Neil Ferguson (epidemiologist)

Neil Morris Ferguson  (born 1968), is a British epidemiologist. He is a professor of mathematical biology, who specialises in the epidemiology of infectious disease spread in humans and animals. He is the director of the Abdul Latif Jameel Institute for Disease and Emergency Analytics (J-IDEA), head of the Department of Infectious Disease Epidemiology in the School of Public Health and Vice-Dean for Academic Development in the Faculty of Medicine, all at Imperial College, London.

Ferguson was appointed OBE in 2002 for his work modelling the 2001 United Kingdom foot-and-mouth outbreak. He used mathematical modelling to provide data on several disease outbreaks including the swine flu outbreak in 2009 in the UK and the ebola epidemic in Western Africa in 2016. His work has also included research on mosquito-borne diseases including zika, yellow fever, dengue and malaria.

In February 2020, during the COVID-2019 outbreak which began in China, Ferguson and his team used statistical models to estimate that the reported cases of the new coronavirus are significantly underestimated in China.

Early life and education
Neil Ferguson was born in 1968. He received his MA in physics from the University of Oxford in 1990 and his doctorate in theoretical physics there in 1994 for a thesis titled "Continuous interpolations from crystalline to dynamically triangulated random surfaces".

Career
He was part of Roy Anderson's group of infectious disease scientists who moved from the University of Oxford to Imperial College in November 2000, and started working on modelling the 2001 United Kingdom foot-and-mouth outbreak a few months later. He was appointed a member of the Order of the British Empire in the 2002 New Year Honours in recognition of his work on the disease.

As of February 2020, at Imperial College, London, he is a professor of mathematical biology, director of the Abdul Latif Jameel Institute for Disease and Emergency Analytics (J-IDEA), head of the Department of Infectious Disease Epidemiology in the School of Public Health and Vice-Dean for Academic Development in the Faculty of Medicine.

Ferguson and colleagues founded the MRC Centre for Outbreak Analysis and Modelling in 2008. He advises the World Health Organization (WHO), the European Union, and the governments of the UK and United States, on the dynamics of infectious disease. He is an international member of the National Academy of Medicine, a fellow of the Royal Statistical Society, and is on the editorial boards of PLoS Computational Biology and Journal of the Royal Society Interface. He is a founding editor of the journal Epidemics.

Swine flu 2009

During the swine flu outbreak in 2009 in the UK, in an article titled "Closure of schools during an influenza pandemic" published in the Lancet Infectious Diseases, Ferguson and colleagues endorsed the closure of schools in order to interrupt the course of the infection, slow further spread and buy time to produce a vaccine. Ferguson's team also noted the economic and workforce effect school closure would have, particularly with a large percentage of doctors and nurses being women, of whom half had children under the age of 16. They studied previous influenza pandemics including the 1918 flu pandemic, the influenza pandemic of 1957 and the 1968 flu pandemic. They also looked at the dynamics of the spread of influenza in France during French school holidays and noted that cases of flu dropped when schools closed and re-emerged when they re-opened. They noted that when teachers in Israel went on strike during the flu season of 1999-2000, visits to doctors and the number of respiratory infections, fell by more than a fifth and more than two fifths respectively.

In his report to the House of Lords in 2009, Ferguson recommended that to halt transmission of swine flu, actions would need to include "treating isolated cases with antivirals, public health measures such school closures, travel restrictions around the region, mass use of antiviral prophylaxis in the population and possible use of vaccines". He also questioned why there was not a policy for vaccinating frontline healthcare workers at that time.

Ebola
In 2014, as the director of the UK Medical Research Council's centre for outbreak analysis and modelling at Imperial, Ferguson provided data analysis for the WHO, on Ebola during the ebola epidemic in Western Africa. In the same same year, he co-authored a paper with Christopher J. M. Whitty published in Nature and titled "Infectious disease: Tough choices to reduce Ebola transmission", explaining the UK government's response to ebola in Sierra Leone, including the proposal to build and support centres where people could self-isolate voluntarily if they suspected that they could have the disease.

Mosquito-borne diseases
Ferguson's work has included research on several mosquito-borne diseases including zika, yellow fever, dengue and malaria.

Zika
In 2016, he co-authored a paper titled "Countering the Zika epidemic in Latin America", published in Science. Although disputed by at least one other biostatistician, Ferguson and his team concluded that the age distribution of future outbreaks of zika will likely differ and that a new large epidemic would be delayed for “at least a decade”. Cases of zika dropped after 2016. That year, he predicted that the zika outbreak in the Americas would be over within three years, and clarified that "viruses tend to return when there are enough susceptible people, such as children, to sustain a new outbreak".

Dengue

Wolbachia is a bacterium frequently found in insects but not in the Aedes aegypti mosquito, which carries the dengue virus. In 2015, Ferguson published a paper titled "Modeling the impact on virus transmission of Wolbachia-mediated blocking of dengue virus infection of Aedes aegypti", in which he and his team presented their experiments and used a mathematical model to show that one strain of Wolbachia, could reduce the ability of the Aedes aegypti mosquito to transmit dengue, with a 66-75% reduction in the basic reproduction number.

COVID-2019

In February 2020, during the COVID-2019 outbreak which began in China, using statistical models that considered data on the number of deaths and recoveries inside China, travellers outside China and in those affected that had returned home, Ferguson and his team  estimated that the reported cases of the new coronavirus are significantly underestimated in China. In an interview released by Imperial College, he estimated that only 10% of cases were being detected in China. In addition, he reported estimates that the overall death rate is around 1%. At the same time, CNN noted that the number of available testing kits has come into question. In the same month, the BBC News reported that Ferguson calculates that only one in three cases coming into the UK was being detected. He stated that "while subject to much uncertainty due to the limited data currently available – suggest that the impact of the unfolding epidemic may be comparable to the major influenza pandemics of the twentieth century." On 12 February 2020, in an interview on the BBC Radio 4's Today programme, he disclosed his belief that the new coronavirus could affect up to 60% of the UK's population, in the worst case scenario.

Selected publications
"Closure of schools during an influenza pandemic'. Lancet Infectious Diseases. Vol. 9, Issue 8 (August 2009), pp. 473-81.  (joint author)
"Travel patterns in China". PLOS One, Vol. 6, Issue 2, (12 February 2011). ,  (joint author)
"Identification of MERS-CoV in dromedary camels". The Lancet. Vol. 14, Issue 2 (1 February 2014), pp. 93-94,  (joint author)
"Infectious disease: Tough choices to reduce Ebola transmission". Nature. Vol. 515, Issue 7526 (13 November 2014).  (joint author)
"Modeling the impact on virus transmission of Wolbachia-mediated blocking of dengue virus infection of Aedes aegypti". Science Translational Medicine. Vol. 7, Issue 279 (18 March 2015), pp. 279ra37. , , . (joint author)
"Assessing the epidemiological effect of wolbachia for dengue control". The Lancet. Vol. 15, Issue 7 (1 July 2015), pp. 862–866. . (joint author)
"Countering the Zika epidemic in Latin America". Science'''. Vol. 353, Issue 6297 (22 July 2016), pp. 353–354. , , , (joint author)
"Challenges and opportunities in controlling mosquito-borne infections". Nature''. Vol. 559, Issue 7715 (25 July 2018), pp. 490–497.
"All reports published on COVID-19". Imperial College, MRC Centre for Global Infectious Disease Analysis (15 February 2020), (joint author)


STS-1

STS-1 (Space Transportation System-1) was the first orbital spaceflight of NASA's Space Shuttle program. The first orbiter, Columbia, launched on 12 April 1981 and returned on 14 April, 54.5 hours later, having orbited the Earth 36 times. Columbia carried a crew of two – mission commander John W. Young and pilot Robert L. Crippen. It was the first American crewed space flight since the Apollo–Soyuz Test Project in 1975. STS-1 was also the only maiden test flight of a new American spacecraft to carry a crew, though it was preceded by atmospheric testing of the orbiter and ground testing of the Space Shuttle system.

The launch occurred on the 20th anniversary of the first human spaceflight. This was a coincidence rather than a celebration of the anniversary; a technical problem had prevented STS-1 from launching two days earlier, as was planned.

Crew

Both Young and Crippen were selected as the STS-1 crew in March 1978. Young was the most experienced astronaut in NASA at the time and was also the only member of his astronaut class still in service. He flew twice on Gemini and twice on Apollo, walked on the Moon in 1972 as the Commander of Apollo 16, and became Chief of the Astronaut Office in 1974. Crippen, who had joined NASA in 1969 after the cancellation of the Manned Orbiting Laboratory, was a rookie and would become the first of his astronaut group to fly in space. Prior to his selection on STS-1, Crippen participated in the Skylab Medical Experiment Altitude Test and also served as a capsule communicator for all three Skylab missions and the Apollo-Soyuz Test Project.

Columbia was manifested with EMUs for both Young and Crippen in the event of an emergency spacewalk. If such an event occurred, Crippen would go outside the orbiter, with Young standing by in case Crippen required assistance.

Backup crew

Support crew
 Daniel C. Brandenstein (ascent CAPCOM)
 Henry W. Hartsfield
 Joseph P. Allen (entry CAPCOM)

Mission parameters
 Mass:
 Orbiter liftoff:
 Orbiter landing:
 DFI payload:
 Perigee: 132.7 nautical miles (246 km)
 Apogee: 148 nautical miles (274 km)
 Inclination: 40.3°
 Orbital period: 89.4 min

Suborbital mission plan
During the original planning stages for the early Space Shuttle missions, NASA management felt a need to undertake initial tests of the system prior to the first orbital flight. To that end, they suggested that STS-1, instead of being an orbital flight, be used to test the Return To Launch Site (RTLS) abort scenario. This involved an abort being called in the first few moments after launch, and using its main engines, once the SRBs had been jettisoned, to power it back to the launch site. This scenario, while potentially necessary in the event of an early abort being called, was seen as being extremely dangerous and, as a consequence, Young overruled the proposal, and STS-1 went ahead as the first orbital mission. The NASA managers were swayed by Young questioning the need for the test, and the weight of his opinion was especially strong as he was someone who not only had been to the moon twice, but had walked on it. He would fly the Shuttle again on the STS-9 mission, a ten-day flight in 1983.

Mission summary

The first launch of the Space Shuttle occurred on 12 April 1981, exactly 20 years after the first crewed space flight, when the orbiter Columbia, with two crew members, astronauts John W. Young, commander, and Robert L. Crippen, pilot, lifted off from Pad A, Launch Complex 39, at the Kennedy Space Center. The launch took place at  A launch attempt two days earlier was scrubbed because Columbias four primary general purpose computers (GPCs) failed to provide correct timing to the backup flight system (BFS) when the GPCs were scheduled to transition from vehicle checkout to flight configuration mode.

