1827 (d.): Charles Daubeny
23 July 1827–bef. 1836 (res.): Liscombe Clarke
20 December 1836 – 1846 (res.): Francis Lear (became Dean of Salisbury)
From around the time of the 1843 reorganisation, the archdeaconry has become generally known as Sarum rather than Salisbury.
3 August 1846 – 31 December 1874 (res.): William Hony

Late modern
1875–19 February 1914 (d.): Francis Lear (son of the above)
1914–20 July 1936 (d.): Harry Carpenter
1936–1950 (ret.): Percy Dale (afterwards archdeacon emeritus)
1951–21 February 1968 (d.): Frank McGowan
1968–1979 (ret.): Basil Wingfield Digby
1979–1986 (res.): Nigel McCulloch (became Bishop suffragan of Taunton)
1986–1998 (res.): Barney Hopkinson (became Archdeacon of Wiltshire)
1998–2003: vacant
2003–present: Alan Jeans

Notes


Lampadioteuthis

Lampadioteuthis megaleia is a small, colorful squid from the family Lycoteuthidae, it is the only species in the only genus in the monotypic subfamily Lampadioteuthinae, it is sometimes known as the wonderful firefly squid. It differs from the other species of the Lycoteuthidae mainly by having a hectocotylus in the males and by the possession of a rostrum on the gladius.

Description
Lampadioteuthis megaleia is a small squid which grows to a mantle length of 40 mm. In males the right ventral arm is hectocotylized with an enlarged protective membrane over the mid-arm. It has four ocular photophores, arranged as three in a ventral line and one positioned laterally. The tentacles have five photophores which are set on a stalk. There are circular anal photophores on either side of the rectum, single elongated branchial photophores lie at the base of each gill, there are no abdominal photophores and a single photophore is situated to the rear of the abdomen between the inner surface of mantle and the viscera. There are a lot of functional chromatophores which are covered by a violet pigmented external skin. The males have a penis.

Distribution
Lampadioteuthis megaleia occurs in the subtropical North Atlantic Ocean in the Gulf Stream and the northern Sargasso Sea and in the southwestern Pacific Ocean. Its type locality is the Kermadec Islands, in the South Pacific Ocean, In the eastern North Atlantic it has been reported from  between the Azores and Spain south to  25°N while in the western North Atlantic it has been recorded at 40°N.

Habitat and biology
Lampadioteuthis megaleia is found in the upper mesopelagic to epipelagic zones. Little is known about its life history but the
violet pigmentation in the skin lying over its photophores is assumed to act as a colour filter which enables the bioluminescence to be a closer match to the colour of the sun or moonlight downwelling from the surface. The photophores of species of squid in the genus Lycoteuthis have a very similar type of detached filter. Small, less than 8mm in mantle length, subadults have been found which are very similar to adults, except that some of the body proportions differ, the size of the photophores and only having the large photophore at the base of each tentacle. The paralarva are planktonic.


White light scanner

A white light scanner (WLS) is a device for performing surface height measurements of an object using coherence scanning interferometry (CSI) with spectrally-broadband, "white light" illumination. Different configurations of scanning interferometer may be used to measure macroscopic objects with surface profiles measuring in the centimeter range, to microscopic objects with surface profiles measuring in the micrometer range. For large-scale non-interferometric measurement systems, see structured-light 3D scanner.

Description

Vertical scanning interferometry is an example of low-coherence interferometry, which exploits the low coherence of white light. Interference will only be achieved when the path length delays of the interferometer are matched within the coherence time of the light source. VSI monitors the fringe contrast rather than the shape of the fringes.

Fig. 2 illustrates a Twyman–Green interferometer set up for white light scanning of a macroscopic object. Light from the test specimen is mixed with light reflected from the reference mirror to form an interference pattern. Fringes appear in the CCD image only where the optical path lengths differ by less than half the coherence length of the light source, which is generally on the order of micrometers. The interference signal (correlogram) is recorded and analyzed as either the specimen or reference mirror is scanned. The focus position of any particular point on the surface of the specimen corresponds to the point of maximum fringe contrast (i.e. where the modulation of the correlogram is greatest).

Fig. 3 illustrates a white light interferometric microscope using a Mirau interferometer in the objective. Other forms of interferometer used with white light include the Michelson interferometer (for low magnification objectives, where the reference mirror in a Mirau objective would interrupt too much of the aperture) and the Linnik interferometer (for high magnification objectives with limited working distance). The objective (or alternatively, the sample) is moved vertically over the full height range of the sample, and the position of maximum fringe contrast is found for each pixel.

The chief benefit of low-coherence interferometry is that systems can be designed that do not suffer from the 2 pi ambiguity of coherent interferometry, and as seen in Fig. 1, which scans a 180 μm × 140 μm × 10 μm volume, it is well suited to profiling steps and rough surfaces. The axial resolution of the system is determined by the coherence length of the light source and is typically in the micrometer range. Industrial applications include in-process surface metrology, roughness measurement, 3D surface metrology in hard-to-reach spaces and in hostile environments, profilometry of surfaces with high aspect ratio features (grooves, channels, holes), and film thickness measurement (semi-conductor and optical industries, etc.).

Technical

White-light interferometry scanning (WLS) systems capture intensity data at a series of positions along the vertical axis, determining where the surface is located by using the shape of the white-light interferogram, the localized phase of the interferogram, or a combination of both shape and phase. The white light interferogram actually consists of the superposition of fringes generated by multiple wavelengths, obtaining peak fringe contrast as a function of scan position, that is, the red portion of the object beam interferes with the red portion of the reference beam, the blue interferes with the blue, and so forth.
In a WLS system, an imaging interferometer is vertically scanned to vary the optical path difference. During this process, a series of interference patterns are formed at each pixel in the instrument field of view. This results in an interference function, with interference varying as a function of optical path difference. The data are stored digitally and processed in a variety of ways depending on the system manufacturer, including being Fourier-transformed into frequency space, subject to cross-correlation methods, or analysis in the spatial domain.

If a Fourier transform is used, the original intensity data are expressed in terms of interference phase as a function of wavenumber. Wavenumber k is a representation of wavelength in the spatial frequency domain, defined by k = 2π/λ. If phase is plotted versus wavenumber, the slope of the function corresponds to the relative change in group-velocity optical path difference DG by Dh = DG/2nG where nG is group-velocity index of refraction. If this calculation is performed for each pixel, a three-dimensional surface height map emerges from the data.

