This is a list of programs broadcast on South Korean terrestrial television channel MBC TV.

Dramas

MBC primetime flagship dramas are broadcast at 21:55 until the scheduling changes in April 2019, which broadcast was changed to 20:55, with each series airing on two consecutive nights: Mondays and Tuesdays, Wednesdays and Thursdays, and Saturdays.

Monday–Tuesday
For further details see Korean-language article: 문화방송 월화드라마.

1980s

1990s

2000s

2010s

2020s

Monday (22:50)
 Love Scene Number (러브씬넘버#; 2021)

Wednesday–Thursday
For further details see Korean-language article: 문화방송 수목 미니시리즈.

1990s

2000s

2010s

2020s

Wednesday (21:00)
 A Good Day to Be a Dog (오늘도 사랑스럽개; October 11, 2023 – present)

Friday–Saturday

2000s

2020s

Saturday–Sunday

Saturday–Sunday (20:40)
 From Now On, Showtime! (지금부터 쇼타임!; 2022)

Saturday night dramas
  (이벤트를 확인하세요; 2021)

Sunday morning dramas
For further details see Korean-language article: 문화방송 일요아침드라마.

1980s

1990s

2000s

Weekend soap operas
For further details see Korean-language article: 문화방송 주말연속극.

2000s

2010s

Weekend special project dramas
For further details see Korean-language article: 문화방송 주말 특별기획 드라마.

2000s

2010s

Daily dramas

Monday–Friday

1990s

2000s

2010s

2020s

Monday–Saturday (09:00)
 Sisters of the Sea (자매바다; 2005–2006)
 End of Love (이제 사랑은 끝났다; 2006) (changed timeslot to 07:50 on 1 May 2006)

Historical soap opera
 Hur Jun, The Original Story (구암 허준; 2013)
 The King's Daughter, Soo Baek-hyang (제왕의 딸, 수백향; 2013–2014)

Morning soap opera

2000s

2010s

2020s

Drama specials
 Jikji (2005)
 Splash Splash Love (2015)

Sitcoms

2000s

2010s

Special project dramas

 Mother's Garden (엄마의 정원; 2014)
 Apgujeong Midnight Sun (압구정 백야; 2014–2015)
 A Daughter Just Like You (딱 너 같은 딸; 2015)
 Beautiful You (아름다운 당신; 2015–2016)
 Working Mom Parenting Daddy (워킹 맘 육아 대디; 2016)
 Golden Pouch (황금주머니; 2016–2017)
 Sisters-in-Law (별별 며느리; 2017)

Children's programs
 Chu Chu Chu (the longest-running children's programme in South Korea; 1981–2013, 2017–present)
 Animaniacs (2000–2004)
 Nalong (2004–2006)
 Nalong 2 (2006–2007)
 Pucca (2007–2008, 2018–2019)

News and current affairs
 MBC News Today (MBC 뉴스투데이, breakfast newscast)
 930 MBC News (930 MBC 뉴스, brunch newscast)
 12 MBC News (12 MBC 뉴스, midday newscast)
 News Exhibit (2시 뉴스 외전, news and talk show program)
 5 MBC News (5 MBC 뉴스, afternoon newscast)
 MBC Newsdesk (MBC 뉴스데스크, main evening and flagship newscast since 1970)
 MBC 100 Minute Debate (MBC 100분 토론) (multiple-party debate programme)
 News Magazine 2580 (시사매거진 2580)
 PD Note
 News 'WHO'? (2006–)
 MBC Human Theatre (with SS501's Park Jung-min)
 The Real Story Eye (리얼스토리눈) (2014–)

Specials
 Girls' Generation's Christmas Fairy Tale (2011)
 Girls' Generation's Romantic Fantasy (2013)

Variety shows

Current programs

Former programs

2000s

 Infinite Challenge (무한도전; 2005–2018)
 We Got Married (우리 결혼했어요; 2008–2017)
 Girls' Generation's Horror Movie Factory (소녀시대의 공포영화 제작소; 2009)
 Girls' Generation's Cheer Up! (소녀시대의 힘내라 힘!; 2009)

2010s

 I Am a Singer (나는 가수다); 2011–2015)
 Dad! Where Are We Going? (아빠! 어디가?; 2013–2015)
 Real Men (진짜 사나이; 2013–2016)
 Animals (애니멀즈; 2015)
 Duet Song Festival (듀엣가요제; 2016–2017)
 Secretly Greatly (은밀하게 위대하게; 2016–2017)
 Thinking About My Bias (오빠생각; 2017)
 Wizard of Nowhere (오지의 마법사; 2017–2018)
 Dunia: Into a New World (두니아 – 처음 만난 세계; 2018)
 Unexpected Q (뜻밖의 Q; 2018)
 Those Who Cross the Line (선을 넘는 녀석들; 2018–2020)
 Under Nineteen (언더나인틴; 2018–2019)
  (호구의연애; 2019)

2020s

 Extreme Debut Wild Idol (극한데뷔 야생돌; 2021)
 My Teenage Girl (방과 후 설렘; 2021)
 Fantasy Boys (소년판타지; 2023)

Others
 Dance Battle Korea
 Idol Dance D-Style
 KPop Generation
 Ranking Chart 8
 OST KING
 Live sound landscape picnic
 K-POP Super Collection
 Super Idol

See also
 List of programs broadcast by Arirang TV
 List of programmes broadcast by Korean Broadcasting System
 List of programs broadcast by Seoul Broadcasting System
 List of programs broadcast by tvN
 List of programs broadcast by JTBC

References

External links
 http://www.imbc.com

MBC
Munhwa Broadcasting Corporation


Eriogonum caespitosum is a species of wild buckwheat known by the common name matted buckwheat, mat buckwheat, or cushion desert buckwheat. It is a common perennial plant native to the western United States from California to Montana, especially the Great Basin. Flowering early in the summer, it is also cultivated as a rock garden plant.

The species is a tough perennial plant which grows in flat, woody mats in sand and gravel substrates. It has small, fuzzy gray leaves (under  long) which are scoop-shaped due to their rolled edges. From the mat emerge short stalks with inflorescences of greenish-yellow and whitish rounded clusters of flowers, which redden with age and hang backwards over the edge of the involucre. Some of the flowers are bisexual and up to a centimeter wide each, and some are only staminate and much smaller.

References

External links
Jepson Manual Treatment
Photo gallery

caespitosum
Flora of California
Flora of the Great Basin
Flora of the Western United States
Flora without expected TNC conservation status


Module is the name under which Wellington-based New Zealand musician Jeramiah Ross has released his work since 2003. He composes and produces Downtempo, Ambient, and Classical music. Ross has released several albums and has contributed to soundtracks of video games such as Shatter and Robot Unicorn Attack 2.

Discography

Albums
2006 – Remarkable Engines
2009 – Shatter – The Official Video Game Soundtrack
2012 – Imagineering
2013 – PROGAMMA!
2017 – Starlight Wonders
2018 – Khemikal Reaction

References

Musicians from Wellington


Charmed: The Book of Shadows (also known as Charmed: The Book of Shadows: Music From and Inspired By) is the second soundtrack album of the television series Charmed, which aired on The WB in the United States. It features music from the show's first seven seasons and was released on April 19, 2005, by Image Entertainment.

Background and release
Charmed: The Book of Shadows was executive produced by Jonathan Platt and Jonathan Scott Miller. The album includes music by contemporary pop artists such as Dido, Vanessa Carlton, Sarah McLachlan and Ashlee Simpson. It also includes Charmeds theme song "How Soon Is Now?" by Love Spit Love. Charmed: The Book of Shadows was released in the United States on April 19, 2005 and in the United Kingdom on September 5, 2005.

The soundtrack's cover features a small photograph of the show's Book of Shadows, which the soundtrack is named after.

Reception
Heather Phares of AllMusic gave Charmed: The Book of Shadows three stars out of five and praised the way in which the soundtrack "streamlines its approach", in comparison to the first soundtrack album, by focusing on a wide variety of female artists, echoing the theme of female empowerment raised in the television series. However, she also noted that its contents had little in relation to the show itself. Nonetheless, Phares concluded that the album "plays a lot more like a handmade mixtape or playlist than a soundtrack full of promotional opportunities, which can only be to its credit." On May 7, 2005, Charmed: The Book of Shadows debuted at number 9 on the US Billboard Top Soundtracks chart and number 20 on the US Billboard Top Independent Albums chart.

Track listing

Charts

Release history

References

Charmed (TV series)
2005 soundtrack albums
Television soundtracks
Silva Screen Records soundtracks


The 10th Parliament of Kenya saw the National Assembly opened on 15 January 2008. This following the Orange Democratic Movement (ODM) of Raila Odinga winning a majority in the 2007 parliamentary elections. Raila was a candidate in the presidential elections, which resulted in a controversial victory for Mwai Kibaki of the Party of National Unity. The opening of the parliament was fraught with jeers, cheers and brawls between the opposing parties; Mwai Kibaki was greeted by the ODM members with silence and boos, while Raila was greeted by PNU members with accusations of genocide.

The inauguration of the 10th Parliament's first session commenced on 6 March 2008, when Odinga was sworn in as provisional Prime Minister and the National Accord and Reconciliation Act 2008 was passed. ODM member Kenneth Marende was elected speaker, defeating PNU member Francis ole Kaparo 105–101 in the third round of balloting.