{{LaunchAttempt
| date1          = 1981-04-10 7:00:00
| result1        = Scrubbed
| reason1        = Technical
| decision_date1 =
| decision_clock1= -18
| weathergo1     =
| notes1         =  Timing problem in one of Columbias general-purpose computers. A software patch was installed to correct.
|df=yes| date2          = 1981-04-12 7:00:03
| result2        = Success
| reason2        =
| decision_date2 =
| decision_clock2=
| weathergo2     =
| notes2         =
}}
Not only was this the first launch of the Space Shuttle, but it marked the first time that solid-fuel rockets were used for a NASA crewed launch (although all of the Mercury, Gemini, and Apollo astronauts had relied on a solid-fuel motor in their escape towers and Mercury capsules had a solid-fueled retrorocket pack). STS-1 was also the first U.S. crewed space vehicle launched without an uncrewed powered test flight. The STS-1 orbiter, Columbia, also holds the record for the amount of time spent in the Orbiter Processing Facility (OPF) before launch – 610 days, the time needed for the replacement of many of its heat shield tiles.

The NASA mission objective for the maiden flight was to accomplish a safe ascent into orbit and return to Earth for a safe landing of Orbiter and crew. The only payload carried on the mission was a Development Flight Instrumentation (DFI) package, which contained sensors and measuring devices to record the orbiter's performance and the stresses that occurred during launch, ascent, orbital flight, descent and landing. All 113 flight test objectives were accomplished, and the orbiter's spaceworthiness was verified.

During the final T-9 minute holding period, Launch Director George Page read a message of good wishes to the crew from President Ronald Reagan, finishing up with his own:

Ignition of the three RS-25 main engines was sensed as a sharp increase in noise. The stack rocked "downwards" (towards the crew's feet), then back up to the vertical, at which point both Solid Rocket Boosters (SRBs) ignited. Crippen likened lift-off to a "steam catapult shot" (such as when an aircraft is launched from an aircraft carrier). The stack's combined northwards translation and climb above the launch tower's lightning rod were readily apparent to Young. After clearing the tower the stack began a right roll (until the +Z axis or vertical fin pointed) to a launch azimuth of 067° True (in order to achieve an orbital inclination of 40.3°), and pitched to a "heads down" attitude (to reduce loading on the wings). Simultaneously control was passed from the launch team in Florida to Flight Director Neil Hutchinson's Silver team in Flight Control Room 1 (FCR 1) in Texas with astronaut Dan Brandenstein as their CAPCOM.

Columbias main engines were throttled down to 65% thrust to transit the region of Max Q, the point during ascent when the shuttle undergoes maximum aerodynamic stress. This occurred 56 seconds into the flight at Mach 1.06. The wind corrected value was  (predicted , limit ). The two SRBs performed better than expected causing a lofted trajectory, and were jettisoned after burnout at 2 minutes and 12 seconds (at  altitude,  higher than planned). After 8 minutes and 34 seconds Mission Elapsed Time (MET) the main engines were shut down (MECO, at altitude ) and the external tank (ET) was jettisoned 18 seconds later to eventually break up and impact in the Indian Ocean. Two twin-engined Orbital Maneuvring System (OMS) engine burns of 86 seconds duration initiated at 10 minutes and 34 seconds MET and 75 seconds duration at 44 minutes 2 seconds MET inserted Columbia into a  orbit. This subtle deviation from the original plan of  circular went largely unnoticed. In fact it adjusted the spacecraft's orbital period to take account of the April 10th scrub, so that attempts could still be made to use KH-11 reconnaissance satellites to image Columbia on orbit. Overall Young commented that there was a lot less vibration and noise during launch than they had expected. However, the sensations accompanying the first firing of the large Reaction Control System (RCS) jets surprised the crew. Crippen commented "it's like a big cannon just fired . . . you don't like them the first time you hear them". Young reported that "the entire cabin vibrates . . . it felt like the nose was being bent".

Once on-orbit both crew members safed their ejection seats and unstrapped. The next critical event was payload bay door opening. This was essential to allow heat rejection from Columbia'''s systems via the doors' space radiators. Failure to open these by the end of the second orbit would have resulted in a return to Earth at the end of the fifth orbit, before the limited capacity of the flash evaporator cooling system was exceeded. As they opened the doors the crew noticed that they had sustained damage to thermal protection system (TPS) tiles on the OMS pods. This was televised to the ground. Shortly afterwards Young, then Crippen doffed their emergency ejection suits.

The majority of the crew's approximately 53 hours in low Earth orbit was spent conducting systems tests. Despite the scheduling impact of efforts to image Columbias TPS by utilising external assets, these were all accomplished. They included: Crew Optical Alignment Sight (COAS) calibration, star tracker performance, Inertial Measurement Unit performance, manual and automatic RCS testing, radiation measurement, propellant crossfeeding, hydraulics functioning, fuel cell purging and photography. The OMS-3 and OMS-4 burns at 006:20:46 and 007:05:32 MET respectively raised this orbit to  (compared to a planned  circular). These two firings were single engined utilising the crossfeed system. The crew reported a cold first night on board despite acceptable temperature indications. They found the second night comfortable after settings were adjusted.

During the second day of the mission, the astronauts received a phone call from Vice President George H. W. Bush. President Ronald Reagan had originally intended to visit the Mission Control Center during the mission, but at the time was still recovering from an assassination attempt which had taken place two weeks before the launch (Reagan had only returned home to the White House the day prior to the launch).

The crew awoke from their second sleep period, earlier than planned. Preparations for return to Earth began with breakfast. Stowing of cabin items, flight control system checkout, data processing system reconfigurations, and then ejection suit donning followed. In Houston the Crimson team headed by their Flight Director Don Puddy came on duty in FCR 1 for the mission's final shift. His CAPCOM was astronaut Joe Allen with Rick Hauck assisting. Payload bay door closing was a critical milestone to ensure vehicle structural and thermal integrity for re-entry. If power closing had failed, Crippen was trained to conduct a one-man extravehicular activity (EVA) to manually winch them closed. With cabin switch positions verified, the crew strapped into their ejection seats. Meanwhile, JSC pilots Charlie Hayes and Ted Mendenhall were airborne over California's Edwards Air Force Base area in a Shuttle Training Aircraft (STA) performing a final check of landing weather conditions.

Auxiliary Power Units (APUs) 2 and 3 were started (to provide flight control hydraulic pressure). The 160-second twin-engine OMS de-orbit burn took place during the 36th orbit over the southern Indian Ocean and changed the orbital parameters from  to . This ensured atmospheric capture of the spacecraft close enough to the planned landing site to have sufficient energy for a controlled glide landing, but not so close that energy would have to be dissipated at a rate exceeding its structural capability. Young then slowly pitched Columbia up to the wings level nose high entry attitude. Both crew members armed their ejection seats during this pitch around. Nearly half an hour later APU 1 was started as planned. Shortly afterwards Columbia entered an approximately 21 minute long communications blackout. This was due to a combination of ionisation (16 minutes) and lack of ground station coverage between Guam and Buckhorn. Entry Interface (EI) was reached over the eastern Pacific Ocean  from the landing site at a speed of around . EI is merely an arbitrarily defined geodetic altitude of  employed by NASA for the purposes of trajectory computations and mission planning. Above this altitude, the spacecraft is considered to be outside the "sensable atmosphere".

Most of this first orbiter entry was flown automatically. An initial angle of attack of 40° had to be maintained until through the most severe aerodynamic heating after which it was gradually reduced. At about  altitude a light pink air glow caused by entry heating became visible, and both crew members lowered their visors. Columbia had to maneuver  "cross range" of its orbital ground track to reach the planned landing site during the entry. Consequently, a roll into a right bank was flown when the air density had increased sufficiently to raise dynamic pressure to  (with speed still in excess of Mach 24 and approximately  altitude). Automatic roll reversals to control energy dissipation rate and cross range steering were performed at around Mach 18.5 and Mach 9.8. The crew clearly observed the coast of California as Columbia crossed it near Big Sur at Mach 7 and . Both the Mach 4.8 and Mach 2.8 roll reversals were automatically initiated and manually completed by Young. The last RCS jet firing took place at an altitude of — lower than desired (due to a predicted risk of combustion chamber explosion).

Young again took manual control for the remainder of the flight as they went subsonic approaching the Heading Alignment Circle (HAC). A wide left turn was flown to line up with lake bed runway 23, whilst T-38 "Chase 1", crewed by astronauts Jon McBride and "Pinky" Nelson joined formation. Main gear touch down occurred on runway 23 at Edwards Air Force Base, at  equivalent airspeed, slightly slower and around  further down the runway than planned. This was the result of a combination of better than predicted Orbiter lift-to-drag ratios and tail wind. Touch down time was 10:21 AM PST on 14 April 1981. As they rolled to a stop a pleased John Young remarked over the radio:Columbia was returned to Kennedy Space Center from California on 28 April atop the Shuttle Carrier Aircraft. The 36-orbit,  flight lasted 2 days, 6 hours, 20 minutes and 53 seconds.