In the actual measuring process, the optical path difference is steadily increased by scanning the objective vertically using a precision mechanical stage or piezoelectric positioner. Interference data are captured at each step in the scan. In effect, an interferogram is captured as a function of vertical position for each pixel in the detector array. To sift through the large amount of data acquired over long scans, many different techniques can be employed. Most methods allow the instrument to reject raw data that do not exhibit sufficient signal-to-noise. The intensity data as a function of the optical path difference are processed and converted to height information of the sample.


Chhotubhai Vasava

Chhotubhai Amarasinhbhai Vasava is Indian politician from Western Indian state of Gujarat. He founded the Bharatiya Tribal Party (BTP) in 2017 after leaving Janata Dal (United). He is a Member of the Legislative Assembly from the Jhagadia constituency since 1990.

Early life
He was born in Bharuch, Gujarat. He belongs to Bhil tribal community.

Career
He was a member of Janata Dal (United) (JD(U)) from 1990 to 2017. He left JD (U) when it formed an alliance with Bharatiya Janata Party in Bihar state in 2017.

He founded the Bharatiya Tribal Party (BTP), less than a month before the 2017 Gujarat Legislative Assembly election which won two seats in assembly in an alliance with the Indian National Congress.

He is a well-known tribal leader. He is one advocate of Bhilistan a separate state comprising tribal dominated parts of Gujarat, Rajasthan, Madhya Pradesh and Maharashtra.


Jean-Gaspard Deburau

Jean-Gaspard Deburau (born Jan Kašpar Dvořák; July 31, 1796 – June 17, 1846), sometimes erroneously called Debureau, was a celebrated Bohemian-French mime.  He performed from 1816 to the year of his death at the Théâtre des Funambules, which was immortalized in Marcel Carné's poetic-realist film Children of Paradise (1945); Deburau appears in the film (under his stage-name, "Baptiste") as a major character.  His most famous pantomimic creation was Pierrot—a character that served as the godfather of all the Pierrots of Romantic, Decadent, Symbolist, and early Modernist theater and art.

Life and career
Born in Kolín, Bohemia (now Czech Republic), Deburau was the son of a Czech servant, Kateřina Králová (or Catherine Graff), and a former French soldier, Philippe-Germain Deburau, a native of Amiens.  Some time before 1814, when he appeared in Paris, Philippe had turned showman, and had begun performing at the head of a nomadic troupe probably made up, at least in part, of his own children.  When the company was hired, in 1816, by the manager of the Funambules for mimed and acrobatic acts, the young Deburau was included in the transaction.

Apparently, as cast-lists indicate, he began appearing as Pierrot as early as the year of his hiring, although it was not until 1825 that he became the sole actor to claim the role.  His "discovery" by the theater-savvy public did not occur until several years later, when, in 1828, the influential writer Charles Nodier published a panegyric on his art in La Pandore.  Nodier persuaded his friends, fellow men-of-letters, to visit the theater; the journalist Jules Janin published a book of effusive praise, entitled Deburau, histoire du Théâtre à Quatre Sous, in 1832; and by the middle of the 1830s Deburau was known to "tout Paris".  Théophile Gautier wrote of his talent with enthusiasm ("the most perfect actor who ever lived"); Théodore de Banville dedicated poems and sketches to his Pierrot; Charles Baudelaire alluded to his style of acting as a way of understanding "The Essence of Laughter" (1855).

He seems to have been almost universally loved by his public, which included the high and the low, both the Romantic poets of the day and the working-class "children of paradise", who installed themselves regularly in the cheapest seats (which were also the highest: the "paradise") of the house.  It was before this public of artists and artisans that he found himself in his only true element: when, in 1832, he took his pantomime to the Palais-Royal, he failed spectacularly.  The occasion was a benefit performance of a pantomime performed earlier—with great success—at the Funambules, and included actors, not only from the Funambules, but also from the Gymnase, the Opéra, and the bastion of high dramatic art, the Théâtre-Français. Louis Péricaud, the chronicler of the Funambules, wrote that "never was there a greater disaster, a rout more complete for Deburau and his fellow-artists."  Deburau himself was hissed, and he vowed to play thereafter before no other public than those "naïfs and enthusiasts" who were habitués of the Boulevard du Crime.

But some of that public, however admiring, made the mistake of confusing his creation with his character, and one day in 1836, as he was out strolling with his family, he was taunted as a "Pierrot" by a street-boy, with ugly consequences: the boy died from one blow of his heavy cane. Deburau's biographer, Tristan Rémy, contends that the incident throws into relief the darker side of his art.  "The bottle", Rémy writes, "whose label 'Laudanum' he smilingly revealed after Cassander had drained it, the back of the razor he passed over the old man's neck, were toys which he could not be allowed to take seriously and thus put to the test his patience, his reserve, his sang-froid."  And Rémy concludes: "When he powdered his face, his nature, in fact, took the upper hand.  He stood then at the measure of his life—bitter, vindictive, and unhappy."

In court, he was acquitted of murder. Carné remarked, "There ensued a trial which le tout Paris crowded into, in order to get to hear the voice of the famed Debureau ." The composer Michel Chion named this curiosity about a voice the Deburau effect. The idea of a Deburau effect has been extended to any drawing of the listener's attention to an inaudible sound—which, once heard, loses its interest.

When he died, his son Jean-Charles (1829–1873) took over his role and later founded a "school" of pantomime, which flourished in the south of France, then, at the end of the century, in the capital. A line can be drawn from that school to the Bip of Marcel Marceau.

Jean-Gaspard Deburau is buried in the Père Lachaise Cemetery in Paris.

Pantomime

Character roles
In a review of a pantomime at the Funambules after Deburau's death, Gautier reproached the mime's successor, Paul Legrand, for dressing "half as a comic-opera Colin, half as a Tyrolean hunter", thereby degrading the Pierrot of Baptiste.  He was answered by a letter from the Funambules' director, who wished to disabuse the poet of his "error": " ... we have some thirty-odd plays performed by Debureau  in different costumes, and Paul has simply continued the practice ... ".  Pierrot was not Baptiste's only creation.  As Robert Storey, one of the most assiduous students of the mime's repertoire, has pointed out, Deburau performed in many pantomimes unconnected with the Commedia dell'Arte:
He was probably the student-sailor Blanchotin in Jack, l'orang-outang (1836), for example, and the farmhand Cruchon in Le Tonnelier et le somnambule ([The Cooper and the Sleepwalker] late 1838 or early 1839), and the goatherd Mazarillo in Fra-Diavolo, ou les Brigands de la Calabre ([Brother Devil, or The Brigands of Calabria] 1844).  He was certainly the Jocrisse-like comique of Hurluberlu (1842) and the engagingly naïve recruit Pichonnot of Les Jolis Soldats ([The Handsome Soldiers] 1843).
Like Chaplin's various incarnations, all of whom bear some resemblance to the Little Tramp, these characters, though singular and independent creations, must undoubtedly have struck their audiences as Pierrot-like.  For Deburau and Pierrot were synonymous in the Paris of post-Revolutionary France.