Timeline and bills passed
21 April 2009 - Parliament re-opens. An impasse between the President and the Prime Minister occurred when both presented the Speaker with letters appointing their respective preferred nominees for the position of Leader of Government Business (The Chair of the House Business Committee). The Speaker finally ruled and temporarily appointed himself as the Chair while the impasse is resolved with Odinga withdrawing from the House Business Committee in odds for Kibaki's appointee, Kalonzo Musyoka, to be confirmed leader of Government business.
30 April 2009 - Parliament approved the list of the IIEC (Interim Independent Electoral Commission of Kenya) that was recommended as a stop gap electoral commission, by the Kriegler Commission.
7 May 2009 - Parliament approved the list of the IIBRC (Interim Independent Boundaries Review Commission of Kenya) that will re-district constituency and district boundaries to be more representative of the population based on current voter registration statistics or the 2009 Census data that was due to be completed in October 2009. However, the controversy that broke out about their recommendations, means that issues about fairness are still to be resolved. On the same day, President Kibaki assented the bill that created the IIEC and formally appointed the IIEC commissioners.
12 May 2009 - President Kibaki assented the bill that created the IIBRC and officially appointed the list of commissioners approved by parliament.
7 April 2010 - House passes draft of the proposed  constitution of Kenya, prepared by Committee of Experts without any amendments,  paving way for a constitutional referendum in which was held in August 2010
27 August 2011 - The House passes a record 16 bills in one week, all concerning implementation of the new constitution to keep up with deadlines set out in the fifth schedule of the new constitution. Among them were key bills setting up an Independent Elections and Boundary Review Commission   and a revamped  Anti-Corruption Commission investigation body.

By-elections

Changes in the makeup of the 10th Parliament

June 2008
Following the election, two ODM MPs—Mugabe Were and David Kimutai Too—were killed during the post-election crisis, which was the result of a dispute over the results of the presidential election. As a result, by-elections were needed in their constituencies. In addition, by-elections had to be held in two constituencies in the Rift Valley where results were never announced due to violence. Kenneth Marende was elected as Speaker of Parliament following the election, leaving his seat vacant and requiring another by-election to be held in his constituency. The ODM was left with 96 seats at this point.

These five by-elections were held on 11 June 2008. On 10 June, two ministers—Minister of Roads Kipkalya Kones and Assistant Minister of Home Affairs Lorna Laboso, both from ODM—were killed in a plane crash, leaving another two seats vacant (and reducing ODM to 94 MPs). They had been going to the Rift Valley for the by-elections at the time of the accident.

Three of the five by-elections were won by the ODM and two by the PNU. The ODM kept its seats in Emuhaya and Ainamoi constituencies; however, it lost the seat in Nairobi's Embakasi Constituency to the PNU. Counting allied parties and MPs, ODM now has 103 MPs and PNU 104 MPs.

September 2008
By-elections were held in Bomet and Sotik constituencies on 25 September and were won by Beatrice Kones and Joyce Laboso respectively. Both seats were retained by ODM and were won by close relatives of their immediate predecessors, who died in an aviation accident in June: Beatrice Kones is the widow of Kipkalya Kones and Joyce Laboso is the sister of Lorna Laboso.

August 2009
In May 2009, Parliament approved the formation of a new Electoral body, The Interim Independent Electoral Commission (IIEC), paving the way for by-elections in the constituencies of Shinyalu and Bomachoge, which were held on 27 August 2009. Shinyalu fell vacant when its sitting MP Charles Lugano of ODM died. ODM retained the seat, after Justus Kizito won it at the by-elections. The Bomachoge seat was vacated after the 2007 Elections at the constituency were nullified due to irregularities. The seat was won in 2007 by Joel Onyancha of Ford-People. At the 2007 by-elections Simon Ogari of ODM narrowly beat Onyancha, who was now representing PNU. For the first time in Kenya, the ballot boxes were transparent.

June 2010
In December 2009 the High court of Kenya declared the South Mugirango parliamentary seat vacant due to irregularities in the election process, although James Omingo Magara of ODM, who had won the election, was not found guilty of any rigging. Subsequent South Mugirango by-election was held on 10 June 2010. Magara decamped to the little-known People's Democratic Party (PDP) after being not favoured by the ODM leader Raila Odinga. The by-election was won by Manson Nyamweya of Ford-People, who beat Magara and Ibrahim Ochoi of ODM.

July 2010

As of 5 February 2010, the Matuga Constituency MP Chirau Ali Mwakwere (PNU) lost his cabinet and parliamentary seat. This was due to a petition filed by a voter, Mr Ayub Juma Mwakesi, who wanted the election of Mr Mwakwere nullified citing that the entire election process was marred by irregularities. The ruling that nullified Mr Mwakwere's election in the 2007 election was made by High Court Judge, Justice Mohamed Ibrahim. A subsequent by-election was held on 12 July 2010. Mwakwere retained the seat by beating his closest rival, Hassan Mwanyoha of ODM

September 2010
Three parliamentary by-elections were held on 20 September 2011. Margaret Wanjiru (ODM) retained her Starehe Constituency seat beating Maina Kamanda (PNU). The by-election was held after vote recount held in April 2010 indicated that the poll was actually won by Maina Kamanda.

William Kabogo Gitau (NARC-Kenya) won the Juja Constituency seat. Alice Wambui of Kenya National Congress was distant second, while the previous MP, George Thuo of PNU was left third. Theo had lost the seat due to irregularities at the 2007 election.

The Makadara Constituency seat was taken up by Gideon Mbuvi Kioko of NARC-Kenya followed by former MP Reuben Ndolo of ODM while Dick Wathika (PNU) was left third. Wathika was the previous MP, but had lost the seat due to irregularities at the 2007 election.

February 2011
John Ngata Kariuki of Ford-Asili lost his Kirinyaga Central Constituency seat after a court petition filed by the previous Kirinyaga Central MP Daniel Karaba (Narc-Kenya) on 22 October 2010. Kariuki decided not to defend his seat at the subsequent by-election. The by-election was held on 16 February 2011. The PNU candidate Joseph Gitari won the poll leaving Karaba to second place.

See also
Constitutional Reforms in Kenya

References

Kenyan parliaments
2008 in Kenya
2009 in Kenya
2010 in Kenya
2011 in Kenya
2012 in Kenya
2013 in Kenya


TransSiberian is a 2008 psychological thriller film directed by Brad Anderson and written by Anderson and Will Conroy. It stars Woody Harrelson and Emily Mortimer as an American couple whose journey on the Trans-Siberian Railway leads them to a trail of deception and murder. Kate Mara, Eduardo Noriega, Thomas Kretschmann and Ben Kingsley appear in supporting roles.

After premiering at the 2008 Sundance Film Festival in January, the film received a limited release in the United States on July 18, 2008. It received positive reviews, with praise for its story and atmosphere, and grossed $5.9 million at the box office.

Plot
An American couple, Roy and Jessie, take the train from Beijing to Moscow on their return home from a Christian mission in China. Roy befriends their cabin mates, a Spanish man, Carlos, and his Seattle-born girlfriend, Abby. Jessie is more wary than her husband and does not share his unguarded warmth to the strangers, but Carlos shows Jessie his souvenir matryoshka dolls.

When Roy misses the train in Irkutsk while sightseeing, Jessie is alone with Carlos and Abby. When she alights the train at Ilanskaya to wait for Roy, Carlos and Abby also get off, claiming Jessie would be unsafe alone. In a restaurant, Jessie sees a doll nearly identical to those of Carlos. Abby is upset when she mentions this and goes to bed. Jessie begs Carlos not to involve Abby in his activities.

The next morning, Carlos comes to Jessie's room, tells her his shower is broken and asks to use hers. Jessie receives a summons from reception and leaves Carlos in her room. At reception, she receives a call confirming that Roy will join her, and Carlos convinces her to go on a trip into the wilderness, where they find a ruined church.

Jessie, an amateur photographer, starts taking pictures. When Carlos makes advances, she first refuses, but they then begin kissing. Jessie quickly changes her mind and asks Carlos to stop but he continues, becoming aggressive and chasing after her. She becomes terrified and hits him with a fence post, killing him. Jessie returns to the station in a state of shock, shortly afterwards Roy's train arrives and she re-joins him. Roy assumes her emotional greeting is due to her anguish over his delay. As the train pulls away, Jessie notices Abbey through the window, running alongside the train searching hopelessly for Carlos.

Ilya Grinko, a narcotics officer whom Roy befriended, is their new cabin mate. Jessie is shocked to find Carlos' dolls in her suitcase and realizes that he hid them when he was in her room. Grinko accompanies them for dinner and talks about his job, Jessie realizes that Carlos was smuggling heroin, and later unsuccessfully tries to get rid of the dolls when the others are asleep. She panics when Grinko becomes suspicious. When she returns to her cabin to find Roy examining the dolls, she breaks down and explains their origins, though without telling Roy about Carlos' death. They give Grinko the dolls, who seems satisfied they were uninvolved.

The next morning, they awake to discover that most of the carriages have departed with the other passengers; only Grinko and his partner Kolzak Yushenkov remain. They stop the train in the middle of nowhere and take Jessie and Roy to an abandoned military bunker, where Abby is being tortured. Grinko is bribed by a Russian drug lord and explains that Carlos stole heroin and money from the drug lord who wants both. Grinko tells Jessie that Abby is not the "good girl" Jessie thought: she recruited Carlos, was responsible for another’s death and is trying to cheat the drug lord. Jessie disbelieves Grinko because Carlos told her Abby was innocent. Abby continues to be tortured in the presence of Jessie and Roy.

Jessie and Roy escape and return to the train, where they find the conductor, who works for Grinko. Roy kills him. They escape with the train as Roy, a railway enthusiast, knows how to operate it. The train slows down and Grinko and Kolzak re-board the train. When they question Jessie again about Carlos' whereabouts, holding her and Roy at gunpoint, Jessie admits she killed Carlos. Kolzak does not believe her, but at that moment, the train collides with a troop-carrying train. With the army on the way, Grinko shoots Kolzak to maintain his cover. The couple are arrested, while Grinko escapes.

In Moscow, U.S. officials visit Jessie and Roy. Through a photograph Jessie took of Grinko and his associates, the officials believe they can shut down the drug operation. They reveal Carlos' criminal history and believe Abby just got mixed up with the wrong crowd. When signing statements, Jessie does not confess she killed Carlos, although Roy may have heard her admit to this. Touring Moscow, Jessie insists on talking to Abby in the hospital.

The final scene shows Abby finding Carlos' body, following instructions that Jessie had earlier given her. Abby takes a fortune in stolen money from his jacket.

Cast

 Woody Harrelson as Roy
 Emily Mortimer as Jessie
 Ben Kingsley as Ilya Grinko
 Kate Mara as Abby
 Eduardo Noriega as Carlos
 Thomas Kretschmann as Kolzak Yushenkov
 Étienne Chicot as French passenger.