Mission anomalies

STS-1 was the first test flight of what was, at the time, the most complex spacecraft ever built. Roughly 70 anomalies were observed during and after the flight, owing to the many components and systems that could not otherwise be adequately tested. Notable anomalies included:
 Similar to the first Saturn V launch in 1967, NASA underestimated the amount of noise and vibration produced by the Shuttle. Shock waves from the SRB thrust were deflected up into the orbiter's tail section, which could have caused structural or other damage. An improved water suppressant system was later installed in LC 39A to damp vibrations.
 Pilot Crippen reported that, throughout the first stage of the launch up to SRB separation, he saw "white stuff" coming off the External Tank and splattering the windows, which was probably the white paint covering the ET's thermal foam.
 The astronauts' on-orbit visual inspection showed significant damage to the thermal protection tiles on the OMS/RCS pods at the orbiter's aft end, and John Young reported that two tiles on the nose looked like someone had taken "big bites out of them." The Air Force also photographed the orbiter using a KH-11 KENNEN reconnaissance satellite. Due to the top secret nature of the satellite, only a small number of NASA personnel were aware of this, and they had arranged for the photography prior to the launch as a precaution to make sure no damage had been done to the thermal tiles on the underside of the orbiter, as there had never been a flight of a crewed spacecraft before where the heat shield was exposed to the vacuum of space for the entire duration of the mission. Young and Crippen were instructed to perform maneuvers with the RCS thrusters to align Columbia so that the KH-11 could photograph it, but were not informed of the reason for them. Aligning the shuttle's low Earth orbit with the KH-11's polar orbit was a somewhat tricky move, and launch on April 12 was scheduled for a few minutes after the launch window opened, due to the need to get the KH-11 into correct orientation for imaging the shuttle. Images obtained confirmed that damage to Columbia was not serious. Post-flight inspection of Columbia confirmed that approximately 16 undensified tiles near the OMS pod had been lost during ascent.
 Columbias aerodynamics at high Mach numbers during reentry were found to differ significantly in some respects from those estimated in pre-flight testing. A misprediction of the location of the center of pressure (due to using an ideal gas model instead of a real gas model) caused the computer to have to extend the body flap by sixteen degrees rather than the expected eight or nine. Also, the first roll manoeuvre resulted in lateral and directional oscillations during which side slip angles of up to 4° were reached. This was twice as high as predicted. Analysis attributed the cause to unexpectedly large rolling moments due yaw RCS jet firings. During the early stages of entry, orbiter roll control is achieved as a result of sideslip modulation.
 The orbiter's heat shield was damaged when an overpressure wave from the solid rocket booster caused a forward RCS oxidizer strut to fail.
 The same overpressure wave also forced the shuttle's "body flap"–an extension on the orbiter's underbelly that helps to control pitch during reentry–into an angle well beyond the point where cracking or rupture of its hydraulic system would have been expected. Such damage would have made a controlled descent impossible, with John Young later admitting that had the crew known about this, they would have flown the shuttle up to a safe altitude and ejected, causing Columbia to be lost on the first flight. This appears to contradict remarks Young has made several times stating how skeptical he was of the prospects of successful ejection whilst the SRBs were still attached and burning (e.g. in a 2006 interview: "if you had to use ejection seats to jump out while the solid rocket motors were still burning, you probably would have ignited yourself . . ."). The SRBs were not jettisoned until Columbia was well above the ejection seat envelope.
 The strike plate next to the forward latch of Columbias external tank door was melted and distorted due to excess heat exposure during reentry. This heat was attributed to an improperly installed tile adjacent to the plate.
 During remarks at a 2003 gathering, John Young stated that a protruding tile gap filler ducted hot gas into the right main landing gear well, which caused significant damage, including the buckling of the landing gear door. He said that neither he nor Crippen were told about this incident and he was not aware that it had happened until reading the postflight mission report for STS-1, also adding that the gas leak was noted in the report, but not the buckling of the landing door. (The buckling of the door is in fact in the anomaly report, anomaly STS-1-V-49.)

Despite these problems, the STS-1 mission was completed successfully, and in most respects Columbia performed optimally. After some modifications to the Shuttle and to the launch and reentry procedures,Columbia flew the next four Shuttle missions.

Mission insignia
The artwork for the official mission insignia was designed by artist Robert McCall. It is a symbolic representation of the Shuttle. The image does not depict the black wing roots present on the actual Shuttle.

Anniversary

The ultimate launch date of STS-1 fell on the 20th anniversary of Yuri Gagarin's Vostok 1, the first spaceflight to carry a human crew. In 2001, Yuri's Night was established to celebrate both events. In a tribute to the 25th anniversary of the first flight of Space Shuttle, Firing Room 1 in the Launch Control Center at Kennedy Space Center – which launched STS-1 – was renamed the Young-Crippen Firing Room. NASA described the mission as "the boldest test flight in history".

External tank
STS-1 and STS-2 were the only two shuttle flights to have the ET painted white. To reduce the Shuttle's overall weight, all flights from STS-3 onward used an unpainted tank. The use of an unpainted tank provided a weight saving of approximately , and gave the ET the distinctive orange color which later became associated with the Space Shuttle.

In popular culture
The song "Countdown" by Rush, from the 1982 album Signals, was written about STS-1 and the inaugural flight of Columbia. The song was "dedicated with thanks to astronauts Young and Crippen and all the people of NASA for their inspiration and cooperation".

The footage of the launch was commonly played on MTV throughout the 1980s and 1990s, and was, in fact, the very first thing shown on the channel, along with footage of Neil Armstrong on the Moon, and the launch of Apollo 11.

IMAX cameras filmed the launch, landing, and mission control during the flight, for a film entitled Hail Columbia!, which debuted in 1982 and later became available on DVD. The title of the film comes from the pre-1930s unofficial American national anthem, Hail, Columbia.

The beginning of the song "Hello Earth", on Kate Bush's 1985 Hounds Of Love album, contains a short clip of dialogue between Columbia and Mission Control, during the last few minutes of its descent, beginning with "Columbia now at nine times the speed of sound…"

Wake-up calls
NASA began a tradition of playing music to astronauts during the Gemini program, and first used music to wake up a flight crew during Apollo 15.
A special musical track is chosen for each day in space, often by the astronauts' families, to have a special meaning to an individual member of the crew, or in reference to the day's planned activities.

Pad fatalities

An accident occurred on March 19, 1981 that led to the deaths of three people. During a countdown test for STS-1, a pure nitrogen atmosphere was introduced in the aft engine compartment of Columbia to reduce the danger of an explosion from the many other potentially dangerous gases on board the orbiter. At the conclusion of the test, pad workers were given clearance to return to work on the orbiter, even though the nitrogen had not yet been purged due to a recent procedural change. Three technicians, John Bjornstad, Forrest Cole, and Nick Mullon, entered the compartment without air packs, unaware of the danger since nitrogen gas is odorless and colorless, and lost consciousnesses due to lack of oxygen. Several minutes later, another worker saw them and tried to help, but passed out himself. The fourth did not alert anyone, but was himself seen by two other people. Of those two, one alerted a security guard and another went to help the unconscious group. The security guard entered the compartment with an air pack and removed the five men from the compartment.

Security procedures delayed ambulances from arriving on the scene by several minutes. Bjornstad died at the scene; Cole died on April 1 without ever regaining consciousness, and Mullon suffered permanent brain damage and died on April 11, 1995 from complications of his injuries.Sam Kean, The Disappearing Spoon (2010), p. 188"Space shuttle worker dies in fall at launch pad", MSNBC.com – 3rd paragraph from bottom of article., 3/14/2011 These were the first launchpad deaths at Canaveral since the Apollo 1 fire, which claimed the lives of three astronauts during preparations for the crewed moon landing missions.

The incident did not delay the launch of STS-1 less than a month later, but pilot Robert Crippen gave an on-orbit tribute to Bjornstad and Cole. A three-month inquiry determined a combination of a recent change in safety procedures and a miscommunication during the operations were the cause of the accident. A report called LC-39A Mishap Investigation Board Final Report'' was released with the findings. The names of John Bjornstad, Forrest Cole and Nicholas Mullon are engraved on a monument at the US Space Walk of Fame in Florida.

Gallery


Febres (Cantanhede)

Febres is a civil parish in the municipality of Cantanhede, Portugal. The population in 2011 was 3,352, in an area of 22.94 km².


Seven and the Ragged Tiger

Seven and the Ragged Tiger is the third studio album by English new wave band Duran Duran. It was released on 21 November 1983 by EMI. It was the band's first and only number-one album on the UK Albums Chart, and would prove to be the last studio album for the band's most famous line-up until 2004's Astronaut.

Vocalist Simon Le Bon said the album "is an adventure story about a little commando team. 'The Seven' is for us—the five band members and the two managers—and 'the Ragged Tiger' is success. Seven people running after success. It's ambition. That's what it's about."

EMI re-released the album in 2010 in two configurations: a two-disc digipak and a three-disc box set (consisting of two CDs and one DVD). The latter includes on the DVD the first official release of the "As the Lights Go Down" video.

Recording
In 1983, Duran Duran intended to spend a year away from the United Kingdom as tax exiles, as their income had increased dramatically after the success of Rio and the reissue of their 1981 debut album Duran Duran the previous year.  Thus during May 1983 the band began writing and making demo recordings at a châlet near Cannes in the south of France with producer Ian Little.  The band was having some trouble writing material there but still came up with ideas for most of the songs that appeared on the album. Several were completed, including a track called "Seven and the Ragged Tiger", for which the album was named.  This song was never officially released, but parts of it would eventually evolve into the track "The Seventh Stranger". A demo version of the original track has since leaked onto the internet, albeit in very rough, warped form. No quality recording of the song is believed to exist.

With the songs written during their stay in France, the band started recording at George Martin's Air Studios on the Caribbean island of Montserrat in May. The sessions, which saw producer Ian Little joined by the vastly more experienced Alex Sadkin, would keep Duran Duran in Montserrat for five weeks. During one of these sessions, keyboardist Nick Rhodes collapsed and had to be airlifted to a hospital; newspapers later reported it was due to an episode of paroxysmal tachycardia (abnormally fast heartbeat).

Prior commitments brought the band back to the UK in July 1983, including a charity gig playing in front of Prince Charles and Princess Diana at Villa Park. It was later revealed that the Irish Republican Army had plotted to plant a bomb at the concert in order to injure Charles and Diana, but the IRA member sent to carry out the plot, Sean O'Callaghan, was in fact an informant working for the Irish Government and successfully helped to pull the plug on the operation.

It was around this time that the Princess of Wales publicly named Duran Duran as her favourite band. During their time in the UK, the band worked on a few more songs in a studio in London, before returning to Montserrat for one final late summer session.

After the island's isolation, the band moved the project to Sydney, Australia at the end of August.  Producers Ian Little and Alex Sadkin continued working with the band on the album, now titled Seven and the Ragged Tiger, at 301 Studios. An argument during this period between John Taylor and Alex Sadkin over the prolonged mixing is said to have been the germination of the Power Station side project that happened in 1985, as Taylor contemplated leaving Duran Duran for the first time.

The album's cover photo was shot on the steps of the State Library of New South Wales.

Release, promotion and tour
The band remained in Australia, with their Sing Blue Silver world concert tour due to commence in November 1983 at the National Indoor Sports Centre in Canberra. Beforehand, the band departed for the sands outside of Sydney to film the video for the first single "Union of the Snake" with director Simon Milne. Twenty-four hours before the band were due to deliver the single to EMI, Nick Rhodes and Simon Le Bon did an all-night session to complete the writing, recording and mixing the B-side "Secret Oktober". In October, the band's record company released the "Union of the Snake" video to MTV a full week before the single was released to radio, at a time when the industry feared video really might kill the radio star.

The simultaneous worldwide release of the album followed a few weeks later on 21 November. The album entered the UK chart at number one (to date, their only number one album there) and achieved platinum status only a week after its release. It also reached #8 in the US and was certified platinum by January 1984, and eventually double platinum.

The next single "New Moon on Monday" was released in January 1984, accompanied by another ambitious video. In February, the band appeared on the cover of Rolling Stone magazine, and won two Grammy Awards in the new Long Form and Short Form music video categories.

A Nile Rodgers remix of "The Reflex", released in April, became the band's second number one single in the UK (for four weeks) and first number one in the US (two weeks at number one on the Billboard Hot 100).