Pierrot

The Pierrot of his predecessors at the Funambules—and that of their predecessors at the Foires St.-Germain and St.-Laurent of the previous century—had been quite different from the character that Deburau eventually devised.  He had been at once more aggressive in his acrobatics (his "superabundance", in Péricaud's words, "of gestures, of leaps") than Baptiste's "placid" creation, and much less aggressive in his audacity and daring.  The Pierrot of Saphir the Enchanter, Pantomime in 3 Parts (1817) is a typical pre-Deburau type.  Lazy and sexless, he much prefers stuffing his gut to the amorous pastimes of Harlequin and Claudine.  And when Harlequin's heroics seem on the point of bringing the machinations of the Enchanter to an end, Pierrot's stupid bungling nearly precipitates disaster.  Even when he summons up the pluck and resourcefulness to initiate actions of his own, as he does in The Pink Genie and the Blue Genie, or The Old Women Rejuvenated (1817), he shows—in the Pink Genie's words at the end of the piece—"only the signs of an unjust and wicked heart", and so is buried in a cage in the bowels of the earth.

Deburau dispensed with Pierrot's coarseness and emphasized his cleverness.  As theater historian Edward Nye writes, "[George] Sand describes the new Pierrot as if he were a more reflective version of the old, as if Pierrot had somehow intellectually matured and learnt to moderate his worst excesses, or even to turn them into relative virtues."  So radical was that maturation that the poet Gautier, though a great admirer of the mime, reproached him after his death for having "denaturalized" the character.  No longer the cowardly stooge, his Pierrot "gave kicks and no longer received them; Harlequin now scarcely dared brush his shoulders with his bat; Cassander would think twice before boxing his ears."  Deburau restored to Pierrot some of the force and energy of the earlier Italian type Pedrolino (though he probably never heard of that predecessor).  Part of this may have been due to what Rémy calls the vindictiveness of Deburau's own personality; but what seems more likely is that, with the assurance that comes with great talent, Deburau instinctively forged a role with a commanding stage presence.

Nye identifies the source of that presence: it arose from the "semantic clarity" of Deburau's art.  ("Such was the semantic clarity of his body language that spectators ‘listened’ to him and could translate his mime into words and phrases".)  Nye explains: From the waning world of the commedia dell’arte he took the concept of playing a role, Pierrot, with recurrent characteristics and types of behaviour. ... From the wider world of theatre he took the principle of character acting, of seeking to imitate the physical and psychological manner of social types as realistically as possible.  And Nye suggests how these two orders of acting "contributed to the clarity of his mime":  "Firstly, the Pierrot tradition primed the spectator to understand Deburau's mime in certain ways.  Secondly, Deburau's character acting provided a social and psychological context", further sharpening the intelligibility of his performance.

The expressivity of his acting was abetted by his alterations in Pierrot's costume.  His overlarge cotton blouse and trousers freed him from the constraints of the woolen dress of his predecessors, and his abandoning the frilled collaret and hat gave prominence to his expressive face.  A black skullcap, framing that face, was his only stark adornment.

But his real innovations came in the pantomime itself.  His biographers, as well as the chroniclers of the Funambules, contend that his pantomimes were all alike.  The "naive scenarios" that "limited" his acting, according to his Czech biographer, Jaroslav Švehla, "did little more than group together and repeat traditional, threadbare, primitive, and in many cases absurd situations and mimic gags (cascades), insulting to even a slightly refined taste."  And Adriane Despot, author of "Jean-Gaspard Deburau and the Pantomime at the Théâtre des Funambules", agrees: "most of the pantomimes are essentially the same; they share the atmosphere of light, small-scale, nonsensical adventures enlivened with comic dances, ridiculous battles, and confrontations placed in a domestic or otherwise commonplace setting."  But Despot was familiar only with a handful of the scenarios, those few in print; by far the greater number, which present a picture of the pantomime rather different from Despot's, are in manuscript in the Archives Nationales de France and in the library of the Société des Auteurs et Compositeurs Dramatiques.  And Švehla is proceeding along misguided lines by assuming that Deburau "longed to represent a better character" than Pierrot: Deburau was apparently proud of his work at the Funambules, characterizing it to George Sand as an "art" (see next section below).  "He loved it passionately", Sand wrote, "and spoke of it as of a grave thing".