Production
The film was shot on location in Lithuania. The government gave the filmmakers 40 kilometers of track. It had a production budget of $15 million. Mortimer agreed to do the film two days before filming and began without having time to finish reading the script.

Reception

Critical response
The film received positive reviews from critics. On Rotten Tomatoes, it has a 91% score based on reviews from 101 critics, with an average rating of 7.20/10. The site's critical consensus states: "Traditional in form yet effective in execution, this taut thriller updates the 'danger on a train' scenario with atmospheric sense." On Metacritic, the film has a weighted average rating of 72 based on reviews from 21 critics, indicating "generally favorable reviews."

Roger Ebert of the Chicago Sun-Times gave the film 3.5 out of four and praised the film, saying it builds "true fear and suspense." Scott Tobias at The A.V. Club gave it a B+. Kirk Honeycutt of The Hollywood Reporter wrote: "This vigorous, fast-paced tale that entwines plot with character and psychology set against an incredibly exotic backdrop certainly has boxoffice potential as dynamic as its storytelling."

Box office
The film grossed $2,206,405 in the United States and Canada and a further $3,720,005 in other countries for a worldwide total of $5,926,410.

References

External links

English-language Spanish films
English-language German films
English-language Lithuanian films
Films shot in Lithuania
2008 psychological thriller films
British psychological thriller films
Spanish psychological thriller films
German psychological thriller films
Films set in China
Films set in Russia
Films set on trains
Films shot in China
Films shot in Russia
Neo-noir
Icon Productions films
Films set on the Trans-Siberian Railway
Films directed by Brad Anderson
Films produced by Álvaro Augustin
2000s British films
2000s German films


Wabigoon is an unincorporated community in the Canadian province of Ontario, located in the Kenora District.

The community is located on Highway 17, approximately 20 kilometres east of Dryden and seven kilometres west of Dinorwic.

A designated place served by a local services board, Wabigoon had a population of 417 in the Canada 2006 Census.

Demographics
In the 2021 Census of Population conducted by Statistics Canada, Wabigoon had a population of 419 living in 174 of its 195 total private dwellings, a change of  from its 2016 population of 373. With a land area of , it had a population density of  in 2021.

References

Communities in Kenora District
Designated places in Ontario
Local services boards in Ontario


Distractive Killusions is the third full-length album by Polish symphonic black metal band Vesania. It was recorded at Studio X in Olsztyn, Poland by Szymon Czech and Vesania. The record was mixed and mastered at Studio X by Szymon Czech and Orion with virtual assisitance of Siegmar. The album was released worldwide in November 2007. A limited edition digipak version was also released, containing two bonus tracks. This is the first album with Valeo as a real band member. The album was originally released under Napalm Records but was released under Mystic Production in Poland.

Orion commented after the release of Distractive Killusions:

Track listing
All music by Vesania, except "Neurodeliri" by Bulldozer. Arranged by Orion, Daray and Siegmar.

Digipak bonus tracks

Personnel
 Tomasz "Orion" Wróblewski – guitars, vocals
 Dariusz "Daray" Brzozowski – drums and percussion
 Krzysztof "Siegmar" Oloś – keyboard, additional guitars
 Filip "Heinrich" Hałucha – bass guitar
 Marcin "Valeo" Walenczykowski – guitars
 Piotr Gibner – vocals on Infinity Horizon
 Szymon Czech – engineering, mix, mastering
 Krzysztof "Sado" Sadowski – photography, cover concept
 Tanzteufel – cover design and artwork

References

External links
 Official website
 Encyclopaedia Metallum
 'DISTRACIVE KILLUSIONS' OUT NOW!

2007 albums
Vesania albums
Napalm Records albums
Mystic Production albums


Combat SF is an anthology of science fiction stories edited by Gordon R. Dickson.  It was first published by Doubleday in 1975.  Most of the stories originally appeared in the magazines Analog Science Fiction and Fact, Galaxy Science Fiction, Fantastic Universe, New Worlds, Fantasy and Science Fiction, If and Planet Stories.

Contents

 Combat SF: Introduction, by Gordon R. Dickson
 "The Last Command", by Keith Laumer
 "Men of Good Will", by Ben Bova & Myron R. Lewis
 "The Pair", by Joe L. Hensley
 "The Butcher’s Bill", by David Drake
 "Single Combat", by Joseph Green
 "The Man Who Came Early", by Poul Anderson
 "Patron of the Arts", by Fred Saberhagen
 "Time Piece", by Joe W. Haldeman
 "Ricochet on Miza", by Gordon R. Dickson
 "No War, or Battle’s Sound", by Harry Harrison
 "His Truth Goes Marching On", by Jerry E. Pournelle
 "The HORARS of War", by Gene Wolfe

References

1975 anthologies
Science fiction anthologies
Doubleday (publisher) books


Amalie Zara Benjamin is a writer for the National Hockey League, having previously written for The Boston Globe as a Boston Red Sox beat reporter. She graduated from Northwestern University in 2004 with a degree in English. She lives in the Allston neighborhood of Boston.

Journalism career
Benjamin began her journalism career in 2001, as a stringer for the Community Newspaper Company in Needham, Massachusetts. Over the next three years she interned at the Worcester Telegram & Gazette in Worcester, Massachusetts, The Times-Picayune in New Orleans, Louisiana, and The Washington Post''''.  While in college, she was a contributor and sports editor for the Daily Northwestern’s weekly football magazine, Gameday.

She joined The Boston Globe after graduating from college, and she initially covered high school sports.  After the departure of Chris Snow from the Globe in 2006, she started covering the Red Sox as the backup beat reporter and also worked as a general-assignment sports reporter. When Gordon Edes left in August 2008, the Globe promoted her to Red Sox beat writer. She announced in November 2010 that she had left the position as Globe Red Sox beat reporter and would become a feature writer for the Globe.

In addition to her columns in the Globe'', Benjamin regularly appeared on the New England Sports Network's (NESN) Red Sox pre-game show to discuss the team.

Benjamin married Kenneth Gantz in 2010, and moved from being Boston Globe's beat writer for the Red Sox to its features writer, to avoid a beat writer's travel after her marriage. The couple separated later. In August 2014, she married Daniel Barbarisi. She also became the beat writer covering Boston Bruins for Boston Globe.

In March 2016, she left Boston Globe to write for nhl.com, the website of National Hockey League.

References

External links
 Amalie Benjamin columns, Boston Globe
Amalie Benjamin bio, Sons of Sam Horn
Amalie Benjamin video clips, NESN
Amalie Benjamin 2007 Red Sox Profiles
Amalie Benjamin NHL.com articles

Living people
Sportswriters from Massachusetts
Writers from Boston
The Boston Globe people
Northwestern University alumni
Women sportswriters
American women sportswriters
21st-century American women
Year of birth missing (living people)


Postdevelopment theory (also post-development or anti-development or development criticism) holds that the whole concept and practice of development is a reflection of Western-Northern hegemony over the rest of the world. Postdevelopment thought arose in the 1980s out of criticisms voiced against development projects and development theory, which justified them.

Development as ideology

The postdevelopment critique holds that modern development theory is a creation of academia in tandem with an underlying political and economic ideology. The academic, political, and economic nature of development means it tends to be policy oriented, problem-driven, and therefore effective only in terms of and in relation to a particular, pre-existing social theory.

The actual development projects thus initiated, by both governments and NGOs, are directed in accordance with this development theory. Development theory itself, however, assumes a framework already set in place by government and political culture in order to implement it. The development process is therefore socially constructed; Western interests are guiding its direction and outcome, and so development itself fundamentally reflects the pattern of Western hegemony.

Development as an ideology and a social vision is ingrained in the ideals of modernization, which holds western economic structure and society as a universal model for others to follow and emulate. Rooted in western influence, the developmental discourse reflects the unequal power relations between the west and the rest of the world, whereby the western knowledge of development, approach toward development, and conception of what development entails, as well as perceptions of progress, directs the course for the rest of the world.

Reviewing development
Influenced by Ivan Illich and other critics of colonialism and postcolonialism, a number of postdevelopment theorists like Arturo Escobar and Gustavo Esteva have challenged the very meaning of development. According to them, the way we understand development is rooted in the earlier colonial discourse that depicts the North as "advanced" and "progressive", and the South as "backward", "degenerate" and "primitive".

They point out that a new way of thinking about development began in 1949 with President Harry Truman's declaration: "The old imperialism—exploitation for foreign profit—has no place in our plans. What we envisage is a program of development based on the concepts of democratic fair dealings." While claiming that the "era of development" began at this point, postdevelopment theorists do not suggest that the concept of development was new. What was new was the definition of development in terms of an escape from underdevelopment. Since the latter referred to two-thirds of the world, this meant that most societies were made to see themselves as having fallen into the undignified condition of "underdevelopment", and thus to look outside of their own cultures for salvation.

Development, according to these critics, was now a euphemism for post-war American hegemony; it was the ideals and development programs of the United States and its (Western) European allies that would form the basis of development everywhere else.

Postdevelopment theory
Postdevelopment theory arose in the 1980s and 1990s through the works of scholars like Arturo Escobar, Gustavo Esteva, Majid Rahnema, Wolfgang Sachs, James Ferguson, Serge Latouche, and Gilbert Rist. Leading members of the postdevelopment school argue that development was always unjust, never worked, and at this point has clearly failed. According to Wolfgang Sachs, a leading member of the postdevelopment school, "the idea of development stands like a ruin in the intellectual landscape" and "it is time to dismantle this mental structure."

To cite an example of this "mental structure", development theorists point out how the concept of development has resulted in the hierarchy of developed and underdeveloped nations, where the developed nations are seen as more advanced and superior to the underdeveloped nations that are conceived as inferior, in need of help from the developed nations, and desiring to be like the developed nations. The postdevelopment school of thought points out that the models of development are often ethnocentric (in this case Eurocentric), universalist, and based on western models of industrialization that are unsustainable in this world of limited resources and ineffective for their ignorance of the local, cultural and historical contexts of the peoples to which they are applied. In essence, the problem postdevelopment theorists see in development and its practice is an imbalance of influence or domination by the west. Postdevelopment theorists promote more pluralism in ideas about development.