The world tour for the album played large indoor arenas and continued through the first four months of 1984. A documentary about the tour, Sing Blue Silver, was made by Russell Mulcahy, as was the promo video for "The Reflex", and the concert videos Arena (An Absurd Notion) and As The Lights Go Down. The live album Arena was also recorded during this tour. The live concert video was nominated for an MTV Video Music Award for Best Stage Performance (but lost to Van Halen's "Jump").

Critical reception
Seven and the Ragged Tiger received mixed reviews upon release. Melody Maker said that the album "restores danger and menace to a band that was veering dangerously close to the insipid," while Record Mirror called the album "pathetic," "useless," "no good," "pretentious," "pompous," and "possibly the first chapter in their decline." Robert Christgau gave the album a mixed review, stating that "as public figures and maybe as people, these imperialist wimps are the most deplorable pop stars of the postpunk if not post-Presley era," calling the lyrics "obtuse at best," and said "if you'd sooner listen to a machine sing than Simon Le Bon, what are you going to do with both?" However, he praised the album's singles as being "twice as pleasurable as anything Thomas Dolby is synthesizing these days." In a negative review, Ira Robbins of Trouser Press called the album "a sorry collection of half-baked melodies," "meaningless lyrics," and "over-active studio foolishness," stating that the songs "ain't no damn good."

In a retrospective review, Mike DeGagne of AllMusic stated that the album's content "has the band moving ever so slightly into a dance club arena," with the songs "leaning more toward their ability to produce a sexier sound through electronics and instrumentation than through a firm lyrical and musical partnership," and said that even the unreleased tracks "trade Duran Duran's handsome edginess for a shinier sound, heard mainly on 'I Take the Dice' and 'Cracks in the Pavement,'" and that "it's here that Le Bon and Taylor's personalities begins to get overshadowed by the demand to produce a more synth-snazzy and fashionable style of music."

Track listing
All songs written and composed by Duran Duran.
Side one
 "The Reflex"  – 5:29
 "New Moon on Monday"  – 4:16
 "(I'm Looking For) Cracks in the Pavement"  – 3:38
 "I Take the Dice"  – 3:18
 "Of Crime and Passion"  – 3:50
Side two
 "Union of the Snake"  – 4:20
 "Shadows on Your Side"  – 4:03
 "Tiger Tiger"  – 3:20
 "The Seventh Stranger"  – 5:24

2010 re-issue

Disc 2
 "Is There Something I Should Know?"
 "Faith in This Colour"
 "Faith in This Colour" [Alternate slow mix]
 "Secret Oktober"
 "Tiger Tiger" [Ian Little mix]
 "The Reflex" [Single mix]
 "Make Me Smile (Come Up and See Me)" [Live]
 "New Religion" [Live]
 "The Reflex" [Live]
 "Is There Something I Should Know?" [Monster mix]
 "Union of the Snake" [Monkey mix]
 "New Moon on Monday" [Dance mix]
 "The Reflex" [Dance mix]

DVD (As the Lights Go Down)

 Intro: "Tiger Tiger"
 "Is There Something I Should Know?"
 "Hungry Like the Wolf"
 "Union of the Snake"
 "New Religion"
 "Save a Prayer"
 "Rio"
 "The Seventh Stranger"
 "The Chauffeur"
 "Planet Earth"
 "Careless Memories"
 "Girls On Film"

Special features

 Music videos
 "Is There Something I Should Know?"
 "Union of the Snake"
 "New Moon on Monday" [EP Version]
"Reflex"
"New Moon on Monday" [Movie Version]
 Performance from Top of the Pops
"Is There Something I Should Know?"
"Reflex"

Singles
 "Union of the Snake" (October 1983) #3 UK, #3 US
 "New Moon on Monday" (January 1984) #9 UK, #10 US
 "The Reflex" (April 1984) #1 UK, #1 US

Personnel

Duran Duran
 Simon Le Bon – lead vocals
 Nick Rhodes – keyboards
 Andy Taylor – guitars
 John Taylor – bass guitar
 Roger Taylor – drums

Additional musicians
 Andy Hamilton – soprano and tenor saxophone
 Raphael DeJesus – percussion
 Mark Kennedy – percussion
 Michelle Cobbs – backing vocals on "Union of the Snake" and "The Reflex"
 BJ Nelson – backing vocals on "Union of the Snake" and "The Reflex"

Production
 Alex Sadkin – producer
 Ian Little – associate producer
 Duran Duran – associate producers
 Phil Thornalley – recording and mixing engineer
 Peter Wade-Schwier – recording engineer
 Jim Taig – tape operator
 Malcolm Garrett – graphic design
 Keith Breeden – illustration

Charts

Weekly charts

Year-end charts

Certifications


Dry Dock Brewing Company

Dry Dock Brewing Company is a brewery located in southeast Aurora, Colorado.  Since opening, Dry Dock has won awards from both the World Beer Cup and the Great American Beer Festival, winning Small Brewing Company of the Year in 2009 at the Great American Beer Festival.

History
Dry Dock Brewing Co. was Aurora, Colorado’s first when owners Kevin DeLange and Michelle Reding opened with a 7 BBL brewhouse in a 900-square-foot space next their original business The Brew Hut, a homebrew supply shop, in 2005. They named the brewery as a nod to Kevin’s love of nautical history.

Dry Dock expanded in 2009, and again in 2011. Now the brewery runs a 7 BBL brewhouse including a tasting room with 180 seats and 18 taps at its original location at 15120 E. Hampden Avenue which is called South Dock.

In 2013, Dry Dock nearly quadrupled its production numbers, jumping from 3,200 barrels in 2012 to 12,000 barrels in one year. This increase came with the purchase of a 30,000-square-foot production facility, North Dock, at 2801 Tower Road. At North Dock, Dry Dock has the capacity to expand to brew more than 30,000 barrels a year, and cans its flagship line of beers, including the Apricot Blonde, Amber Ale, Sour Apricot Blonde, Hop Abomination, Hazy IPA, and Vanilla Porter.

In September 2014, Dry Dock opened the Canoe Room, a four-tap tasting room inside of its North Dock facility, which has since grown to 12 taps. The tasting room, which in addition to draft beer, serves Dry Dock’s canned offerings. The room was once the storage area for The Boy Scouts of America Aurora chapter’s canoes and the area gained the nickname “Canoe Room,” which stuck. Visit www.drydockbrewing.com/north-dock for hours of operation.

Beers

Home Fleet

Bottled Beers

After purchasing a 6-head bottler, Dry Dock began bottling their Seven Seas Double IPA for release in the greater Denver area. Since then, Dry Dock has bottled a wide variety of different beers to date, most notably, Bligh's Barleywine (an English Style Barleywine) and their annual barrel-aged Signature Series releases.

Small Batch Friday
Each and every Friday, Dry Dock taps a special one-off firkin, a cask-conditioned variation of their available beers. Occasionally, the beers are conditioned with odd items such as wasabi and rice.

In 2010, Dry Dock served their Kölsch from a watermelon and their Half Moon Pumpkin Ale through a locally-grown 208 lb pumpkin.

Awards
Dry Dock established itself early on by word-of-mouth, and put itself on the map when it won a gold 2006 World Beer Cup (only 6 months after the tiny brewery opened) for its HMS Victory ESB (now Dry Dock’s Amber Ale). Dry Dock has since been the recipient of 25 GABF® medals (5 gold, 12, silver, 8 bronze), the prestigious Brewers Association’s Small Brewery of the Year award (2009), and 8 World Beer Cup® awards (3 gold, 3 silver, 2 bronze).


Canna 'Roi Humbert'

Canna 'Roi Humbert' is an Italian Group canna cultivar; bronze foliage, ovoid shaped, spreading habit; oval stems, coloured purple; flowers are cupped, self-coloured scarlet, staminodes are large, edges ruffled, fully self-cleaning; seed is sterile, pollen is sterile; rhizomes are thick, up to 3 cm in diameter, coloured purple; tillering is average. Introduced by C. Sprenger, Dammann & Co, Naples, Italy, EU in 1908.

C. 'Roi Humbert is the result of an F2 crossing, namely C. 'Madame Crozy' x C. flaccida produced C. 'Italia', then C. 'Madame Crozy ' was crossed with C. 'Italia'. This reinforced the characteristics of the Italian Group, as the cultivars derived from the C. flaccida cross have subsequently been named.  Its rhizomes are heavily marked with maroon and have the shape of the C. indica side of the family, as do the leaves. The colour of the flower comes from the Crozy side, but the petal form is heavily influenced by the thinner and larger C. flaccida blooms.

At the time of its introduction, the breeder C. Sprenger claimed that "Roi Humbert will surprise the horticultural world". Subsequently, it prided a chimera mutation, called Canna 'Yellow King Humbert', that has surprised the world. Did Sprenger know about the potential of such a mutation? The cultivar is a triploid, confirmed by (Dr Khoshoo). It received the ultimate award from the RHS,  the Award of Merit (AM) in 1909.

Synonyms
 ''Canna 'King Humbert' Canna 'King of Prussia' Canna 'New Red' Canna'' 'Red King'

Gallery


Our Lady of Lourdes Cathedral, Florencia

Our Lady of Lourdes Cathedral (), also called Florencia Cathedral, is a Catholic cathedral in the municipality of Florencia, in Colombia. It is the principal church of the Roman Catholic Diocese of Florencia.

Description
The cathedral is dedicated to the Virgin Mary under the title of Our Lady of Lourdes. It is located on the western side of the San Francisco de Asis Square in the municipality of Florencia, capital of Caquetá Department. The cathedral is the principal church of the Roman Catholic Diocese of Florencia, after elevation to diocese by Pope John Paul II with the Bull Quo Expeditius published on December 9, 1985.

History
The first very humble construction was made in 1908. After the parishioners and the commissarial and municipal authorities called for construction of a new cathedral, work began on July 20, 1932 under the direction of the Spanish friar Jaime Igualada.  On February 11, 1937, after five years of work, the current building was completed and was blessed.


Naves, Nord

Naves  is a commune in the Nord department in northern France.

It is  northeast of Cambrai.

Heraldry


Tirat Zvi

Tirat Zvi (, lit. Zvi Castle) is a religious kibbutz in the Beit She'an Valley, ten kilometers south of the city of Beit She'an, Israel, just west of the Jordan River and the Israel-Jordan border. It falls under the jurisdiction of Valley of Springs Regional Council. In  it had a population of .

Name
Tirat Zvi means Zvi's Fort. It was named after Rabbi Zvi Hirsch Kalischer (1795-1874), one of the fathers of the Zionist Movement and a leader of Hovevei Zion, while the tira or "fort" refers to a two-story mud-brick structure purchased from the Arab landowner, Musa al-Alami.