The fact is that four distinct kinds of Commedia-related pantomime held the stage at the Funambules, and for each Deburau created a now subtly, now dramatically different Pierrot.
The Rustic Pantomime: Gesturing towards Pierrot's roots outside the Commedia dell'Arte, to the peasant Pierrot of bucolic tradition (such as Molière's Pierrot of Don Juan [1665]), the action of these scenarios is set in a hamlet or village.  Pierrot is the hero: he is honest, good-hearted, but poor (and egotistically, comically naïve).  Through an act of courage, he is able to overcome the scruples of the father of his beloved—a Lisette, or Finetta, or Babette—and win her at the dénouement.  Examples: The Cossacks, or The Farm Set Ablaze (1840); Pierrot's Wedding (1845).
The Melo-Pantomime: Finding their inspiration in the popular boulevard melodramas having no connection with the Commedia dell'Arte, these scenarios present Pierrot, not as a hero, but as a subaltern—often a soldier, sometimes a retainer working in the employ of the hero of the piece.  They are set in exotic locales—Africa, America, Malta, China—and the action is (or is meant to be) thrillingly dramatic, fraught with villainous abductions, violent clashes, and spectacular rescues and reversals of fortune, often brought about by Pierrot's cleverness and daring.    Examples: The Enchanted Pagoda (1845); The Algerian Corsaire, or The Heroine of Malta (1845).
The Realistic Pantomime: These are the pieces with which Despot seems most familiar.  They are set in commonplace urban locales (shops, salons, public streets) and are usually peopled with the Parisian bourgeoisie (shopkeepers, merchants, valets).  Pierrot is the center of attention in these scenarios, but it is a Pierrot that is often very different from the character thus-far described.  "Libidinous and unscrupulous," writes Robert Storey, "often spiteful and cruel, he is redeemed only by his criminal innocence."  He steals from a benefactress, takes outrageous advantage of a blind man, kills a peddler to procure the garments in which he presumes to court a duchess.  This is the Pierrot described by Charles Nodier as a "naive and clownish Satan."  (Only when the pantomime has been written by Deburau himself, such as La Baleine [The Whale] of 1833, do we encounter, predictably, a less devilish Pierrot—one in fact deserving of Columbine's hand.)   Examples: Pierrot and His Creditors (1836); Pierrot and the Blind Man (1841).
The Pantomimic Fairy-Play: The grandest and most popular class of pantomimes—it occupied a third of the Funambules' repertoire—of which there are three subclasses:
The Pantomimic Pierrotique Fairy-Play: Pierrot is the only Commedia dell'Arte character (except Cassander, who sometimes puts in an appearance).  Like the action in the other subclasses, the plot here unfolds in fairyland, which is populated by sorcerers and sorceresses, ogres and magicians, fairies and enchanters.  Pierrot is usually sent on a quest, sometimes to achieve an amatory goal (for himself or his master), sometimes to prove his mettle, sometimes to redress an injustice.  The settings are fantastic and gothic, the action bizarre and frenetic, and the comedy very broad.  Examples: The Sorcerer, or The Demon-Protector (1838); Pierrot and the Bogeyman, or The Ogres and the Brats (1840).
The Pantomimic Harlequinesque Fairy-Play:  The basis for the pantomimes still performed at Bakken in Denmark.  In the landscape described above (and populated by the same warring spirits), Harlequin, the lover, carries Columbine off, triggering a pursuit by her papa, Cassander, and his serving-man Pierrot.  The end of their adventures is, of course, their union, reluctantly blessed by their pursuers.  Examples: Pierrot Everywhere (1839); The Three Hunchbacks (1842).
The Pantomimic Harlequinesque Fairy-Play in the English Style: Borrows the "opening" of early nineteenth-century English pantomime: at the rise of curtain, two suitors are in dispute for the same young lady, and her father, a miser, chooses the richer of the two.  A fairy appears to protect the sentimentally more deserving (Harlequin, after his transformation)—and to change all the characters into the Commedia types.  Then begins the chase.  Examples: The Ordeals (1833); Love and Folly, or The Mystifying Bell (1840).

Myths about Deburau

The people's Pierrot
If the casual theater-goer (from the mid-twentieth century on) knows Deburau at all, it is the Deburau of Children of Paradise.  There, through a brilliant interpretation by Jean-Louis Barrault, he emerges, on-stage and off-, as an exemplar of the common people, a tragic long-suffering lover, a friend of the pure and lonely and distant moon.  Neither Deburau nor his Pierrot was such a figure.  (That figure is much closer to the Pierrot of his successor, Paul Legrand.)  But the myth sprang into being very early, simultaneous with the emergence of Deburau's celebrity.  It was the product of clever journalism and idealizing romance: Janin's Deburau first set things in motion.  Deburau, he wrote, "is the people's actor, the people's friend, a windbag, a glutton, a loafer, a rascal, a poker-face, a revolutionary, like the people."  Théodore de Banville followed suit: "both mute, attentive, always understanding each other, feeling and dreaming and responding together, Pierrot and the People, united like two twin souls, mingled their ideas, their hopes, their banter, their ideal and subtle gaiety, like two Lyres playing in unison, or like two Rhymes savoring the delight of being similar sounds and of exhaling the same melodious and sonorous voice."  Indeed, George Sand noted, after Deburau's death, that the "titis", the street boys, of the Funambules seemed to regard his Pierrot as their "model"; but, earlier, when she had asked Deburau himself what he thought of Janin's conclusions, he had had this to say: "the effect is of service to my reputation, but all that is not the art, it's not the idea I have of it.  It is not true, and the Deburau of M. Janin is not me: he has not understood me."

The noble Pierrot
As for Banville's idealized Pierrot, it is best appreciated if set against the figure that we find in the scenarios themselves.  Late in  his life, Banville recalled a pantomime he had seen at the Funambules: Pierrot-baker is confronted by two women—"two old, old women, bald, disheveled, decrepit, with quivering chins, bent towards the earth, leaning upon gnarled sticks, and showing in their sunken eyes the shadows  of years gone by, more numerous than the leaves in the woods."
"Really now! there's no common sense in this!" exclaimed (in mute speech) the wise baker Pierrot: "to allow women to come to such a state is unthinkable.  So why hasn't anyone noticed they need to be melted down, remade, rebaked anew?"  And immediately, in spite of their protestations, he seized them, laid them both on his shovel, popped them right in the oven, and then stood watch over his baking with faithful care.  When the number of desired minutes had elapsed, he took them out—young, beautiful, transformed by brilliant tresses, with snow at their breasts, black diamonds in their eyes, blood-red roses on their lips, dressed in silk, satin, golden veils, adorned with spangles and sequins—and modestly said then to his friends in the house: "Well now, you see?  It's no more difficult than that!"
What he is remembering is a scene from Pierrot Everywhere:  Pierrot has just stolen Columbine from Harlequin, and he, Cassander, and Leander, along with the fiancées of the latter two, have stumbled upon an oven with magical powers.  The fiancées have been aged and wizened by Harlequin's magic bat, and the men hope that the oven can restore their youth.
[Isabelle and Angelique] refuse to enter the oven, finding themselves fine as they are.  Pierrot brings in Columbine and wants to burn her alive, too, if she continues to resist his advances; she struggles [emphasis added]; the two others succeed in thrusting Isabelle and Angelique inside; Pierrot helps them.  Meanwhile Harlequin sticks his head up through the emberbox and signals to Columbine to run off with him.  Pierrot sees him; Leander pushes the lid down, hard, and sits on top of it.  But hardly has he done so when the box sinks into the ground, swallowing him up.
Pierrot tries to put Columbine inside.  He opens the oven door; Isabelle and Angelique come out, young and fresh; they are delighted.  Isabelle looks for Leander.  A moaning comes from the oven.  It is Leander, who has been shut up in it, and who emerges half-baked and furious.  They clean him up.  Meanwhile, Harlequin has come back in; he makes Columbine step down—she was already on the shovel—and seizes Pierrot.  The wicked genie appears and helps Harlequin.  They pinion the poor Pierrot and are going to throw him into the oven, when a gong announces the [good] fairy. . . .
Deburau neither idealized nor sentimentalized his Pierrot.  His creation was “poor Pierrot”, yes, but not because he was unfairly victimized: his ineptitude tended to baffle his malice, though it never routed it completely.  And if Deburau was, in Švehla’s phrase, an actor of “refined taste”, he was also a gleeful inventor, like Mozart (that artist of ultimate refinement), of sexual and scatological fun.  Of his pantomimes in general, George Sand wrote that “the poem is buffoonish, the role cavalier, and the situations scabrous.”  And Paul de Saint-Victor echoed her words several weeks after Deburau’s death: “Indeed, in plenty of places, the poem of his roles was free, scabrous, almost obscene.” Unfortunately, Banville’s sanitized—even sanctified—Deburau survives, while the scenario of Pierrot Everywhere, like the more overtly scabrous of the Funambules “poems”, lies yellowing in the files of the Archives Nationales de France.