Critique of ethnocentrism and universalism

Among the starting points and basic assumptions of postdevelopment thought is the idea that a middle-class, Western lifestyle and all that goes with it (which might include the nuclear family, mass consumption, living in suburbia and extensive private space), may neither be a realistic nor a desirable goal for the majority of the world's population. In this sense, development is seen as requiring the loss, or indeed the deliberate extermination (ethnocide)  of indigenous culture or other psychologically and environmentally rich and rewarding modes of life. As a result, formerly satisfactory ways of life become dissatisfying because development changes people's perception of themselves.

Majid Rahnema cites Helena Norberg-Hodge "To take an example, Helena Norberg-Hodge mentions how the notion of poverty hardly existed in Ladakh when she visited that country for the first time in 1975. Today she says, it has become part of the language. When visiting an outlying village some eight years ago, Helena asked a young Ladakhi where were the poorest houses. 'We have no poor houses in our village,' was the proud reply. Recently Helena saw the same Ladakhi talking to an American tourist and overheard him say, 'if only you could do something for us, we are so poor.'"

Development is seen as a set of interventions and worldviews which are also powers: to intervene, to transform and to rule.  Postdevelopment critiques challenge the notion of a single path to development and demand acknowledgment of diversity of cultural perspectives and priorities.

For example, postdevelopment theorists argue that the politics of defining and satisfying needs is a crucial dimension of development thought, deeply entwined in the concept of agency. Yet, questions of who voices development concerns, what power relations are played out among agents, and how the interests of socially-constructed development experts (e.g., the World Bank, IMF officials) rule the development priorities are not often addressed in classical development thought. The postdevelopment approach attempts to overcome this gap by opening up academic, practice, and other spaces for non-Western peoples and their concerns.

Postdevelopment theory is a critique of the standard assumptions about who possesses the key to progress and how it may be implemented.

Alternatives to development
While the postdevelopment school provides a plethora of development critiques, it also considers alternative methods for bringing about positive change. The postdevelopment school proposes a particular vision of society removed from the discourse of development, modernity, politics, cultural and economic influences from the west, and market oriented and centralized authoritarian societies.

In his works, Escobar has outlined the common features of postdevelopment thought and societal vision. According to Escobar, the postdevelopment school of thought is interested (in terms of searching for an alternative to development) in "local culture and knowledge; a critical stance toward established scientific discourses; and the defense and promotion of localized, pluralistic grassroots movements." Grassroots movements, Escobar argues, are "local, pluralistic, and distrust organized politics and development establishment."

Postdevelopment thought takes inspiration from vernacular societies, the informal sector and frugal rather than materialistic lifestyles. Furthermore, postdevelopment theorists advocate for structural changes. According to Escobar, postdevelopmental thinking believes that the economy must be based around solidarity and reciprocity; policy must focus on direct democracy; and knowledge systems should be traditional, or at least a hybrid of modern and traditional knowledge. Decolonial programmatics include ALBA: The Bolivarian Alliance for the Peoples of Our America, initiated by Fidel Castro and Hugo Chavez in 2004 in response to neoliberal development projects such as FTAA and NAFTA. ALBA is analyzed and conceptualized using concepts elaborated by decolonial scholars of the Latin American and Caribbean (LAC) region. According to Al-Kassimi, as a decolonial delinking performance, ALBA proposes an alternative to development project that embodies the spirit of Bandung and principles of South-South Cooperation thereby contesting the a priori belief that only (western) knowledge systems informing modernity and civilization lead to economic and social development.

A recent survey claims that as alternatives to development, "the practice of postdevelopment is already being carried out by actors in and out of development". "Postdevelopment in practice begins with the insistence that an enduring diversity of socialities, a multiplicity of southern knowledges and nature/culture assemblages, and postcolonial political economies reveals already existing alternatives."

James Ferguson

One of the leading anti-development writers, James Ferguson contributed to what John Rapley termed "the most important of the opening salvos" of postdevelopment theory with his book The Anti-Politics Machine: Development, Depoliticization, and Bureaucratic Power in Lesotho. In The Anti-Politics Machine Ferguson describes the failure of the development project to properly understand the cultural and economic values of the people of Lesotho. This misunderstanding led to misappropriation of resources by the international community and myriad negative consequences for Basotho (residents of Lesotho), prompting Ferguson to comment that "Capitalist interests [...] can only operate through a set of social and cultural structures so complex that the outcome may be only a baroque and unrecognizable transformation of the original intention." Development projects cannot simply create a desired result, but instead have a number of unexpected consequences.

Ferguson suggests that although development projects often end in failure, they still produce tangible impacts in the physical and social-political environment. In The Anti-Politics Machine, he asks, "What do aid programs do besides fail to help poor people?" In the case of Lesotho, Ferguson proposes that, "while the project did not transform livestock-keeping it did build a road to link to Thaba-Tsea more strongly with the capital." Ferguson argues that there is value to understanding and thinking about the unintended consequences for an environment.

Arturo Escobar

Critics of development do not deny the need for change. They argue instead that to enact proper and effective change, change itself must first be conceived in different terms. Arturo Escobar, another leading member of the postdevelopment school, argues:

While social change has probably always been part of the human experience, it was only within the European modernity that 'society', i.e. the whole way of life of a people, was open to empirical analysis and made the subject of planned change. And while communities in the Third World may find that there is a need for some sort of organised or directed change—in part to reverse the damage done by development—this undoubtedly will not take the form of 'designing life' or social engineering. In this long run, this means that categories and meanings have to be redefined; through their innovative political practice, new social movements of various kinds are already embarked on this process of redefining the social, and knowledge itself.

Majid Rahnema

Majid Rahnema addresses the question of which path to take directly in his conclusion to the Post-Development Reader. Rahnema admits that it may be true that a large majority of people, whose lives are in fact difficult, do want change. But the answer he suggests is not development but the "end of development". He says that the end of development is not "An end to the search for new possibilities of change, for a relational world of friendship, or for genuine processes of regeneration able to give birth to new forms of solidarity". Rather, Rahnema argues, the "inhumane and the ultimately destructive approach to change is over. It should resemble a call to the 'good people' everywhere to think and work together."

Serge Latouche

Serge Latouche is a French emeritus professor in economy at the University of Paris-Sud. A  specialist in North-South economic and cultural relations, and in social sciences epistemology, he has developed a critical theory towards economic orthodoxy. He denounces economism, utilitarianism in social sciences, consumer society and the notion of sustainable development. He particularly criticizes the notions of economic efficiency and economic rationalism. He is one of the thinkers and most renowned partisans of the degrowth theory. Latouche has also published in the Revue de Mauss, a French anti-utilitarian journal.

Wolfgang Sachs and The Development Dictionary

Wolfgang Sachs is a leading writer in postdevelopment thought. Most of his writing is focused on environmentally sustainable development and the idea that past notions of development are naturally unsustainable practices on our finite planet. However, in 1992 he co-authored and edited The Development Dictionary: A Guide to Knowledge as Power which contributed greatly to the compilation of post-development literature as a general theory.

This manifesto posits that the new era of development that emerged in the 1950s was created by the United States in order to secure its new hegemonic position in the global community. Sachs explains that the concept of "underdevelopment" was actually constructed in Harry S. Truman's 1949 inaugural address, which popularized the term. Sachs argues that the creation of this term was a discrete, strategic move to secure American hegemony by reinforcing the idea that the United States is at the top, and other countries on a lower pillar, of a linear and singular trajectory of development. It created a homogeneous identity for these countries and stripped them of their own diverse characteristics. "It converts participation into a manipulative trick to involve people in struggles for getting what the powerful want to impose on them."

The Development Dictionary describes a biological metaphor for development. This biological metaphor was transferred to the social sphere and perpetuated the ideal that there is one natural way to develop into the perfect form. To develop in a manner disparate from the "natural order of things" was to become a disfigured anomaly. This definition held the potential to provide morally ambiguous justification for imperialist behavior and can be connected to colonial discourse and mainstream development theories. Under such categorization, Sachs explains, development was reduced to a simple measurement of the economic growth of per capita production.

Sachs issues a cry for public awareness of the "limits of development." He leaves the reader with the idea of the "New Commons" and posits that men and women should begin with this awareness before attempting to introduce new political policies with room for creativity and innovation in diverse development paths.

Criticisms

There is a large body of works which are critical of postdevelopment theory and its proponents.  It has been noted that postdevelopment theory sees all development as imposed upon the developing world by the West.  This dualist perspective of development may be unrealistic, and Marc Edelman notes that a large proportion of development has risen from, rather than been imposed upon, the developing world. Citing Jonathan Crush's point that "Development, for all its power to speak and to control the terms of speaking, has never been impervious to challenge and resistance, nor, in response, to reformulation and change." Ray Kiely argues that "The post-development idea is thus part of a long history within the development discourse." In short, Kiely argues that postdevelopment theory is merely the latest version of a set of criticisms that have long been evident within writing and thought in the field of development. Development has always been about choices, Kiely explains.  Choices with resulting losers and winners, dilemmas and destruction, as well as creative possibility.

Critics also argue that postdevelopment perpetuates cultural relativism: the idea that cultural beliefs and practices can be judged only by those who practice them. By accepting all cultural behaviors and beliefs as valid and rejecting a universal standard for living and understanding life, critics of postdevelopment argue, postdevelopment represents the opposite extreme of universalism, extreme relativism.  Such a relativist extreme, rather than besting extreme universalism, has equally dangerous implications.  John Rapley points out that "rejection of essentialism rests itself on an essentialist claim – namely, that all truth is constructed and arbitrary[...]"

Kiely also argues that by rejecting a top-down, centralized approach to development and promoting development through local means, postdevelopment thought perpetuates neo-liberal ideals. Kiely remarks that "The argument — upheld by dependency and post-development theory — that the First World needs the Third World, and vice versa, rehearses neo-liberal assumptions that the world is an equal playing field in which all nation states have the capacity to compete equally[...]" In other words, making locals responsible for their own predicament, postdevelopment unintentionally agrees with neo-liberalist ideology that favors decentralized projects and ignores the possibility of assisting impoverished demographics, instead making the fallacious assumption that such demographics must succeed on their own initiative alone. Kiely notes that not all grassroots movements are progressive. Postdevelopment is seen to empower anti-modern fundamentalists and traditionalists, who may hold non-progressive and oppressive values.