History

The kibbutz was founded on 30 June 1937 as part of the Tower and Stockade settlement enterprise. The founders were Jews from Germany, Poland and Romania and came from three groups: Kvutzat  near Petach Tikva, Kvutzat Shahal near Rehovot, and Kfar Yavetz. The Rodges group was named after the German village where the Religious Zionist Hakhshara centre (agricultural farm preparing youth for aliyah, or resettlement in Mandate Palestine) was located through which many of the founders of Tirat Zvi had passed. Kvutzat Shahal was named after the founder of the Mizrachi movement, Shmuel Chaim Landau (1892-1928), known by his Hebrew acronym "ShaChaL", or "lion".

The kibbutz was attacked on 28 February 1938 by an armed Arab mob during the Arab revolt. The attack was repelled with many casualties on both sides. On 20 February 1948, before the neighboring Arab nations officially joined the 1948 Arab–Israeli War, a battalion of the Arab Liberation Army led by Muhammed Safa attacked Tirat Zvi. The Arabs were repelled, after 60 of the attackers were killed. One kibbutz member, Naftali Friedlander, was killed in the fighting .

Climate
Tirat Zvi sits 220 meters below sea level. On 21 June 1942, it recorded the highest daytime temperature in Asia (54°C; 129.2°F), although the validity of this measurement has been questioned, and based on the published thermograph data it seems to have been somewhere between 52.0 to 54.4°C.

Economy
The kibbutz operates a meat processing factory, Tiv, which sells its products locally and abroad. Tirat Zvi is the largest date grower in Israel, with 18,000 trees. The kibbutz also has a lulav business. Working with scientists from the Volcani Institute, Tirat Zvi developed a method of preserving the palm fronds for several months, allowing them to be harvested in the spring and sold in the fall, for use on the holiday of Sukkot. In 2009, it produced 70,000 lulavs.


Musicians known for circular breathing

Musicians known for circular breathing

This is a skill required for the playing of certain instruments. The list is therefore of musicians who are exceptional because of this skill not obligatory in their field.

 Sharon Bezaly – classical flautist
 Anthony Braxton – American saxophonist and composer
 Paul Butterfield – American Classic Rock Harmonica Player
 Harry Carney, baritone saxophonist and clarinetist, prominent member of the Duke Ellington Orchestra
 James Carter – American jazz musician
 Stuart Dempster –  trombonist, didjeridu player, improvisor, and composer
 Amy Dickson – saxophonist from Australia
 Bora Dugic – Serbian flautist and composer
 Maynard Ferguson – jazz trumpet and flugelhorn player and educator.
 Martin Fröst – Swedish clarinetist
 Kenny G – American smooth jazz saxophonist
 Daniel Goode – avant-garde clarinetist
 Rahsaan Roland Kirk – jazz multi-instrumentalist
 Femi Kuti – Nigerian foremost Afrobeat saxophonist, trumpeter, singer and human rights advocate during his concerts and while setting the record for longest note played on the saxophone
 Wynton Marsalis – American jazz and classical trumpeter
 Irvin Mayfield – Grammy Award-nominated jazz trumpeter, composer and cultural ambassador to New Orleans
 Rafael Méndez – Mexican virtuoso solo trumpeter
 Roscoe Mitchell – jazz multi-instrumentalist
 David Murray – plays tenor saxophone and, on occasion, bass clarinet
 Sergei Nakariakov – classical trumpeter
 Sam Newsome – American jazz soprano saxophonist
 Evan Parker – free improvising saxophonist noted for his lengthy circular breathing excursions on soprano and tenor saxophones
Jonah Parzen-Johnson – baritone saxophonist and composer.
 Lenny Pickett – American jazz multi-instrumentalist, tenor saxophonist and musical director for the Saturday Night Live Band, former member of Tower of Power
 Courtney Pine – jazz saxophonist e.g. on "Modern Day Jazz Stories" album.
 Sonny Rollins – American jazz musician
 Ned Rothenberg – multi-instrumentalist
 Eugene Rousseau – classical saxophonist
 Xavier Rudd – modern one-man band
 Colin Stetson – saxophonist and multi-instrumentalist
 Trombone Shorty (Troy Andrews) – trombonist and trumpeter
 Theodosii Spassov – Bulgarian kaval performer and composer
 Idrees Sulieman – jazz trumpeter e.g. on "Hawk Flies High" album.
 John Surman – jazz multiinstrumentalist, mostly on saxes and clarinets, on "Cloud Line Blue" and other albums.
 Clark Terry – jazz trumpet and flugelhorn player and educator. Author of Clark Terry's System of Circular Breathing (1976).
 David S. Ware – American jazz musician
 John Zorn – American avant-garde composer, arranger, producer, saxophonist and multi-instrumentalist.


Jock Dodds

Ephraim Dodds (7 September 1915 – 23 February 2007) was a Scottish professional footballer. He played in the 1936 FA Cup Final, and, at the time of his death was the oldest surviving player to have played in a final at Wembley Stadium.

Club career
Dodds was born in Grangemouth. His father died when he was two years old. His family moved to Durham in 1927 after his mother remarried. Four years later, at the age of 16, he began his career at First Division Huddersfield Town as a centre forward.

In 1934, after just two years with the Terriers, and via a short spell with Lincoln City, he took a free transfer to Second Division Sheffield United. Dodds later became the Blades''' leading scorer for four successive seasons, netting a total of 130 goals in just 203 appearances.

His debut came on 15 September 1934, against Burnley but despite playing and scoring regularly in the following months, the club was unconvinced that he was yet of first-team quality. The club made an enquiry into the return of former player Jimmy Dunne, who found himself out of favour at Arsenal after he had been sold, but this came to nothing due to a cartilage injury. Dodds secured his position by scoring four goals in the next game, a 6–1 victory against Southampton on 16 February 1935. His prolific goalscoring helped the club reached the 1936 FA Cup Final, in which almost scored, hitting the crossbar with a header. It was said by Ernest Jackson that he would have scored nine times out of ten from such a position and Dodds himself claimed that he had been pushed in the back by Wilf Copping. United ultimately lost the final to Arsenal, 1–0, thanks to a goal by Ted Drake.

Big, strong and quick, Dodds worked hard at his game and was duly rewarded. His 100th league goal came in his 154th appearance, against Tottenham Hotspur on 12 September 1938. His last appearance for the Blades came against city rivals Sheffield Wednesday on 4 March 1939.

Dodds moved to First Division Blackpool in March 1939 for £10,000, citing family reasons as the source of his transfer request. At the time it was the second highest transfer fee, to the record fee of £14,000 paid to Wolverhampton Wanderers by Arsenal for Bryn Jones. Dodds agreed terms of £6 a week plus a £2 bonus for every first-team appearance.

On his move to Blackpool Dodds later said, "It was a lovely sunny day and after the sooty streets of Sheffield I remember thinking it was like coming to paradise." He made his Seasiders debut on 11 March 1939, in a defeat at Charlton Athletic, scoring Blackpool's only goal. He went on to score four in a home win over Middlesbrough and quickly became a favourite. The Second World War intervened, and the Football League programme was abandoned. Dodds joined the Royal Air Force, and was stationed in Blackpool as a PT instructor. He continued to play for Blackpool, with most of his goals in the war years coming in regional competitions. In the North Regional League, he scored 65 goals in 1941-2, and then 47 goals in 1942-3. In 1943, Blackpool beat Sheffield Wednesday over two legs to win the League Cup North, and then defeated League Cup South champions Arsenal 4–2, mainly thanks to right winger Stanley Matthews. He scored eight goals against Stockport County in 1941, and seven goals against Tranmere Rovers in 1942, including a hat-trick in just 2½ minutes. For over 60 years it stood as the fastest hat-trick in the Football League, before James Hayter bettered it by ten seconds in 2004.

During World War II, Dodds played guest matches for Manchester United, Fulham and West Ham United. He also made one guest appearance for Clapton Orient, against Queens Park Rangers on 14 October 1944. Orient lost 0-3 before 3,000 spectators.

In seven years at Bloomfield Road, Dodds scored well over 200 goals, including 66 in 1941-2 alone.

He signed for Irish side Shamrock Rovers in August 1946 and scored twice on his debut at Milltown on 8 September . In total he played five games, two in the Dublin City Cup and three in the League of Ireland Shield scoring four goals before being sold to Everton in November 1946 for £7,750 . Everton were in desperate need of a centre forward after Dixie Dean retired and Tommy Lawton moved to Chelsea. Dodds scored 36 goals in 55 league appearances for the Toffees in 1946-8. He was sold to his former club Lincoln City in October 1948 for £6,000, where he ended his playing career.

International career
Dodds made all eight of his international appearances for Scotland during the wartime period, and thus they are unofficial. On 18 April 1942, he netted a hat-trick in a 5–4 win over England at Hampden Park in front of a crowd of 91,000. Bill Shankly hit Scotland's winning goal. Dodds scored 8 goals in his 6 games versus England.

Post-retirement
After retiring as a player, he tried to recruit players to go to Bogotá, to play in a new league outside FIFA control. He was banned by the Football Association in July 1950 for bringing the game into disrepute, but was later cleared. He decided against taking up positions in football management, and concentrated on business interests in Blackpool, where he said of the town in 1989, "I have lived here ever since [his move from Sheffield in 1939] and love the place."

On 22 February 1989 Dodds was given a certificate for his two-and-a-half-minute hat-trick against Tranmere Rovers in 1942, which had for many years been listed in the Guinness Book of Records. "I have been listed in the Guinness Book of Records for years but I never thought about a certificate until I read about a woman receiving one for being the oldest golfer to hit a hole in one. A friend wrote to the GBR asking if I could have a certificate and they sent one to me."

Dodds' wife died in 2005, and he died two years later, on 24 February 2007 at Blackpool's Victoria Hospital. At the time of his death he was the oldest living FA Cup finalist, aged 91.

Blackpool F.C. Hall of Fame
Dodds was inducted into the Hall of Fame at Bloomfield Road, when it was officially opened by former Blackpool player Jimmy Armfield in April 2006. Organised by the Blackpool Supporters Association, Blackpool fans around the world voted on their all-time heroes. Five players from each decade are inducted; Dodds is in the 'pre-1950s'.

Career statistics

Sheffield United


The International Exhibition of Modern Decorative and Industrial Arts () was a World's fair held in Paris, France, from April to October 1925. It was designed by the French government to highlight the new style moderne of architecture, interior decoration, furniture, glass, jewelry and other decorative arts in Europe and throughout the world. Many ideas of the international avant-garde in the fields of architecture and applied arts were presented for the first time at the Exposition. The event  took place between the esplanade of Les Invalides and the entrances of the Grand Palais and Petit Palais, and on both banks of the Seine. There were 15,000 exhibitors from twenty different countries, and it was visited by sixteen million people during its seven-month run. The Style Moderne presented at the Exposition later became known as "Art Deco", after the name of the Exposition.