The tragic Pierrot
At one moment in his career, Deburau—quite inadvertently—contributed to his myths.  In 1842, a pantomime was performed at the Funambules in which Pierrot meets a shockingly tragic end: at the final curtain of The Ol’ Clo’s Man (Le Marrrchand d'habits!), Pierrot dies on stage.  It was an unprecedented dénouement and one not to be repeated, at least at Deburau’s theater.  (Imagine the Little Tramp expiring at the end of one of Charlie Chaplin’s films.)  It was also an anomaly for which his Romantic admirers were responsible.  This pantomime had been invented by Théophile Gautier in a “review” that he had published in the Revue de Paris.  He conceived it in the “realistic” vein described above: Pierrot, having fallen in love with a duchess, kills an old-clothes man to secure the garments with which to court her.  At the wedding, however, à la the Commander of Don Juan, the ghost of the peddler—the murdering sword protruding from his chest—rises up to dance with the bridegroom.  And Pierrot is fatally impaled.

Claiming that he had seen the pantomime at the Funambules, Gautier proceeded to analyze the action in familiarly idealizing terms.  “Pierrot,” he wrote, “walking the street in his white blouse, his white trousers, his floured face, preoccupied with vague desires—is he not the symbol of the human heart still white and innocent, tormented by infinite aspirations toward the higher spheres?”  And this dreaming creature of vague desires is essentially innocent of criminal intent: “When Pierrot took the sword, he had no other idea than of pulling a little prank!”

The temptation to use such material, devised by such an illustrious poet, was irresistible to the managers of the Funambules, and the “review” was immediately turned into a pantomime (probably by the administrator of the theater, Cot d'Ordan).  It was not a success: it had a seven-night run, a poor showing for one of Baptiste’s productions.  If he indeed appeared in the piece—the matter is under dispute—he did so very reluctantly; it was decidedly not his kind of play.  It was never revived at the Funambules, and it should have survived as merely a footnote in Deburau's career.

But like Banville’s deathless prose, it was Gautier’s “review” that survived—and prospered.  Gautier’s ex-son-in-law, Catulle Mendès, refashioned it into a pantomime in 1896, and when Sacha Guitry wrote his play Deburau (1918) he included it as the only specimen of the mime’s art.  Carné did the same (if we may exempt the obviously fabricated The Palace of Illusions, or Lovers of the Moon, in which Baptiste appears as a moonstruck, loveless, suicidal Pierrot, an invention of Carné's screenwriter, Jacques Prévert).  It stands today, for the nonscholarly public, as the supreme exemplar of Deburau’s pantomime.

The moonstruck Pierrot
And what of Deburau and Pierrot-the-friend-of-the-moon?  In the many scenarios in manuscript at the Archives Nationales de France, no connection is visible—save in one, and that, like The Ol’ Clo’s Man, is a clear anomaly.  Performed in 1844, after Gautier’s “review” had—at least in the minds of the lettered public—renewed the luster of the Funambules, it was obviously written by an aspiring auteur, judging from its literary pedigree.  Entitled The Three Distaffs and inspired by a tale of the Comtesse d’Aulnoy, it finds, at the end of its action, Harlequin, Pierrot, and Leander all trapped underneath the earth.  When the good fairy appears, she announces that her powers are now useless in the terrestrial realm:
. . . it is on the moon that your happiness must be realized.  Poor Pierrot . . . it is you who will be entrusted with the leadership of the celestial voyage that we are about to undertake.
In none of the other scenarios in the Archives is there mention of the moon.

But Deburau’s Romantic admirers often made the association.  Banville’s poem "Pierrot" (1842) concludes with these lines: “The white Moon with its horns like a bull/Peeps behind the scenes/At its friend Jean Gaspard Deburau.”  And as the century progressed, the association—rendered inevitable by the universal familiarity of “Au clair de la lune”—became ever more strong.  With the advent of the Symbolist poets, and their intoxication with everything white (and pure: swans, lilies, snow, moons, Pierrots), the legendary star of the Funambules and what Jules Laforgue called Our Lady the Moon became inseparable.  Albert Giraud's Pierrot lunaire (1884) marked a watershed in the moon-maddening of Pierrot, as did the song-cycle that Arnold Schoenberg derived from it (1912).  If Carné’s hero had not been moonstruck, his audiences would still be wondering why.

Notes


Imperial Guard (Japan)

The Japanese Imperial Guard is the name of two separate organizations dedicated to the protection of the Emperor of Japan and the Imperial Family, palaces and other imperial properties. The first was the , a quasi-independent branch of the Imperial Japanese Army being dissolved just after World War II. The second is the , a civilian law enforcement organization formed as part of the National Police Agency.

Imperial Guard of the Imperial Japanese Army

The Imperial Guard of the Imperial Japanese Army was formed in 1867. It became the foundation of the Imperial Japanese Army after the Emperor Meiji assumed all the powers of state during the Meiji Restoration. The Imperial Guard, which consisted of 12,000 men organized and trained along French Military lines, first saw action in the Satsuma Rebellion. It was organized into the 1st Guards Infantry Brigade which had the 1st and 2nd Regiments. The 3rd and 4th Regiments belonged to the 2nd Guards infantry Brigade.

By 1885 the Imperial Japanese Army consisted of seven divisions, one of which was the Imperial Guard. A division consisted of four regiments containing two battalions each. The Imperial Guard division was based in Tokyo and recruited nationally.

After the Russo-Japanese War in 1905, a second Guard Brigade was formed from indigenous Formosans.  In 1920 the Guards Cavalry Regiment, Guards Field Artillery Regiment, Guards Engineer Battalion, Guards Transport Battalion, plus other Guards service units were added.

From 1937 to 1939 the Guards Engineer Battalion was expanded into a regiment as was the Guards Transport Battalion.

Pacific War
In September 1939, the division was split into the 1st and 2nd Guards Brigades.