Notable development critics

Edward Abbey
John Africa
Stafford Beer (viable system model)
Charles A. Coulombe
Stanley Diamond
Jacques Ellul
Arturo Escobar (anthropologist)
Gustavo Esteva
Julius Evola
James Ferguson (anthropologist)
Masanobu Fukuoka
Mohandas Gandhi
Edward Goldsmith
David Graeber
René Guénon
Martin Heidegger
Ivan Illich
Derrick Jensen
Theodore Kaczynski
Ruhollah Khomeini
Philip Larkin
Pentti Linkola
Ned Ludd
Maria Mies
Yukio Mishima
MOVE organization
François Partant
Fredy Perlman
Daniel Quinn
Majid Rahnema
Gilbert Rist
Vandana Shiva
Henry David Thoreau
John Zerzan

See also

 Anarcho-primitivism
 Critical theory
 Critique of technology
 Deep ecology
 Degrowth
 Eco-anarchism
 Eco-feminism
 High modernism
 Human history
 Industrialization
 Modernization
 Myth of progress
 Neo-Luddism
 Neotribalism
 Paradigm shift
 Principles of intelligent urbanism
 Radical traditionalism
 The Rights of Nature in Ecuador - Sumak Kawsay
 Simple living
 Social criticism

Opposing theories
 Modernization theory
 Neoliberalism

References

Bibliography

Development studies
Sociological theories
Postmodernism


Savard is a geographic township in the Canadian province of Ontario, located in the Timiskaming District. It is located immediately west of the municipality of Chamberlain.

A designated place served by a local services board, Savard had a population of 223 in the Canada 2006 Census.

Demographics
In the 2021 Census of Population conducted by Statistics Canada, Savard had a population of 244 living in 92 of its 125 total private dwellings, a change of  from its 2016 population of 282. With a land area of , it had a population density of  in 2021.

References

Communities in Timiskaming District
Designated places in Ontario
Geographic townships in Ontario
Local services boards in Ontario


Bandslam is a 2009 American musical romantic comedy drama film directed by Todd Graff, who co-wrote the screenplay with Josh A. Cagan, based on a story by Cagan. The film stars Aly Michalka, Vanessa Hudgens, Gaelan Connell, Scott Porter, and Lisa Kudrow. The story revolves around Will (Connell) and Charlotte (Michalka), who form an unlikely bond through their shared love of music. Assembling a like-minded crew of misfits, the friends form a rock group and perform in a battle of the bands competition called "Bandslam".

Principal photography took place in Austin, Texas. During filming, the film underwent multiple title changes, including Will and Rock On.

Bandslam premiered at the Mann Village Theatre in Westwood, Los Angeles, on August 6, 2009, and was released in the United States on August 14, by Summit Entertainment. The film received generally positive reviews from critics, with many praising the acting and soundtrack. However, the film was a commercial failure, grossing only $12.2 million worldwide against a $20 million budget. Insiders panned the film's marketing, which many cited as a primary reason for the film's underperformance at the box-office. In a brief cameo appearance, this was David Bowie's final film appearance before his death in 2016.

Plot
Will Burton is a music enthusiast and a David Bowie fan. When Will's mother Karen finds a new job, he switches to a new school, which he is eager to do since he was bullied at his previous one. During lunch one day at his new school, he meets a girl who says her name is written Sa5m (pronounced Sam; the 5 is silent). She tells him about Bandslam, an annual music competition in which the winning band gets a recording contract. Will and Sa5m quickly become friends but, shortly after, he is sought after by an older girl named Charlotte Barnes. Impressed by his eclectic knowledge of music, Charlotte, who is a gifted singer-songwriter, asks Will to manage her rock/ska band.

Will agrees to help Charlotte's band (later called I Can't Go On, I'll Go On) which includes Bug and Omar, eventually expanding it with more like-minded outcasts. The group's sound starts to come together and their prospects for success look bright. Will starts losing his "loser-status", but the band gets in the way of completing a class project he was doing with Sa5m. After spending a day with Sa5m, Charlotte teaches Will how to properly kiss a girl, by demonstrating on him that night. Will takes Sa5m to the overlook and, after an awkward start, successfully kisses her, after which Sa5m shyly asks Will to accompany her to a movie screening, to which he agrees. However, Will stands up Sa5m, instead going to a concert with Charlotte. After that, Sa5m starts ignoring Will at school; so he visits her house, hoping to apologize. Her mom shows him a video of a younger Sa5m performing "Everything I Own", but when Sa5m arrives home she is outraged and orders Will to leave. As an apology, he makes a touching documentary short about her for his Human Studies project and she eventually forgives him.

After Will accidentally ruins Ben's attempt to reconcile with Charlotte, Ben decides to do a little research on him, in order to ruin his image. He finds out about Will's father, who was sent to prison years ago when he accidentally killed a child while driving drunk. Ben then starts to call Will "Dewey" (just as other students did at his old school), which stands for "DWI" ("Driving While Intoxicated"). Will detests this nickname because it reminds him of his father, of whom he is ashamed. Soon after, Charlotte's father dies and she decides to quit the band. Her father hated how she acted when she was with her ex-boyfriend, so after he got sick she decided to change her image and be nicer to "people like Will." The band members are hurt by this discovery but they decide to go on nonetheless, with Sa5m taking over as lead singer.

On the night of Bandslam, Charlotte comes backstage to apologize to the band for her behaviour. Will and the band accept her apology. Right before going on stage, however, they see Ben's band (the "Glory Dogs") playing the same song that I Can't Go On, I'll Go On were planning to perform, forcing them to change their act at the last minute. Will suddenly remembers the video Sa5m's mother showed him earlier and suggests that they perform "Everything I Own", since it is the only other song Sa5m knows. To buy some time, Will comes out first onstage, but at first he is embarrassingly silent. The students begin to chant "Dewey". He starts to walk off the stage, but then comes back and decides to chant with them instead. After carrying the chant for a while, he finally changes it to, "Do we wanna ROCK?!". The band then takes the stage and performs "Everything I Own".

Although they fail to win the competition, a YouTube video of their performance gains the band popularity at school. David Bowie sees the video and sends an e-mail to Will, explaining that he is starting an indie music label and is interested in having the band as one of their first acts. Will is so excited and overwhelmed that he falls down in the middle of the school hallway.

Will and Sa5m, happily together, attend Charlotte's graduation ceremony.

Cast

In addition, David Bowie has a cameo appearance as himself.

Production

Development
In January 2007, Walden Media and Summit Entertainment announced that they would co-finance the film at the time titled Will, written by Josh A. Cagan and Todd Graff, who would also serve as director. Before filming, the cast had two weeks of music rehearsals, with the actors and actresses designated to play their instruments. Ryan Donowho and Aly Michalka had extensive experience with the drums and guitar, respectively, so they were used to their instruments, but Lisa Chung, Scott Porter, and Vanessa Hudgens were not. Hudgens revealed she didn't expect there to be as much music, and "they are like, 'We are going to have two weeks of music rehearsals,' and I was like, 'What?' But it was really cool. It's definitely not the kind of music I do normally."

Casting
David Bowie began talks in early January 2007 to be in the film. Bowie had a vital role as Will Burton's idol, to whom Burton frequently wrote e-mails. He makes a short cameo in the end of the film. Liam Aiken was originally chosen to play Will, but ultimately the role was given to Gaelan Connell. When Connell auditioned for Will, he was recommended to try out for the cellist because of his background playing cello. Graff watched his cello audition, and decided to give him the starring role. Originally, Hudgens wanted to play the role of Charlotte, but she was cast for the role of Sa5m. Hudgens sang "Rehab" by Amy Winehouse for her audition, and was inspired by Wednesday Addams from The Addams Family to portray her character.

Filming
Principal photography began on February 9, 2008, in Austin, Texas. Although the film is set in New Jersey, Graff felt strongly that it was important to shoot in a place with a wide array of great live music to choose from.

Because Aly Michalka was on tour with her sister AJ Michalka and Miley Cyrus, she did not arrive in Austin until midway through rehearsals. Conveniently, the tour's last stop was in Austin, where rehearsal and filming for the movie took place. All of the instruments and singing in the movie were recorded by the actors, with the exception of the guitar parts of Vanessa Hudgens and Scott Porter, as well as Lisa Chung's piano parts. Although Hudgens and Porter learned how to play their songs, they were dubbed by guitarists Jason Mozersky and JW Wright.
Music supervisors Lindsay Fellows and Linda Cohen sourced and cleared all music. Adam Lazus produced all on camera song performances at a local studio in Austin.

Release

Bandslam held its world premiere in Westwood, California, on August 6, 2009. The film was first theatrically released on August 12, 2009, in the United Kingdom, Ireland, and France. It was released on August 13, 2009, in Australia, and on August 14 in the United States and Canada. The film was originally intended to be released on April 10, 2009. However, it was pushed back to July 31, 2009, which was the original release date once production started. It was finally moved to its eventual release date of August 14, 2009. The film was previously titled Will during production. However, it was renamed to Rock On, ultimately ending up being called Bandslam. The film was rated PG in the US for some thematic elements and mild language. In the Philippines, it is rated GP.

Marketing
Summit Entertainment spent an estimated $10 million to produce and market Bandslam. The full-length trailer was released in the internet on March 25, 2009. On June 3, 2009, the official poster was released. A novelization of the movie written by Aaron Rosenberg was released by Penguin Books on July 9, 2009. Michalka, Hudgens and Connell hosted a Bandslam Reel Thinking event at the Grammy Museum to promote the importance of music to middle-schoolers. In partnership with Magic 106.7, Summit Entertainment conducted a band contest in Boston's Burlington Mall. Hudgens and Connell attended the contest as judges. Mike Ryan won the contest and performed his original song on August 1, 2009. On August 7, 2009, Hudgens and Michalka were inducted as an honorary girl scouts by the Girl Scouts of Greater Los Angeles. During the induction, a special screening was held for the scouts present. In the United Kingdom, browser game Stardoll started a campaign which lets users dress Vanessa Hudgens in Bandslam outfits, view the film trailer, and create their own band using Stardoll scenery and virtual guitars to gift friends.