The idea and the organization

The idea for an exhibition entirely devoted the decorative arts originally came from the Société des Artistes Décorateurs (The Society of Decorative Artists), a group founded in 1901 which included both established artists, including Eugene Grasset and Hector Guimard, as well as younger artists including Francis Jourdain, Maurice Dufrêne, Paul Fallot and Pierre Chareau.  Decorative artists had been allowed to participate in the previous two Paris Salons, but they were placed subordinate to the painters, and they wanted an exhibit which gave first place to decorative arts. The first Salons of the new group were held in the newly opened Museum of Decorative Arts in the Pavillon de Marsan of the Louvre.  The Salon d'Automne, a new Salon founded in 1903, honored painters, sculptors, graphics artists and architects, but again decorative arts were largely ignored. Frantz Jourdain announced the idea of holding a separate exhibit of decorative arts as soon as possible.  He explained his reason in an essay written later, in 1928: "We consequently resolved to return Decorative Art, inconsiderately treated as a Cinderella or poor relation allowed to eat with the servants, to the important, almost preponderant place it occupied in the past, of all times and in all of the countries of the globe."

The Society of Decorative Artists lobbied the French Chamber of Deputies, which in 1912 agreed to host an international exhibition of decorative arts in 1915. The plans were put aside in 1915 because of the First World War, then revived after the war ended in 1918.  It  was first scheduled for 1922, then postponed because of a shortage of construction materials to 1924 and then 1925, twenty-five years after the great Paris Exposition of 1900.

The program for the Exhibition made it clear that it was intended to be a celebration of modernism, not of historical styles.  It was declared to be "open to all manufacturers whose products are artistic in character and show clearly modern tendencies."  The program also stated specifically that "Whatever the reputation of the artist, whatever the commercial strength of the manufacturer, neither will be allowed into the Exhibition if they do not fit the conditions outlined in the Exhibition program."   A second purpose was attached to the Exhibition:  to honor the Allied countries in the First World War. For this reason the new Soviet Union was invited, though its government was not yet recognized by France, while Germany was not.  The United States declined to participate;  the U.S. Secretary of Commerce, Herbert Hoover, explained that there was no modern art in the United States.  The U.S. Commerce Department did appoint a commission to attend the exhibit and issue a report.  The report, which came out in 1926, stated that the U.S had clearly misunderstood  the purpose of the Exposition, and that at least some participation should have been arranged to honor the French-American wartime alliance.  While the U.S. did not have a pavilion,  hundreds of American designers, artists, journalists and department store buyers came to Paris to see the Exposition.

The site

The site chosen for the Exposition was the center of Paris, around the Grand Palais, the enormous glass and iron pavilion which had been built for the 1900 Paris Exposition. The principal architect was Charles Plumet.  The main entrance, called the Gate of Honor, was located next to the Grand Palais. The main axis stretched from the Gate of Honor across the Pont Alexandre III to Les Invalides with pavilions on both banks, while gardens and fountains were placed between the pavilions. The Pont Alexander III, which connected the two parts of the Exposition, was turned into a modernist shopping mall by the architect Maurice Dufrêne. The banks of the Seine were lined with floating restaurants built for the Exposition, which became a popular attraction.

There were thirteen different gateways into the Exposition, which were each designed by a different architect. The main entrance was at the Place de la Concorde, designed by architect Pierre Patout, with a statue of a woman in the center called "Welcome" by Louis Dejean. The pavilions of the major French stores and decorators were located on the main axis within the entrance. Another section was devoted to pavilions from designers from the French provinces, particularly from Nancy and Lyon. Another section was devoted to foreign pavilions and manufacturers, and another to the products of French colonies which could be used in decoration, particularly rare woods and products such as ivory and mother of pearl.

The tallest structure in the Exposition, and one of the most modernist, was the tower of the Tourism Pavilion by Robert Mallet-Stevens. The tower's sleek lines and lack of ornament were an announcement of the international style that would replace Art Deco. In 1929 Mallet-Stevens led the creation of The French Union of Modern Artists which rebelled against the luxurious decorative styles shown at the Exposition, and, along with Le Corbusier, demanded architecture without ornament, built with inexpensive and mass-produced materials.

Pavilions of the French designers

Just inside the main entrance of the Exposition on the Place de la Concorde was the main promenade of the Exposition, with the pavilions of the major French department stores and manufacturers of luxury furniture, porcelain, glassware and textiles. Each pavilion was designed by a different architect, and they tried to outdo each other with colorful entrances, sculptural friezes, and murals of ceramics and metal. The modernist tower of the Pavilion of Tourism designed by Robert Mallet-Stevens stood out above the other pavilions. Inside each pavilion presented rooms with ensembles of furniture, carpets, paintings and other decorative objects.

Many of the exhibits were shown inside the Grand Palais, the enormous hall which had been built for the 1900 International Exposition. For the first time at an international exposition, pieces of furniture were displayed not as individual items but in rooms similar to those in a home, where all the decor was coordinated. The Hôtel du Collectioneur, for example, displayed the works of the furniture maker Émile-Jacques Ruhlmann, in rooms complete with paintings and fireplaces in the same moderne style.

The most unusual, most modest, and, in the end, probably the most influential French pavilion was that of the magazine L'Esprit Nouveau, directed by Amédée Ozenfant and Le Corbusier. They had founded the Purist movement 1918, with the goal of eliminating all decoration in architecture, and replacing hand-made furniture with machine-made furniture. They founded L'Esprit Nouveau in 1920, and used it vigorously to attack traditional decorative arts. "Decorative art,"  Le Corbusier wrote, "as opposed to the machine phenomenon, is the final twitch of the old manual mode, and is a dying thing. Our pavilion will contain only standard things created by industry in factories and mass-produced, truly the objects of today." The Esprit Nouveau pavilion was almost hidden between two wings of the Grand Palais. It was made of concrete, steel and glass, with no ornament at all.  The interiors had plain white walls with a few cubist paintings. Since trees on the site could not be cut down, Le Corbusier integrated a tree into the interior of the building, coming up through a hole in the roof. The furniture was simple, machine-made and mass-produced. The organizers of the Exposition were horrified by the appearance of the building, and tried to hide it by building a fence. However, Le Corbusier appealed to the Ministry of Fine Arts, which sponsored the Exhibition, and the fence was removed.

Within the pavilion building Le Corbusier exhibited his Plan Voisin for Paris. The Plan Voisin, named for aviation pioneer Gabriel Voisin, proposed the construction of a series of identical 200 meter tall skyscrapers and lower rectangular apartments, that would replace  the historic buildings on the right bank of the Seine in Paris.  He had no expectation that central Paris would be demolished and his plan carried out; it was simply a way to attract attention to his ideas.  The pavilion represented a single modular apartment, representing the identical machine-made houses which Le Corbusier believed were the future of modern architecture.

Foreign pavilions

Some twenty countries participated in the Exhibit.  Germany was not invited because of its role in World War I, but Austria and Hungary were invited, as was the new Soviet Union, though it was not yet officially recognized by France.  Many countries had exhibits of furniture and decoration within the Grand Palais, and also built pavilions to illustrate new ideas in architecture.  Britain, Italy, Spain, Belgium and the Netherlands all had substantial pavilions, as did the Scandinavian countries, Poland, and Czechoslovakia.  Japan had an important pavilion, while China had only a modest representation.  The United States, not entirely understanding the purpose of the exhibit, chose not to participate.

Austria was a major participant, thanks to the work of Josef Hoffmann, who designed the Austrian pavilion next to the Seine. The complex included a terrace by the Seine, a tower, a cubic glass and iron exhibit hall by Peter Behrens,  and a brightly decorated cafe.  The pavilion contained works of sculpture by the modernists Anton Hanak and Eugen Steinhof.

Belgium was also a major participant;  the country had a large exposition of furniture and design on the main floor of the Grand Palais, and a separate pavilion, designed by Victor Horta, the pioneer of Art Nouveau architecture.    Belgium had been left in ruins by the War, and the Belgian exhibit had a low budget; the pavilion  was made of wood, plaster and other low-cost materials. Horta's pavilion had a rectangual tower, with crowned with six statues by Wolfers, representing decorative arts through the ages.  The interior displayed tapestries, glass and decoration in the new style. Belgian artists taking part included the architects Paul Hamesse, Henry van de Velde, and Victor Bourgeois, the decorator Leon Sneyers.

The pavilion of Denmark, by Kay Fisker, was a striking block of red and white bricks, making a Danish cross.  Inside were murals by Mogens Lorentzen inspired by ancient maps of Denmark, with colorful and fantastic images.  A separate building, symmetrical with the first, was filled with light and displayed the works of the Danish manufactory of porcelain and faience.

The pavilion of Sweden was designed by Carl Bergsten, while the Swedish display in the Grand Palais featured a model of the new art deco city hall of Stockholm, by Ragnar Ostberg.  The small pavilion was a deco version of classicism, pure and simple; it was reflected in a pool, and discreetly ornamented with deco statues.

The pavilion of the Netherlands, designed by J.F. Staal, was designed to capture in a modern style the mystery and luxury of the East Indies, where the country had colonies. An enormous roof like that of a pagoda covered the structure;  the facade was decorated with colorful murals, and the structure was reflected in brick-lined pools.

The pavilion of Italy by Armando Brasini was a large classical block built of concrete and covered with decoration in marble, ceramics and gilded bricks.  In the center was an enormous head of a man in bronze by the sculptor Adolfo Wildt.

The pavilion of Great Britain, by the architects Easton and Robertson, resembled an art deco cathedral.  It was decorated on the outside with colorful flags, and in the inside with stained glass, murals and polychrome facade, with arabesques and oriental themes. The interior opened out to a restaurant on a platform next to the Seine.

The pavilion of Poland was designed by Joseph Czajkowski.  It had a flamboyant glass and iron tower with geometric facets, a deco versio of the picturesque churches of Poland in the 17th and 18th centuries. The pavilion was also inspired by architecture of traditional manor house of Polish nobility and by Zakopane Style. Mix of all was an attempt to create the Polish national style.
The octagonal hall, supported on wooden pillars, had a skylight of deco stained glass, and was filled with deco statuary and tapestries. Polish graphic arts were also successfully represented. Tadeusz Gronowski and Zofia Stryjeńska won the Grand Prix in that category.

The pavilion of Japan by Shichigoro Yamada and Iwakichi Miyamoto was in the classical Japanese tradition, but with the use of both traditional materials, such as straw and varnished wood, combined with highly refined lacquered decoration.  It was built in Japan, transported to France and assembled by Japanese workers.