The 1st Guards Brigade, which contained the 1st and 2nd Guards Infantry Regiments, the cavalry regiment, and half of the support units, was transferred to South China. Here it became known as the Mixed Guards Brigade. In October 1940, it joined other Japanese units occupying French Indo-China.  In April 1941 the Mixed Guards Brigade returned to Tokyo but it did not rejoin the Imperial Guards Division.

The 2nd Guards Brigade, which contained 3rd and 4th Guards Regiments, also went to China. In 1940, it went to Shanghai before being posted to Hainan Island. In June 1941, the 5th Guards Infantry Regiment joined the 2nd Guards Brigade becoming the Imperial Guard Division again. It later saw action in the Battles of Malaya and  Singapore with Tomoyuki Yamashita's 25th Army.

In May 1943, all designated Imperial Guard units were renamed again. The Mixed Guards Brigade in Tokyo became the 1st Guards Division (which now consisted of the 1st, 2nd, 6th Guard Regiments) and the Imperial Guard Division became the 2nd Guards Division. The 3rd Guards Division, which never left Japan, was formed in 1944.  It consisted of the 8th, 9th and 10th Guards Regiments. Sources do not agree if there ever was a 7th Guard Regiment.

All military Imperial Guard Divisions were dissolved at the end of World War II.

War crimes
In Malaya and Singapore, the Guard Division was involved in several notorious Japanese war crimes such as the Parit Sulong Massacre and the Sook Ching massacre. Lt Gen. Takuma Nishimura, who was sentenced to life imprisonment by a British military court in relation to the Sook Ching killings, was later convicted of war crimes by an Australian Military Court in relation to the Parit Sulong massacre. He was executed by hanging on June 11, 1951.

Uniform

Until 1939, the Cavalry of the Imperial Guard wore a French style parade uniform consisting of a dark-blue tunic with red Brandenburg braiding, a red kepi and red breeches. The red kepi had a white plume with a red base.  Prior to the general adoption of khaki by the Japanese Army during the Russo-Japanese War (1904-1905), an all white linen uniform had been worn in hot weather.

The Infantry of the Imperial Guard wore a dark blue uniform with white leggings for both parade and service wear until 1905.  It was distinguished from that of the line infantry by a red band and piping on the peaked service cap (instead of yellow).  Officers wore a dark blue tunic with 5 rows of black mohair froggings and dark blue breeches with a red stripe down each seam.

Following the adoption of a khaki service dress, the Guard Infantry wore this on all occasions, although officers retained the blue and red uniform for certain ceremonial occasions when not parading with troops.

In the field, the army's standard khaki uniform was worn by all Imperial Guard units from 1905 to 1945. Guard units were distinguished by a wreathed star in bronze worn on the headgear, in contrast to the plain five pointed star worn by other units.

Imperial Guard of the National Police Agency

After the disbandment of the Imperial guard divisions, their missions were merged into the , a civilian law enforcement branch of the Ministry of the Imperial Household. In 1947, it was reorganized into the  of the Tokyo Metropolitan Police Department, and then transferred to the . After several renaming, it became the  in 1949. With the total reconstruction of the Japanese police systems in 1954, it became a part of the National Police Agency.

At present, it consists of over 900 security police personnel who provide personal security for the Emperor, Crown Prince and other members of the Imperial Family, as well as protection of imperial properties, including the Tokyo Imperial Palace, Kyoto Imperial Palace, Katsura Imperial Villa, Shugakuin Imperial Villa (both in Kyoto), Shosoin Imperial Repository in Nara and the imperial villas as Hayama, Kanagawa and Nasu, Tochigi.

The Imperial Guard also maintains a 14 horse mounted police unit for use by guards of honour at state ceremonies. In addition to their security duties, the Imperial Guard is also responsible for fire-fighting within the grounds of the Palace, and maintains fire engines and trained staff of this purpose.

The NPA Imperial Guards wear a dark blue or a blue-grey police uniform with white gloves while on duty with peaked caps for public duties activities. They also wear white pistol belts, lanyards, helmets, boot laces or leggings. They carry police rank insignia in their shoulder boards.

Gallery


Satyrium abdominalis

Satyrium abdominalis, the Gerhard's black hairstreak, is a butterfly in the family Lycaenidae.

Distribution
The Gerhard's black hairstreak is a common species in Turkey.

Habitat
The Gerhard's black hairstreak prefers bushy rocky slopes and ravines.


Little Hale

Little Hale is a hamlet and civil parish in the North Kesteven district of Lincolnshire, England. It is situated   south-east from the town of Sleaford, and directly south from the larger villages of Great Hale and Heckington. Adjacent villages include Burton Pedwardine, Great Hale and Helpringham. Little Hale, a village of approximately 60 houses, lies on the eastern western edge of the Lincolnshire Fens.

History
In 1885 Kelly's Directory described Little Hale as a township with an 1881 population of 362, and land of some parts light loam, and some, clay. Chief crops grown were wheat, barley, oats, beans, seeds and turnips. The village contained a post office, and a National School for 130 children, with an average attendance of 90. The 3rd Marquess of Bristol was Lord of the Manor. Little Hale commercial occupations at the time were twelve farmers, publicans at the Nags Head and Bowling Green public houses, two shopkeepers, a grocer & draper, a wheelwright and a shoe maker. The settlement of Broadhurst existed  south-east from Little Hale.

In 1933 Kelly's described a Little Hale township area of  and  of water, and a 1921 population of 264. Lord of the Manor was the 4th Marquess of Bristol MVO. No school was noted in the village. Little Hale commercial occupations were nineteen farmers, a wheelwright, two shopkeepers, one of whom ran the post office, and a publican at the Bowling Green public house. There was a bus service between the village and Sleaford. No mention was made of the settlement of Broadhurst.

Governance
Little Hale was originally a township in Great Hale ancient parish in the Kesteven part of Lincolnshire. It was made a separate civil parish in 1866. When a township, it was in Aswardhurn wapentake, and was in Sleaford poor law union and rural sanitary districts. From 1894 to 1931 it was in Sleaford Rural District, and from 1931 to 1974 it was in East Kesteven Rural District. Since 1974 it has been in North Kesteven district.

It was in the Southern Lincolnshire constituency for the United Kingdom parliament from 1832 to 1867, which changed its name to become the South Lincolnshire constituency in between 1867 and 1885, the North Kesteven constituency from 1885 to 1918, and from 1918 to 1997, it was in Grantham constituency. Since 1997, it has been in the Grantham and Stamford constituency.

Community
Little Hale is served by OnLincolnshire for broadband service.

Notes and references

Notes

Bibliography

External links


Nikolay Domakinov

Nikolay Domakinov (; born 11 July 1980) is a Bulgarian football defender.