Summit Entertainment's marketing strategies have been criticized. The studio apparently received calls and e-mails from other studios' heads of marketing, saying the film's campaign may be the worst job they have seen from positioning, title, marketing tie-ins, and targeting audiences. Deadline Hollywood editor Nikki Finke released an e-mail from a Bandslam insider who pointed out that Summit's marketing have basically sold it based on their stars Hudgens and Michalka instead of selling the concept. The e-mail also claims that "they Disneyfied this movie with glitter paint". The insider commented that the bad marketing was particularly unfortunate, in result of the good reviews. Yale Daily News marked that the film had the "Worst Marketing", pointing out that "Summit Entertainment, which has a done an admirable job marketing the Twilight films, completely ruined what should have been a sleeper hit."

Home media
Bandslam was released on DVD on March 16, 2010.

Reception

Box office
Despite receiving positive reviews, the film was not a box office success. Debuting at 2,121 theaters, the film only grossed $890,000 on its first day and failed to chart in the top 10. In its opening weekend, Bandslam grossed $2,231,273 in the United States and Canada, ranking #13 at the box office. The film eventually reached the top 10 and grossed $50,000 more on the same day. By the end of its run, Bandslam grossed $5,210,988 domestically and $7,014,035 internationally, totaling $12,225,023 worldwide.

Critical response
Bandslam was well-received critically, before and after it was released. The Broadcast Film Critics Association gave it an 81 rating score and a 4/4 stars rating. As of August 15, 2009, based on 20 reviews collected, Metacritic gave the film a 66% "metacritic" score, indicating generally favorable reviews.
Rotten Tomatoes gives a score of 82% "fresh" rating based on 104 reviews collected; 85 "fresh" and 19 "rotten" with the reported consensus "Bandslam is an intelligent teen film that avoids teen film cliches, in an entertaining package of music and coming-of-age drama." With the positive critical response from the review Rotten Tomatoes collected, it ranked #9 in the 10 Tomatoemeters of the Summer.
Comparatively, Yahoo! Movies gives a grade of "B−" averaged from 7 critic reviews. Entertainment Weeklys Lisa Schwarzbaum gave the film a "B", and praised Hudgens' and Michalka's performances as well.

Variety said that "Bandslam" will make its cracking voice heard amid the summer's boy-based blockbuster clique while Joe Williams remarked, "Although it's the wimpy teen musical that prevails, it's the misfit coming-of-age story that leaves an impression." Roger Ebert wrote on his review, that though this isn't a breakthrough movie, it's charming, and not any more innocuous than it has to be. Fort Worth Weekly revealed in their review, "The comedy subsides into some unusually heavy drama in the second half, and only Graff's assured direction keeps it from tipping over into weepiness." Empire and Digital Spy all gave Bandslam a three out of five rating while Independent Weekly and the  Deseret News both gave the film two out of four.

Rene Rodriguez of The Miami Herald revealed that the film was from "the John Hughes playbook of high-school comedies but lack the heart and insight Hughes invested in his pictures.", but still praised the teenage cast saying "The performances in Bandslam are uniformly strong – good enough to make you wish this bunch of charismatic, talented kids had been given better material." Time Out reviewer Derek Adams said that Bandslam is far from exceptional, but is saved by decent character development, a cluster of engaging performances and several amusing deadpan moments. Canada's The Globe and Mail reviewer's conclusion follows: "Bandslam offers some nice observational and comedy moments, and director and co-writer Todd Graff deftly deliver the coming-of-age goods for the three main characters." The Daily Telegraph'''s reviewer Leight Paastch says that the film gives the genre a right old spin thanks to some lively performances and sharp pacing.Bandslam was The Washington Post's critic choice, having a perfect score of 4/4 stars. Bandslam was somehow associated with High School Musical in a couple of reviews. However, the reviews concluded the comparisons positively, saying that Bandslam was "actually a lot quirkier than the posters would have you believe." New Jersey's local newspaper, The Star Ledger says that the plot is nicely skewed: "Basically, it's the standard teen picture – girl torn between bad boy and nice guy – with a gender switch." Michael Phillips of the Chicago Tribune praised the film by saying: "Bandslam is a pretty good movie given that the odds of it having been a pretty bad movie were steep." Andy Webster of The New York Times said that Bandslam may not entirely break new teen-movie ground, but it does offer intriguing glimpses of performers ready to bolt from the Disney stable.

Hudgens received an amount of praise from reviewers, emphasizing her transition from being associated with her previous commercial character, Gabriella Montez, multiple times. Reviewers also cited her impressive performance in the film. Even though Connell and Michalka each received their fair amount of enthusiastic press, David Waddington of North Wales Pioneer claims that Hudgens "outshines the rest of the cast, failing to fit in with the outcast narrative and making the inevitable climactic ending all the more expected." Hudgens was praised with her performance in the film that The Observer critic, Philip French said that she looks like the young Thandie Newton and "wisecracks like Dorothy Parker." French then adds that "Bandslam is a witty, touching, cleverly plotted film with excellent music."

Reviewers asserted that the film's music mainly lifted to the success of Bandslam from reviews, especially the ska version of "Everything I Own", that the film is full of unexpected pleasures set to a surprisingly retro soundtrack. Similarly, Michael Rechtshaffen of The Hollywood Reporter'' emphasized the effect of the film's music-driven comedy set against the backdrop of a high school battle of the bands competition which manages to come up with a fresh backbeat for the familiar alienated teen refrain, boosted by a talented cast and authentic soundtrack.

Accolades

Soundtrack

The soundtrack was released under Hollywood Records on August 11, 2009. The soundtrack features tracks from Wilco, The Burning Hotels, Velvet Underground, Peter Bjorn and John, Seventeen Evergreen, Honor Society, the Daze, Nick Drake and David Bowie.

References

External links

2009 films
2009 romantic comedy-drama films
2000s American films
2000s coming-of-age comedy-drama films
2000s musical comedy-drama films
2000s teen comedy-drama films
2000s teen romance films
American coming-of-age comedy-drama films
American musical comedy-drama films
American rock musicals
American romantic comedy-drama films
American teen comedy-drama films
American teen musical films
American teen romance films
Cultural depictions of David Bowie
2000s English-language films
Films directed by Todd Graff
Films set in New Jersey
Films shot in Austin, Texas
Films shot in New York City
Summit Entertainment films
Walden Media films


Bliss 66 was a six-member American rock band from Taylor, Michigan.

History
Bliss 66, originally called Utopia, then Novicain, was formed by guitarists Aaron Schossau and Rob Harbin in Taylor, Mi, a suburb of Detroit, in 1997. The band was later renamed to Bliss and was forced to add the 66 when signing with Capitol Records. He met some of the other members of the group at a church camp. Their first record was a self-released 11-track demo, recorded at Tempermill. They first found local exposure on Detroit radio station 105.1, who played their single "Do It Again".
In the summer of 2000, the group signed to Capitol Records. Soon after, their song "Not Quite Paradise" was used in the film Titan A.E.. Glen Ballard, who oversaw the soundtrack to Titan A.E., produced the band's debut album, Trip to the 13th, which was released in June 2001 after the band switched labels, signing with Epic Records. Schossau wrote most of the tracks on the album. Following the release of the album the group toured with Fuel, Evan and Jaron, Athenaeum, Mayfield Four, and Default. They also toured with Smash Mouth, Shaggy, Vertical Horizon, and Seven Mary Three.

The album received critical acclaim, but was unable to chart a national hit, and the group was dropped from the label. Trip to the 13th was nominated for Outstanding National Album at the Detroit Music Awards in 2002. In 2002, after replacing Aaron with guitarist Derek Dorey, the band self-pressed their last release, the ten-track Life Is a Comedown, and sold it at shows.

The group split up in 2003. Lead vocalist Cheyenne Goff went on to form the group Paper Street Saints which also featured Bliss 66 bassist Don Patty, and Charlie Grover from Sponge on drums. The band won a Detroit Music Award in 2007 for their full length lp entitled "Pride and Punishment", and still play periodical shows on a regional level. Goff & Patty also began recording and performing with a group called Half Light Music in '09.

Aaron Schossau went off to start a new project titled "Stolen" with local musician Chad Dickinson, however, the group disbanded shortly after their development. Schossau was playing drums and writing material for a Downriver Michigan pop rock band titled "The Koy," but later abandoned the project in order to pursue other goals.

Jordan Barnett started a band called the Supernovas and went on to record the "pearl sessions", a short demo of the bands "rockier" songs. The band fell apart after disagreements and feuds between the 5 members. Jordan began writing material for a project called "The North".

Members
Cheyenne Goff - vocals
Aaron Schossau - guitar
Jordan Barnett - keyboards, vocals
Bob Cook - drums, shakers
Rob Harbin - guitar, vocals
Don Patty - bass
Derek Dorey - guitar

Discography
Studio albums
 In Bliss (Demo, 1998)
 Trip to the 13th (Sony/Epic, June 26, 2001)
 Life Is a Comedown (Self-released, November 29, 2002)

References

External links
Bliss 66 at MySpace
Bliss 66 Facebook
Bliss 66 Website

Musical groups established in 1997
Musical groups disestablished in 2003
Rock music groups from Michigan


Richard Neil Thompson (born November 1, 1958) is a former Major League Baseball relief pitcher who played for the Cleveland Indians () and the Montreal Expos (–). In his career, he made 77 appearances and went 3-10 with a 5.05 ERA.

External links

1958 births
Living people
American expatriate baseball players in Canada
Amherst Mammoths baseball players
Cleveland Indians players
Lamar High School (Arlington, Texas) alumni
Major League Baseball pitchers
Montreal Expos players
Baseball players from New York City
Winnipeg Goldeyes players
Albany-Colonie Yankees players
American expatriate baseball players in Taiwan
Baseball players from Massachusetts
Batavia Trojans players
Buffalo Bisons (minor league) players
Chattanooga Lookouts players
Columbus Clippers players
Industriales de Monterrey players
Jacksonville Expos players
Knoxville Blue Jays players
Maine Guides players
Memphis Chicks players
Oklahoma City 89ers players
Omaha Royals players
Vancouver Canadians players
Waterloo Indians players
Wei Chuan Dragons players


Side judge, or assistant judge, is a judicial position unique to the U.S. state of Vermont.  There are two side judges in each of Vermont's 14 counties. Like lay judges, side judges are usually not legal professionals.