The pavilion of the Soviet Union was one of the most unusual in the Exposition.  It was created by a young Russian architect, Konstantin Melnikov, who in 1922 had designed the new central market in Moscow, and who also designed the sarcophagus in Lenin's mausoleum in Moscow. He had a very low budget, and built his structure entirely of wood and glass. A stairway crossed the structure diagonally on the exterior, allowing visitors to see the interior of the exhibit from above. The roof over the stairway was not continuous, but was made up of planes of wood suspended at an angle, which were supposed to let in fresh air and keep rain out, but visitors were sometimes drenched.  The exhibits inside included models of projects for various Soviet monuments. The intent of the building was to attract attention, and it certainly succeeded; it was one of the most talked-about buildings in the Exposition.

Decorative arts

Following the program of the French organizers of the Exposition, the objects on display, from furniture to glassware and metalwork, all expressed a new style, a combination of modernist forms made with traditional French craftsmanship. The furniture, glassware, metalwork, fabrics and objects displayed were made with rare and expensive materials such as ebony, ivory, mother of pearl, sharkskin, and exotic woods from around the world, but the forms they used were very distinct from Art Nouveau or the preceding historic styles. They used geometric forms, straight lines, zigzag patterns, stylized garlands of flowers and baskets of fruit, to create something new and different. The firm of Lalique, best known for its delicate Art Nouveau glasswork, produced an art deco crystal fountain, illuminated from within, which became one of the landmarks of the Exposition. The Maison d'un Collectioneur, the pavilion of the furniture maker Jacques-Emile Ruhlmann, showed what an art deco house could look like, with an art Deco painting, sculpture by Antoine Bourdelle, a painting by Jean Dupas, and fine craftsmanship.

An alternative view of future of Decoration was also on display at the Exposition, within the white cube of the pavilion of the Esprit Nouveau. Here Le Corbusier displayed prototypes of mass-produced pieces of inexpensive furniture, made  with inexpensive materials, which he saw as the future of interior design.

Attractions and amusements

Large areas were devoted to amusements, from shooting galleries to merry-go-rounds, cafes and theaters.  A miniature village was created for children, and there were stages which presented plays, ballets, singers and cultural programs from the participating countries.  The Exposition also was the venue for fashion shows, parades, and beauty contests,  as well as frequent fireworks displays.

The Eiffel Tower was not within the site, but it was clearly visible from the Exhibition. The Citroën Company decorated the tower from top to bottom with two hundred thousand light bulbs in six colors.  The lights could be controlled from a keyboard, and presented nine different patterns, including geometric shapes and circles, a shower of stars, the signs of the zodiac, and, most prominently, the name CITROËN.

A gigantic banquet and gala was held on 16 June 1925, within the Grand Palais. It featured the American dancer Loie Fuller, with her dance students appearing to swim through gauze veils;  the dancer Eva Le Galienne as Joan of Arc and the dancer Ida Rubenstein as the Golden Angel, in a costume by Leon Bakst; the singer Mistinguett in the costume of a diamond, surrounded by the troupe of the Casino de Paris dressed as gemstones; and short performances by the full companies of the Comédie-Française and the Paris Opera, the Folies Bergère and the Moulin Rouge. The finale was the "Ballet of Ballets"  danced by three hundred dancers from all of the Paris ballet companies in white tutus.

The legacy of the exhibition
The Exposition accomplished its goal, to show that Paris still reigned supreme in the arts of design.  The term "art deco" was not yet used, but In the years immediately following the Exposition, the art and design shown there was copied around the world, in the skyscrapers of New York, the ocean liners that crossed that Atlantic, movie theaters around the world.  It had a major influence in the design of fashion, jewelry, furniture, glass, metalwork, textiles and other decorative arts.  At the same time, it displayed the growing difference between the traditional style moderne,  with its expensive materials, fine craftsmanship and lavish decoration, and the modernist movement that wanted to simplify art and architecture.  The Esprit Nouveau pavilion and the Soviet pavilion were distinctly not decorative, they contained furnishings and paintings but these works, including the pavilions, were spare and modern. The modern architecture of Le Corbusier and Konstantin Melnikov attracted both criticism and admiration for its lack of ornamentation. Criticism focused on the 'nakedness' of these structures, compared to other pavilions at the exhibition, such as the Pavilion of the Collector by the ébéniste-decorator Émile-Jacques Ruhlmann.

In 1926, shortly after the end of the Paris Decorative Arts exposition, The French Union of Modern Artists, a group which included Francis Jourdain, Pierre Chareau, Le Corbusier, and Robert Mallet-Stevens  among others, fiercely attacked the style, which they said was created only for the wealthy and its form was determined by their tastes.   The modernists, as they became known, insisted that well-constructed buildings should be available to everyone, and that form should follow function.  The beauty of an object or building resided in whether it was perfectly fit to fulfill its function.  Modern industrial methods meant that furniture and buildings could be mass-produced, not made by hand.

The Art Deco interior designer Paul Follot defended Art Deco in this way:  "We know that man is never content with the indispensable and that the superfluous is always needed...If not, we would have to get rid of music, flowers, and perfumes..!"    However,  Le Corbusier was a brilliant publicist for modernist architecture; he stated that a house was simply "a machine to live in", and tirelessly promoted the idea that Art Deco was the past and modernism was the future. Le Corbusier's ideas were gradually adopted by architecture schools, and the aesthetics of Art Deco were abandoned.  The economy of the 1930s also favored modernism;  modernist buildings, without ornament, used less expensive materials and were cheaper to build, and thus were considered more suitable for the times.  The outbreak of World War II in 1939 brought a sharp end to the Art Deco period.


Holy Spirit Church, Valga

The Holy Spirit Church () is the name given to a religious building belonging to the Catholic Church and located on 8th Street Malev, Valga in Estonia. The church has been classified as cultural and heritage monument, so it is protected.

It is a neo-Gothic building which was built in granite and brick and decorated with red bricks. Builders were among railroad workers from Lithuania and Poland. The church was completed in 1907. The tower was not completed because the authorities did not give permission to build.

The church operated until 1940. Since 1945, the building was used as a warehouse and later as a gym. In 1995 an extension and remodeling was completed, and was again used as a place of worship.

Because of the diversity of nationalities that make up the congregation offer Masses in Estonian and Russian, on Saturdays and Sundays and Catholic holidays.


La Colle Falls Hydroelectric Dam

La Colle Falls Hydroelectric Dam is a partially complete hydroelectric dam built by the City of Prince Albert, Saskatchewan.  The dam is located on the North Saskatchewan river approximately 45 kilometres east of the city in an area that is quite accessible.  Drive east of Prince Albert approx. 6km and turn north onto River Road. Drive approx. 35km and turn north onto the sign indicating La Colle Falls. At the curve in the road, walk down the path through the trees that follow the river until you reach the dam site. Construction started in 1909 and the partially complete project was abandoned in 1913 due to high costs and technical difficulties. The motivation of building the dam was to provide cheap power and attract business to the area.  The partially complete project had cost nearly $3 million and nearly bankrupted the city in the process.

The site is named after fur trader John Cole, who established a trading post near the rapids in 1776.

In 2009 a proposal was made to conduct an archeological assessment of the site and propose the site be made a historic site. Prince Albert Tourism was also considering developing a tour to the site using water access. In 2007 an engineering thesis was written outlining how the site could be converted into a spa.


Johannes Wübbe

Johannes Wübbe (born 23 February 1966) has been  the Titular Bishop of Ros Cré (and auxiliary bishop of Osnabrück) since 18 June 2013.
In 1970, the Roman Catholic Church revived the title.


Go at the 2013 Asian Indoor and Martial Arts Games

Go, known as baduk (바둑) in Korea, for the 2013 Asian Indoor and Martial Arts Games, was held at the Yonsei Global University Campus. It took place from 30 June to 5 July 2013. It was also this event's debut at these Games. Before that Go was part of the 2010 Asian Games at Guangzhou.

Medalists

Medal table

Results

Men's individual

Swiss round
30 June – 1 July

Knockout round
2 July

Men's team

Swiss round
3–4 July

 After the 4th round, two teams tied as the 4th place in the team score and individual scores. Therefore, the fourth place was determined by an extra match between them. The winning team Chinese Taipei was advanced to the second phase as the 4th place.

Knockout round
5 July

Women's team

Swiss round
3–4 July

Knockout round
5 July

Mixed pair

Swiss round
30 June – 1 July

Knockout round
2 July


Ken Hirai

is a Japanese R&B and pop singer. Since his debut, Hirai has worked as a model, actor, composer, lyricist, singer, and spokesperson.

During his career, Hirai has released 45 singles and nine studio albums as of January 2019. According to Oricon, his single Hitomi o Tojite (Close Your Eyes) became the best-selling single of 2004 in Japan, while his compilation album Ken Hirai 10th Anniversary Complete Single Collection '95–'05 "Utabaka" became the best-selling album of 2006 in Japan.

Early life
Born on January 17, 1972 in Higashiōsaka, Osaka, Ken Hirai grew up in Nabari, Mie.

Career

1995–2000
Signing with Sony, he released his first single in 1995, but to no great success. Hirai used the next four years to consolidate his style and take time out - he only released one single each in 1997 and 1998 and did not produce any new music during 1999. Fans waited until 2000 for a third album from Hirai, The Changing Same. It was the first single, , that established him as a major player in the Japanese sales charts and overseas. Hirai was voted "Best New Japanese Act" in a pop poll organized by the RTHK radio station in Hong Kong.

2001–2003
Hirai's 1st remix album, Kh Re-mixed Up 1 was released on November 28, 2001. Through the album, the artist showed a new part of himself to the audience, which appealed to club-goers and DJs for the first time. In the summer of that same year, Hirai earned the title of Best Male Artist at the inaugural MTV Video Music Awards Japan, and appeared at the official FIFA World Cup 2002 concert with Chemistry and Lauryn Hill.

Already an established star, Hirai went one step further when he released a cover of ; a Japanese version of "My Grandfather's Clock" by Henry Clay Work) in 2002. A popular nursery rhyme, it was expected to be a minor success, but went on to become one of the biggest hits of the year.

In 2003, Hirai performed for MTV Unplugged Live in New York, as the first Japanese male solo vocalist. He was also interviewed by CNN The Music Room, which was televised in 210 countries, and watched by 230 million viewers. His 5th album Life Is..., which contains "Strawberry Sex", "Ring", and his hit single "Ōki na Furudokei", was released on January 22, 2003.

On December 1, 2003, a concept album, Ken's Bar, was released. On the album, Hirai selected favorite songs and covered them in his own style. The music was primarily jazz oriented, but covers of many blues numbers were present as well.

2004–2006
In May 2004, Hirai launched his next album, Sentimentalovers. The album spawned four singles, with  being the most successful, becoming the highest-selling single of that year.

Hirai's 2005 single, "Pop Star", was one of his career's biggest hits, spawning multiple imitations and reaching Number One on the Oricon Charts. The video for the song, which featured Hirai playing 7 different characters and animals, became an instant hit. A cover of the song was featured on the rhythm game Moero! Nekketsu Rhythm Damashii Osu! Tatakae! Ouendan 2 for the Nintendo DS, and Namco popular drumming game Taiko no Tatsujin 8.