International career
Domakinov played in two matches on the Bulgaria national football team in 2005 - with Ecuador and Mexico. Then he participated in the tour of the Bulgaria national football team in North America.


Beran (surname)

Beran (feminine Beranová) is a Czech surname meaning "ram/wether" (male sheep). The Polish and Slovak variant of this surname is Baran.

Notable people with this surname include:

 Bruce Beran, American coast guard
 Christa Beran, Austrian rescuer of Holocaust victims
 Dave Beran, American chef
 Emerik Beran, Slovenian composer
 Jiří Beran, Czech fencer
 Josef Beran, Czech cardinal
 Ladislav Beran, Czech actor
 Lajos Berán, Hungarian sculptor
 Matěj Beran, Czech ice hockey player
 Michal Beran, Slovak ice hockey player
 Rudolf Beran, Czech politician


Henry H. Dupont

Henry H. Dupont was an American architect. He practiced from Indianapolis, Indiana, and then Pinellas County, Florida.

Career
DuPont designed Bona Thompson Memorial Library in Irvington, Indiana, the eclectic Masonic Temple and Hall School. In Pinellas County, Florida, he designed the Don CeSar Hotel and Casa De Muchas Flores. He was involved in developing Von Duprin. Dupont announced his move to Florida in 1915, with an office in St. Petersburg's Central National Bank Building.

Works

Hall School
Casa De Muchas Flores, Pinellas County, Florida
Veillard House (1901) for Ralph Veillard, a Queen Anne style bungalow listed on the National Register of Historic Places in 1982. Two-story masonry and balloon frame house with a front porch and bell-cast gable roof punctuated by two oversized dormers on a corner lot on 4th Ave N in downtown St Petersburg, Florida.
Edward T. Lewis home, St. Petersburg

Further reading
Building Age, Volume 45 David Williams Company, 1923 page 30
Beautiful Bungalows of the Twenties, Building Age Publishing Corporation, Dover Publications, Sep 16, 2003 page 3
(Re)constructing the Little Red Schoolhouse: History, Landscape and Memory, Joanne Raetz Stuttgen Indiana University, 2002 - 492 pages Pages 166, 168


Ian Coutts (bishop)

Ian Alexander Coutts (born 1956) has been Anglican Bishop of Bunbury since 2018.

He was educated at the University of Warwick (BA, 1977), Jesus College, Oxford (MSc, 1980), King's College London and Charles Sturt University, Sydney (PhD, 2015).


All Saints Catholic Church (Taylorsville, Kentucky)

The All Saints Catholic Church in Taylorsville, Kentucky is a historic church on the east side of Jefferson Street between Park Alley and Red Row Alley.  It was built between 1830 and 1843.  It was added to the National Register in 1992.

It has some elements of Gothic Revival in style.

It was deemed significant as "one of the oldest extant Catholic churches in the Louisville archdiocese and as one of the early examples of Gothic Revival architecture used for church construction in the small towns of the region."


Crazy Mouse

Crazy Mouse is the first Chinese-developed video game to be developed and released for Xbox Live Arcade on the Xbox 360. The game was released on October 15, 2008.

Gameplay

The game features 32 levels in which the player guides a mouse through a vibrantly-colored maze, attempting to grab and eat food, run, dodge and score, depending on the level.

There are two single player modes:

Story: sequential puzzles where the player earns a score and rank on each puzzle
Battle: player competes against a number of mice to see who can score the most points in the shortest amount of time

Multiplayer
The game supports up to both co-op and competitive four player multiplayer, locally or over Xbox Live.


Davis DA-1

__NOTOC__

The Davis DA-1 was a light aircraft designed in the United States in the 1950s which never progressed beyond the prototype stage. Davis tried to bring the plane to market as a certified aircraft (his goal was a selling price of under $10,000), but was not successful.

Design and development
Davis constructed his DA-1 starting on 24 April 1957. It was a strut-braced high-wing single-engine all-aluminum airplane designed around the new Lycoming O-360 engine.  The fixed-nosegear-equipped piston-engine DA-1 was of otherwise conventional configuration, but its V-tail was similar to that of the contemporary Beechcraft Bonanza, whose high cruise speed was attributed partly to its use of that empennage type.

Wings and tail surfaces of the DA-1 used external heat treated ribs; those surfaces were non-tapered (i.e. of constant chord).

Power for the DA-1 was a horizontally-opposed Lycoming O-360 of 180 hp (134 kW), which gave a top speed of 125 mph (201 km/h).

Operational history
Initial test flights showed that there was not enough elevator authority with full flaps, and the plane was very loud. Soundproofing, and aerodynamic modifications were applied.

Specifications


Underland Press

Underland Press is a publishing company founded by Victoria Blake, a writer and the former prose editor for Dark Horse Comics. Underland Press was sold to Resurrection House in September 2013.

Debut authors for Underland Press included: Bram Stoker Award winner Kealan Patrick Burke, Edgar Award and International Horror Guild Award nominee Brian Evenson, Two-time World Fantasy Award winner Jeff VanderMeer, multiple award winner Will Elliott, and husband and wife writing team Berry Verhoef and Esther Verhoef writing as "EScoBER".

Will Elliott's novel The Pilo Family Circus is scheduled to make its North American debut in 2009 through Underland Press. It was originally published in Australia in 2006 after winning the inaugural ABC fiction award (sponsored by ABC Books). The novel went on to win the Aurealis Award (co-winner: Best Horror novel, plus the Golden Aurealis Award),<ref>[http://www.abc.net.au/news/arts/articulate/200701/s1835059.htm Kemble, Gary (29 Jan 2007). "Elliott wins top Aurealis Award" ABC online news (Articulate).]</ref>Aurealis Awards winners archive  Retrieved September 16, 2007. the Australian Shadows Award,Siemienowicz, Miranda (16 March 2007). "News: Australian Shadows winner announced". HorrorScope the Ditmar Award (Best Novel),Inkspillers Ditmar Awards archive.  Retrieved September 16, 2007. and the Sydney Morning Herald's "Best Young Novelist Award" for 2007. The Pilo Family Circus was also short-listed for the 2007 International Horror Guild Award for Best Novel.

Kealan Patrick Burke's online-only interactive Wovel, The Living debuted June 1, 2008 on the official Underland Press website.