Duties and responsibilities

While Family, District and Superior Court judges are appointed by the Governor, probate and side judges are elected.  Side judges run at-large (not specifically for one of the two seats) and county-wide in November of even-numbered, non-presidential election years, and serve four-year terms.  The terms begin on the following February 1.

In the event of a vacancy, the Governor is empowered to appoint a replacement.

Side judges sit with the judge in Superior (civil cases and violations of traffic laws and municipal ordinances) and Family Court.  There are Superior and Family Courts located in each of Vermont's 14 counties at their "shire town" or county seat.

There are normally two side judges on the bench, but the court may proceed with only one side judge or none.  In theory the side judges, who are generally not attorneys, have input only on matters of fact, with matters of law left to the presiding judge, but the vote of a side judge has the same weight as that of the judge, so two side judges can outvote the judge. If there is only one side judge and the side judge and the judge disagree on a matter of fact, a mistrial is declared.  Side judges who undergo some training may also sit alone in small claims, uncontested divorces, traffic offenses, and violations of municipal ordinances.

Side judges have administrative duties in addition to court responsibilities. They appoint the County Clerk, Treasurer and Auditor, Road Commissioners, and Notaries Public, manage the county courthouse, sheriff's office and other property, and prepare the county budget.  As a result, side judges receive two types of compensation: a salary for their administrative duties, paid by the county, and a per diem for their judicial duties, paid by the state.

Once the county budget has been determined, municipalities in the county are assessed a portion, based on their grand list (total evaluation of property in the municipality).

Vermont's Assistant Judges also have a professional association and lobbying group, the Vermont Association of County Judges.

History
The position of side judge was part of Vermont's government during the mid to late 1700s period of the Vermont Republic, and was continued in the Vermont Constitution when Vermont was admitted to the Union as the fourteenth state in 1791.

The idea of side judges appear to have been borrowed from the colony of Pennsylvania, and they were also part of the judiciary in other states, including New Hampshire and Connecticut.  In Vermont, they were created in part because early Vermont residents were distrustful of lawyers, many of whom had received their training in England before the American Revolution, making their loyalty suspect, or had supported New York during the dispute between New York's colonial government and Vermont's original white settlers over control of Vermont's first towns.  The founders of Vermont had purchased their land grants from Benning Wentworth, the Governor of New Hampshire.  When the British government supported New York's attempts to assert control, those with New Hampshire land grants refused to re-purchase them from New York.  Adding lay judges to the courts was a means of ensuring that pro-British or pro-New York judges could not control the courts.

Though reorganization of the judiciary in other states eliminated the side judge position, It has continued in Vermont.  Some updates and changes to Vermont's court system included elimination or a reduced role for the side judges, but most of those efforts have been unsuccessful.

Notable side judges

 David M. Camp, Lieutenant Governor from 1836 to 1841, Orleans County Assistant Judge, 1830 to 1832 and 1834 to 1835.
 William Chamberlain, United States Representative, 1803 to 1805, 1809 to 1811, Orange County Assistant Judge, 1795–1796.
 Augustine Clarke, Vermont State Treasurer from 1833 to 1837, Caledonia County Assistant Judge, 1824–1825.
 Charles S. Dana, Speaker of the Vermont House of Representatives from 1917 to 1921, Addison County Assistant Judge, 1908–1912.
 Edward H. Edgerton, President pro tempore of the Vermont State Senate from 1925 to 1927, Windsor County Assistant Judge, 1913–1921.
 Abram W. Foote, Lieutenant Governor from 1921 to 1923, Assistant Judge of Addison County from 1902 to 1906.
 Jonas Galusha, Governor of Vermont from 1809 to 1813 and 1815 to 1820, Assistant Judge of Bennington County from 1795 to 1798.
 William Hunter, United States Representative, 1817 to 1819, Assistant Judge of Windsor County, 1805–1816.
 Elias Keyes, United States Representative from 1821 to 1823, Assistant Judge of Windsor County, 1803 to 1814.
 William C. Kittredge, Lieutenant Governor from 1852 to 1853, Rutland County Assistant Judge, 1833–1839.
 Aaron Leland, Lieutenant Governor from 1822 to 1827, Windsor County Assistant Judge, 1803–1817, 1818–1822.
 Orlando L. Martin, Speaker of the Vermont House of Representatives from 1923 to 1925, Washington County Assistant Judge, 1939 to his death.
 Samuel Mattocks, Vermont State Treasurer from 1786 to 1800, Rutland County Assistant Judge, 1783–1788, 1794.
Gideon Olin, United States Representative, 1803–1807, Assistant Judge of Bennington County, 1781–1798.
 William M. Pingry, Vermont Auditor of Accounts from 1853 to 1860, Assistant Judge in both Washington (1838–1839) and Windsor (1880 to his death) Counties.
 Thomas Porter, Speaker of the Vermont House of Representatives, 1780 to 1782, Assistant Judge of Rutland County, 1781–1782.
 James M. Slade, son of Governor William Slade, Lieutenant Governor from 1856 to 1857, Assistant Judge of Addison County, 1868 to 1870.
 John Spaulding, Vermont State Treasurer from 1841 to 1846.
 Paul Spooner, Lieutenant Governor, 1782 to 1787, Windsor County Assistant Judge, 1779–1782, 1785–1789.
 Zed S. Stanton, Lieutenant Governor of Vermont from 1902 to 1904, Washington County Assistant Judge, 1884–1888.
 John Strong, Speaker of the Vermont House of Representatives in 1786, Assistant Judge of Bennington County, 1781–1782.
 John E. Weeks, Governor from 1927 to 1931, Addison County Assistant Judge, 1884–1886.
 David Wing Jr., Secretary of State of Vermont from 1802 to 1806, Caledonia County Assistant Judge, 1797-1803, Presiding Judge, 1804-1806.
 Augustus Young, United States Representative, 1841 to 1843, Franklin County Assistant Judge, 1851–1854.

Current side judges
As of October 2023, the assistant judges in each county are:

See also
 Judicial System of Sweden: Lay Judges
 Assessor (law)

References

External links
 Rutland Herald article
 Vermont's Court System

Region-specific legal occupations
Vermont state court judges


Martindale is a CTrain light rail station in Martindale, Calgary, Alberta. It serves the Northeast Line (Route 202). It opened August 27, 2012.

The station was constructed as part of a 2.9-kilometre extension of the Northeast line from McKnight–Westwinds station to Saddletowne station. It is located in a reserved right-of-way within its community, with the side-loading platforms to be staggered west and east of Martindale Boulevard. Due to its location in a residential area primarily serving local residents, there are no park-and-ride lots at the station nor a bus terminal, unlike most other CTrain stations in Calgary. Also, because of its location, CTrain speeds are reduced to 50 km/h (30 mph) in the general area.

In its first year of service, Martindale served an average of 2,400 boardings per day.

The opening of the Northeast extension was delayed by almost one year as the extension was originally planned to be open in late 2011.

References

CTrain stations
Railway stations in Canada opened in 2012
2012 establishments in Alberta


Eriogonum cinereum is a species of wild buckwheat known by the common names coastal buckwheat and ashyleaf buckwheat.

Distribution
This shrub is endemic to the coastline of Southern California, primarily within Los Angeles County and Ventura County.

It grows on beaches in coastal strand habitats and on bluffs and lower slopes of the Western Transverse Ranges, including the Santa Monica Mountains, in chaparral coastal sage scrub habitats below .

Description
Eriogonum cinereum can reach from  in height and width. It is light silvery gray in color due to the woolly hairs on its stems and foliage. The leaves are wavy-edged ovals one to three centimeters long.

The inflorescences stick out from the plant, each with one to several flower cluster heads of tiny tightly-packed frilly flowers which are usually light whitish-pink to brownish-pink in color, and quite hairy.

Uses
This is the foodplant for Euphilotes bernardino, the Bernardino dotted blue butterfly. Buckwheats (Eriogonum sp.) are very important for various butterflies and native wasps.

Cultivation
Eriogonum cinereum is cultivated as an ornamental plant, for planting in native plant, drought tolerant, and butterfly gardens and other wildlife gardens, and for larger designed natural landscaping and habitat restoration projects.

References

External links

 Calflora Database: Eriogonum cinereum (Ashyleaf buckwheat,  Coastal wild buckwheat, Grey coast eriogonum)
Jepson Manual eFlora (TJM2) treatment of Eriogonum cinereum
UC Photos gallery of Eriogonum cinereum

cinereum
Endemic flora of California
Natural history of the California chaparral and woodlands
Natural history of the Santa Monica Mountains
Natural history of the Transverse Ranges
Natural history of Los Angeles County, California
Natural history of Ventura County, California
Taxa named by George Bentham
Garden plants of North America
Butterfly food plants
Drought-tolerant plants


The chapters of the Rurouni Kenshin manga series were written and illustrated by Nobuhiro Watsuki. The first chapter premiered in Shueisha's Weekly Shōnen Jump in 1994 and the series ran in the magazine until 1999. The story takes place during the early Meiji period in Japan and follows a fictional assassin named Himura Kenshin, formerly known as the , who becomes a wanderer to protect the people from Japan.

The 255 individual chapters known as "Acts", as well as a few one-shots authored by Watsuki were collected and published in 28 tankōbon volumes by Shueisha. The first volume was released on September 2, 1994 and the last on November 4, 1999. They re-released the series in a 22-volume kanzenban edition between July 4, 2006 and May 2, 2007. Shueisha published a 14-volume bunkoban edition between January 18, 2012 and July 18, 2012. A single chapter follow up to the series, , was originally published in Weekly Shōnen Jump after the conclusion of the series. The chapter is focused on Myōjin Yahiko some time after the end of the series when he is requested to take care of a dojo for a short time. Left out of the original volumes, the chapter added as an extra to the final kanzenban release.