2007–2011
In 2007, Hirai released two singles. Both singles peaked at number 5 on the Oricon charts and sold around 100,000 copies. The first of these was "Elegy", followed by "Kimi no Suki na Toko (Why I Love You)". "Elegy" was a major radio success in Japan.

In August 2007, Hirai released his 27th single, titled "Fake Star", along with a music video that was considered a huge departure for the star due to its risqué subject material.

On February 20, 2008, Hirai released his 28th and 1st double A-side single, titled "Canvas/Kimi wa Suteki (You're Wonderful)". The singles debuted at number 6 on the Oricon charts.

"Canvas" is used as the insert and ending theme song to Fuji TV's Hachimitsu to Clover drama, which is based on a popular manga. It was written and composed by Hirai, and arranged by Tomita Keichi, as with Hirai's 17th single, "Ring".

On March 12, 2008, Hirai released his seventh studio album, Fakin' Pop. Fakin' Pop is Hirai's first studio offering since 2004's Sentimentalovers.

Hirai released his 29th single,  on April 23, 2008. The song is a recut single from Fakin' Pop and was the theme song for the Japanese drama .

On May 27, 2009, Hirai released Ken's Bar II, continuing the concept of creating jazz covers of his favorite Japanese and English songs. He held a 2009 summer concert tour in Japan under the same name.

On September 23, 2009, Hirai released his 30th single, "Candy".

On October 21, Hirai's 31st and latest single, titled , was released.

On October 13, 2010, Hirai's 32nd single "Sing Forever" was released. His 33rd single coming out on November 10, 2010 is called "Aishiteru," followed by a new compilation entitled 'Ken Hirai 15th Anniversary c/w Collection '95-'10 "Ura Utabaka"' to celebrate his fifteen years being a singer in the music industry. The compilation includes all the b-sides starting from the first single "Precious Junk."

On May 4, 2011, Hirai released a new single "いとしき日々よ"「for the Japan TV mega hit TV drama JIN-仁

On June 8, 2011, Hirai released his ninth studio album, Japanese Singer. Three years later, in 2014, he released the third in his series of song covers, Ken's Bar III, and a collaborative single with Namie Amuro called GROTESQUE.
On July, 6, 2016, Ken Hirai released his tenth studio album "The Still Life, featuring the Singles, Kokuhaku" (告白, "Love Confession")Grotesque" (グロテスク Gurotesuku)"Onnaji Samishisa" (おんなじさみしさ, "The Same Sadness")"Soredemo Shitai" (ソレデモシタイ, "Still Want to")"Plus One""Time" and Mahotte Itte Ii Kana?" (魔法って言っていいかな?, "Could We Call It Magic?")

Discography

Un-balanced (1995)
Stare At (1996)
The Changing Same (2000)
Gaining Through Losing (2001)
Life Is... (2003)
Sentimentalovers (2004)
Fakin' Pop (2008)
Japanese Singer (2011)
The Still Life (2016)


Dig That Treasure

Dig That Treasure is the debut album of the band Cryptacize, released in 2008. It was released on Asthmatic Kitty.
The title of the album was borrowed from a musical written by Kip Cohen in 1958.

Track listing
 "Stop Watch" – 3:58
 "No Coins" – 2:55
 "Heaven Is Human" – 2:46
 "Water Witching Wishes" – 3:12
 "The Shape Above" – 2:25
 "Cosmic Sing-a-long" – 1:54
 "How Did the Actor Laugh?" – 2:13
 "Willpower" – 2:57
 "We'll Never Dream Again" – 3:20
 "Dig That Treasure" – 2:51
 "Say You Will" – 2:36

Personnel
 Michael Carreira - percussion
 Chris Cohen – vocals, guitar
 Nedelle Torrisi - vocals, autoharp, guitar, strings


George Parker Bidder Jr.

George Parker Bidder Jr. (1836 - 1896) was a British barrister who represented many water companies against the London County Council. His father was George Parker Bidder.
There is a memorial to him on Mitcham Common.


John McDougall (Ontario politician)

John McDougall was an Ontario political figure. He represented Middlesex North in the Legislative Assembly of Ontario as a Conservative member from 1875 to 1879.

He lived in Komoka and served as reeve for Lobo Township.

External links

The Canadian parliamentary companion and annual register, 1875, HJ Morgan


Akalın, Kahta

Akalın is a village in the District of Kahta, Adıyaman Province, Turkey.


Genesee County Courthouse

The Genesee County Courthouse is located at the intersection of Main (New York state routes 5 and 33) and Ellicott (NY 63) streets in Batavia, New York, United States.  It is a three-story Greek Revival limestone structure built in the 1840s.

It replaced an older timber frame courthouse near the current site, which served what was at that time the entire Holland Purchase, the vast tract that is today Western New York. At the time the courthouse was built, the county had been reduced to its current size by the creation of 10 other counties from the purchase. Construction materials were all sourced locally.

Later it underwent some minor renovations. While Genesee County has subsequently built additional court facilities nearby where most judicial activity takes place, it is still used for some court purposes as well as offices for the county manager, attorney and the meeting place of the county legislature. In 1973 it was listed on the National Register of Historic Places. Nine years later, in 1982, when the Genesee County Courthouse Historic District was added to the Register, the courthouse was again included as a contributing property.

Building

The courthouse is located in the west corner of the triangular lot with Main on the north, Ellicott on the south and Court Street to the east. It is prominently visible to traffic approaching down West Main Street from the west. The block contains one other building, a large Colonial Revival brick structure also used by the county. Walkways connect the two, and surrounding sidewalks, amid a large lawn. West of the courthouse, at the fork of Main and Ellicott, is the large granite Soldier's Monument, with a statue of General Emory Upton.

Other public buildings dominate the neighboring streets. The post office, old county jail and Batavia's old city hall, all also contributing properties to the historic district, are to the north, across Main. On the northwest is city police headquarters. Northeast is the new city hall and Genesee Country Mall. Other public buildings are on the south, with Tonawanda Creek behind them. All these buildings are surrounded by parking lots.

Two blocks west along West Main is the Holland Land Office Museum, a National Historic Landmark. The commercial areas of downtown Batavia begin two blocks east along both streets. To the north, south and west are residential areas.

The building itself is a five-by-five-bay structure with load-bearing limestone walls. On the east (front) side it is two and a half stories high, reaching a full three on the west. The lower level is set off by a belt course that also serves as a water table. Atop the building is a hipped roof with slate shingles trimmed in copper at the roofline. A cupola with bell from the original courthouse is in the center, and a brick chimney rises from the southeast corner.

Across the first floor of the east facade are six large stone pilasters with Doric capitals. All the bays save for the centrally located main entrance have 12-over-12 double-hung sash windows. At the roofline is an architrave of three narrow bands topped by a plain wide frieze below the projecting cornice.

The lower tier of the cupola has clapboard siding with corner pilasters and a frieze and projecting molded cornice of its own. Atop that is a balustrade surrounding the top tier, where each face has two Doric pilasters flanking a louvered vent. Above its frieze and cornice is a copper dome.

Stone steps with center and side iron guardrails rise to the deeply recessed main entrance. The front door is framed by more Doric pilasters, sidelights and a transom above its own cornice. It opens into a central hallway with offices on either side.

At the far end is a double stair that merges into one before it reaches the second floor. The main courtroom, with coved ceiling covered in acoustical tiles, is on that level along with two judges' chambers. Wainscoting and door and window trim are apparently original. The third floor has been converted from the county clerk's offices to an open meeting room for the county legislature.

History

Joseph Ellicott supervised the building of the first courthouse in 1802 on behalf of the Holland Land Company, for which he was agent. It was a two-story frame structure located to the east of the present building, near the site of the county building on the opposite side of the triangle. He had chosen what became Batavia for his headquarters due to its location at the convergence of major Iroquois trails through the region, two of which became Main and Ellicott streets and the state highways that follow them.

The original building had jail facilities in the basement, offices on the first floor and its courtroom upstairs. Like its successor, it was topped with a cupola. Local lore holds that David McCracken, a prosperous early resident with a reputation for playing practical jokes, was surprised that the land company had not bought a bell to go with it, and commissioned a bell on his own from a foundry in New Haven, Connecticut. After taking delivery, he hung it from a pole between two trees and proceeded to ring it in the early hours of one morning, awakening the entire village. Ellicott asked if the bell was for sale, and when McCracken said yes, the land agent bought it from him at that very moment. It has hung in the courthouse ever since.

As the Holland Purchase was settled more extensively, Genesee County, which had originally been coterminous with the lands, was subdivided into the other ten counties in the region. As the county's boundaries changed, this created pressure to relocate the county seat somewhere more central to the remaining county. This ended with the creation of the last county, Wyoming, to Genesee's immediate south, in 1841, leaving Batavia once again centrally located within the county.

The county's Board of Supervisors had petitioned the state legislature for money to build a new courthouse, which was authorized that same year. Its Greek Revival design, typical for public buildings of the period, was an expanded version of the original courthouse, later to serve as town and village hall. The Onondaga limestone was quarried locally. The wall stones came from nearby Le Roy, already emerging as a center for that material, and the pillars and capitals from Lockport, the seat of Niagara County to the northwest.

Local craftsmen worked on the construction. The building was finished early in 1843 and the first court sessions were held later that year. At first the Board of Supervisors allowed all sorts of public meetings to be held in the building, but by 1851 they had ordered the sheriff to allow only county meetings. The two building commissioners who had overseen construction later served as judges, one not leaving the bench until the early 20th century.

The first renovations were made in 1862, when some aspects of the interior were altered and fireproofing was added to benefit the county clerk. In 1918 the original courthouse, since renamed Ellicott Hall, burned down. The bell was saved and moved to the cupola in the current courthouse.

Major renovations took place in 1932. The front, originally a recessed full-width porch with freestanding columns, was enclosed to create more office space. The columns became pilasters. Inside, the upstairs courtroom was reconfigured into a north-south access and the bench was moved accordingly. These renovations cost $58,000 ($ in contemporary dollars).

In 1957 the exterior walls were sandblasted. A more extensive 1975 project spent $155,000 ($ in contemporary dollars) to add a fire alarm and sprinkler system, lightning protection, gutter downspouts and cleaned the outside stone again. The windows and roofing were replaced, along with the wooden trim. The wooden supports for the bell were replaced, and its rope gave way to an electrical system. Air conditioning and an elevator were added in 1999.

There have been no other substantial changes to the building. Currently it serves as offices for the county manager and his or her assistant, as well as the county attorney. The nine-member county legislature still meets twice a month in the upstairs courtroom.