Releases

NovelsLast Days, by Brian Evenson (February 2009) Released in the following formats:
Perfect Bound Trade Paperback
48 copy Limited Edition hardcover
27 Lettered Edition hardcoverThe Pilo Family Circus, by Will Elliott (March 2009) Finch, by Jeff VanderMeer (scheduled November 2009) Chaos, by Escober (AKA Esther Verhoef and Berry Verhoef) (May 2009) The Complete Drive-In: Omnibus by Joe R. Lansdale (May 2010) Curse of the Wolf Girl by Martin Millar (August 2010)

Story CollectionsIn Extremis: The Most Extreme Short Stories of John Shirley by John Shirley – August 2011Cyberpunk: Stories of Hardware, Software, Wetware, Evolution, and Revolution edited by Victoria Blake – February 2013

OmnibusesThe Complete Drive-In (2010) by Joe R. Lansdale, compiles the first three novels

AnthologiesReal Unreal: Best American Fantasy 3, edited by Kevin Brockmeier (scheduled January 2010). Featuring stories by Stephen King, Peter S. Beagle, Laura Kasischke, Jeffrey Ford, Lisa Goldstein, Paul Tremblay, Will Clarke, Thomas Glave, John Kessel, Kellie Wells, Ryan Boudinot, Rebecca Makkai, Martin Cozza, Chris Gavaler, Deborah Scwartzand, Shawn Vestal, and Katie Williams.

WovelsThe Living, a Wovel by Kealan Patrick Burke (June 2008 – October 2008)FirstWorld, a Wovel by Jemiah Jefferson (November 2008 – April 2009)Exit Vector'', a Wovel by Simon Drax (June 2009 – current)


N-STAR a

N-STAR a, was a geostationary communications satellite originally ordered by a consortium including NTT DoCoMo and JSAT Corporation, and later fully acquired by JSAT, which was merged into SKY Perfect JSAT Group. It was designed and manufactured by Space Systems/Loral on the SSL 1300 platform. It had a launch weight of approximately , and a 10-year design life. Its payload is composed of 6 C band, 11 Ka band, 8 Ku band and 1 S band transponders.

History
N-Star was created as a joint venture between JSAT, NTT, NTT Communications and NTT DoCoMo for the supply of these latter two WIDESTAR satellite telephone and data packet service. JSAT would handle the satellite side of business and NTT DoCoMo would operate the payload.

Two identical satellites were ordered on 1992 from Space Systems Loral, N-STAR a and N-STAR b, for 1995 and 1996 on orbit delivery. They would be "switchboards in the sky" having S band, C band, Ka band and Ku band payload.

N-STAR a was successfully launched aboard an Ariane 44P on August 29, 1995. Its twin, N-STAR b, launched on February 5, 1996, also aboard an Ariane 44P. The satellite telephone service was operational in March 1996. On March 2000, the packet communications service was introduced. On March 2000, JSAT received the NTT Communications interest in the N-STAR a and N-STAR b.

On August 2003 the JSAT acquired the NTT DoCoMo interest on N-STAR a and N-STAR b, whom then leased them back.


Cheshmeh Khatun

Cheshmeh Khatun (, also Romanized as Cheshmeh Khātūn) is a village in Howmeh-ye Sharqi Rural District, in the Central District of Izeh County, Khuzestan Province, Iran. At the 2006 census, its population was 49, in 10 families.


2006–07 AEL Limassol BC season

The 2006-07 AEL Limassol BC season was the team's 40th season.

Roster


Harpers Wine & Spirit

Harpers Wine & Spirit Trade Review or simply Harpers is a British information service for the wine and spirit industry. Founded in 1878, it has a fully subscribed circulation.  It is read across all sectors of the drinks industry including producers, distributors, restaurants, hotels, pubs and retailers. The current editor is Andrew Catchpole.

In 2009, Wine & Spirit merged into Harpers Magazine to form Harpers Wine & Spirit Trade Review. The magazine was subject to a major re-launch in 2013 with a revamped digital offering which now provides news and analysis in advance of the print magazine. Current owner Agile Media acquired Harpers Wine & Spirit Trade Review from William Reed Business Media in 2015.


2004 Hong Kong legislative election in Kowloon East

These are the Kowloon East results of the 2004 Hong Kong legislative election. The election was held on 12 September 2004 and all 5 seats in Kowloon East where consisted of Wong Tai Sin District and Kwun Tong District were contested. All four incumbents were elected with famous pro-democrat radio host Albert Cheng won a new seat with Andrew To of The Frontier on a joint ticket.

Overall results
Before election:

Change in composition:

Candidates list


Popeye the Sailor: The 1940s, Volume 2

Popeye the Sailor: The 1940s, Volume 2 is the fifth volume in a series of DVD by Warner Archive Collection released by Warner Home Video collecting, in chronological order, the theatrical Popeye cartoons originally distributed by Paramount Pictures. It is also the second authorized collection of theatrical Popeye cartoons to be released on a Blu-ray disc. It contains 15 color Popeye cartoons released in 1946 and 1947 that were produced by Famous Studios. Both the Blu-ray and the DVD were released on June 18, 2019.

Background
In 1945, veteran Disney animator Bill Tytla joined Famous Studios as an animation director. He was with Famous Studios through the early 1950s. Tytla designed a little girl character who would replace Little Lulu during this time, Little Audrey. While all of the cartoons in this collection are in color with most of them in Technicolor, some of the cartoons were filmed in the less expensive Cinecolor process.

Cartoon listing with director credit

1946
 House Tricks (Seymour Kneitel)
 Service with a Guile (Bill Tytla)
 Klondike Casanova (Isadore Sparber)
 Peep in the Deep (Seymour Kneitel)
 Rocket to Mars (Bill Tytla)
 Rodeo Romeo (Isadore Sparber)
 The Fistic Mystic (Seymore Kneitel)
 The Island Fling (Bill Tytla)

1947
 Abusement Park (Isadore Sparber)
 I'll Be Skiing Ya (Isadore Sparber)
 Popeye and the Pirates (Seymour Kneitel)
 The Royal Four-Flusher (Seymour Kneitel)
 Wotta Knight (Isadore Sparber)
 Safari So Good (Isadore Sparber)
 All's Fair at the Fair (Seymour Kneitel)

Disclaimers
On the back cover, there is a disclaimer stating that this Blu-ray and DVD collection is intended for the adult collector and may not be suitable for children. More detailed wording in an opening screen explains that the ethnic stereotypes depicted in such cartoons as Rocket to Mars, The Island Fling and Wotta Knight are considered to be offensive today but are included because they are part of the history of these cartoons. An additional cartoon has a disclaimer preceding it, Popeye and the Pirates has an edited print which cuts out the scene where Popeye transitions from being in drag into having a sailor suit, presumably due to nudity. This clip has been edited out since the original theatrical showing in 1947. This clip is presumed lost or destroyed.