The first eighteen volumes were adapted into an anime produced by Studio Deen, and aired in Japan from January 10, 1996 to September 8, 1998. Additionally, several parts of the following volumes were adapted into two original video animations series.

Rurouni Kenshin was licensed for an English-language release in North America by Viz Media. The first volume of the series was released on October 7, 2003. The first volumes were published irregularly, but a monthly basis was established by Viz media after volume seven due to good sales and consumer demands. The last volume was published on July 5, 2006. Yahiko no Sakabatō was also serialized in Shonen Jump during 2006. Between January 29, 2008 and March 16, 2010, Viz re-released the manga in a nine-volume omnibus format called "Viz Big Edition", which collects three volumes in one. The ninth and final volume includes Yahiko no Sakabato and Cherry Blossoms in Spring. They released a similar "3-in-1 Edition" across nine volumes between January 3, 2017 and January 1, 2019.

Volumes

Notes

References

External links
Rurouni Kenshin official Viz Media website
Rurouni Kenshin official website

Rurouni Kenshin
Chapters


Tyndall Glacier or Geike Glacier is one of the largest glaciers in the Southern Patagonian Ice Field. It is located in the Torres del Paine National Park, Chile. The glacier has its main calving front in Geikie Lake and like its neighbor, Grey Glacier, it has been significantly retreating for the last years. The glacier is named after the Irish glaciologist John Tyndall.

References

 Tyndall Glacier at the NASA Earth Observatory

Glaciers of Magallanes Region
Torres del Paine National Park


The United States House of Representatives elections in California, 1970 was an election for California's delegation to the United States House of Representatives, which occurred as part of the general election of the House of Representatives on November 3, 1970. Republicans won one open seat when John V. Tunney retired to run for Senate.

Overview

Results
Final results from the Clerk of the House of Representatives:

District 1

District 2

District 3

District 4

District 5

District 6

District 7

District 8

District 9

District 10

District 11

District 12

District 13

District 14

District 15

District 16

District 17

District 18

District 19

District 20

District 21

District 22

District 23

District 24

District 25

District 26

District 27

District 28

District 29

District 30

District 31

District 32

District 33

District 34

District 35

District 36

District 37

District 38

See also
92nd United States Congress
Political party strength in California
Political party strength in U.S. states
1970 United States House of Representatives elections

References
California Elections Page
Office of the Clerk of the House of Representatives

External links
California Legislative District Maps (1911-Present)
RAND California Election Returns: District Definitions

1970
California
United States House of Representatives


The Arizona Court of Appeals is the intermediate appellate court for the state of Arizona. It is divided into two divisions, with a total of twenty-eight judges on the court: nineteen in Division 1, based in Phoenix, and nine in Division 2, based in Tucson.

History
The Arizona constitution was amended in 1960 to authorize a court of appeals, which the legislature created in 1964. The original judges were elected in November 1964.  The first judges were James Duke Cameron, Henry S. Stevens, and Francis J. Donofrio for Division 1, and Herbert F. Krucker, John F. Molloy, and James D. Hathaway for Division 2. Only one judge after the original six received their seat by election. After the introduction of merit selection in 1975, judges are appointed by the governor to fill vacancies or new positions.

Three-judge panels were added to Division 1 in 1969, 1974, 1982, and 1989. Another judge was added in 1995 "so that the Chief Judge could devote time to the court's increasing administrative workload." Division 2 added three judges in 1985. Six more judges were added in 2022, three for each division.

Jurisdiction
The Court of Appeals has jurisdiction to consider appeals in civil cases, including juvenile and domestic relations matters, from the Arizona Superior Court.  The court also reviews workers’ compensation and unemployment benefits decisions, tax court decisions, and certain corporation commission decisions.

The court also has jurisdiction over appeals in criminal matters from superior court, except for cases in which a death sentence has been imposed.  Death penalty cases go directly to the Supreme Court of Arizona.

The court may also decide "petitions for special action," which is Arizona's term for petitions for special writs, such as certiorari, mandamus, prohibition, and interlocutory appeals.

Procedures

Selection of judges
Judges are selected by a modified form of the Missouri Plan.  A bipartisan commission considers applicants and sends a list of nominees to the governor.  The governor is required by law to appoint from this list based on merit, without regard to party affiliation.  Judges are then retained for an initial period, after which they are subject to a retention election.   If the judge wins the election, his/her term is six years.

Deciding cases
The Court of Appeals decides cases in panels of three judges, called "departments." Each department chooses a presiding judge from among the three. Each division also has a Chief Judge and Vice Chief Judge, elected by all judges in the division.

Divisions
While the Court of Appeals is divided into two geographic divisions in Phoenix and Tucson, the superior courts are bound by all of the Court of Appeals decisions, regardless of the division they are issued in. An Arizona trial court is not required to give greater precedent to a Court of Appeals decision from the division it is located in then a decision from the other division.
 Division 1 consists of Maricopa, Yuma, La Paz, Mohave, Coconino, Yavapai, Navajo and Apache counties.
 Division 2 consists of Pima, Pinal, Cochise, Santa Cruz, Greenlee, Graham and Gila counties.
At least ten judges of Division 1 must be residents of Maricopa county and five residents of the remaining counties. Four may be from any county.
At least four judges of Division 2 must be residents of Pima county and two residents of the remaining counties. Three may be from any county.

Division 1 has statewide responsibility for appeals from the Industrial Commission and unemployment compensation rulings of the Department of Economic Security. One department of Division 1 is responsible for appeals from the Tax Court.

Court members
The members of Arizona Court of Appeals Division 1, by order of seniority, include:

The members of Arizona Court of Appeals, Division 2 include:

Former judges

Several court of appeal judges were elevated to the Arizona Supreme Court, including: James Duke Cameron (1965–1971), Robert J. Corcoran (1981–1988), Ruth McGregor (1989–1998), Michael D. Ryan (1996–2002), Rebecca White Berch (1998–2002), Ann Timmer (2000–2012), Andrew Gould (2012–2017), and James Beene (2017–2019).

Other notable former judges include:
 Gary K. Nelson (1974–1978), former Arizona Attorney General.
 Mary M. Schroeder (1975–1979), current Senior Judge on the Ninth Circuit.
 Sandra Day O'Connor (1979–1981), former United States Supreme Court Justice.
 Sarah D. Grant (1982–1999).
 Jon W. Thompson (1995–2019), died in office.
 G. Murray Snow (2002–2008), current District Judge.
 Diane Johnsen (2006–2019).

See also
 Courts of Arizona

Notes

References

External links
 Arizona Court of Appeals, Division 1 website
 Arizona Court of Appeals, Division 2 website

Court of Appeals
State appellate courts of the United States
Courts and tribunals with year of establishment missing


Nebula Winners Twelve is an anthology of science fiction short stories edited by Gordon R. Dickson. It was first published in hardcover by Harper & Row in February 1978, and reprinted in December of the same year. A paperback edition followed from Bantam Books in April 1979.

Summary
The book collects pieces published in 1975 and 1976 that won the Nebula Awards for novella, novelette and short story for the year 1977 and nonfiction pieces related to the awards, together with an introduction by the editor. Most of the non-winning pieces nominated for the awards were omitted.

The included stories had originally appeared in the magazines The Magazine of Fantasy & Science Fiction, Analog, and the anthologies Dystopian Visions, edited by Roger Elwood, Stellar #2, edited by Judy-Lynn del Rey and Aurora: Beyond Equality, edited by Vonda McIntyre & Susan Anderson.

Contents
 "Introduction" (Gordon R. Dickson)
 "A Crowd of Shadows" [Best Short Story winner, 1977] (C. L. Grant)
 "Breath's a Ware That Will Not Keep" [Best Short Story nominee, 1977] (Thomas F. Monteleone)
 "Tricentennial" [Best Short Story nominee, 1977] (Joe Haldeman)
 "In the Bowl" [Best Novelette nominee, 1977] (John Varley)
 "Science Fiction in the Marketplace" [essay] (Algirdas Jonas Budrys)
 "The Academic Viewpoint" [essay] (James Gunn)
 "The Bicentennial Man" [Best Novelette winner, 1977] (Isaac Asimov)
 "Houston, Houston, Do You Read?" [Best Novella winner, 1977] (James Tiptree, Jr.)
 "Nebula Awards, 1975, 1976: Win, Place, and Show" [essay] (uncredited)

Reception
Paul Walker in Galaxy Science Fiction finds the book "the most tolerable" of "the Nebula Award volumes I have read," with Dickson's introduction "intelligent and interesting, if typical of these anthologies." He singles out the Varley and Asimov stories as "excellent" and the Budrys and Gunn essays as "equally good." But he deems Grant's story "less than first-rate," "a typical 'award-winner,'" with "neither the theme nor the characters ... in any way remarkable," holds "the same is true, to a lesser extent," of the Haldeman and Monteleone stories, and is completely dismissive of Tiptree's "'Houston, Houston, Do You Read?'—which I could not."

The volume was also reviewed by Stephen W. Potts in Science Fiction & Fantasy Book Review, July 1979.

Awards
The anthology placed fourteenth in the 1979 Locus Poll Award for Best Anthology.

Notes

Nebula 12
1978 anthologies
1970s science fiction works
Harper & Row books


Craig Else (born October 12, 1964 in Victoria, British Columbia) is a guitarist, multi-instrumentalist, sound engineer, vocalist, and music producer.

Career

1970s and 1980s
In 1978 after years of music lessons given by his Grandmother, Craig discovered punk rock and formed his first band, Twisted Minds. He was influenced by The Clash, Alice Cooper and the Sex Pistols.
Craig moved to South Africa in 1981 and played with Steve Fataar of The Flames and Ivy and the Creepers before joining Petit Cheval.

Petit Cheval enjoyed great success in the 1980s. They sold out tours to fan frenzy not seen since the days of Rabbitt. They released two albums, "The Voice of Reason" and "Perfect Gift" WEA along with seven singles and two compilation albums, "Young Lions" and "Once in a Lifetime".  They had two number one singles, "It Was the Wind" and "Once in a Lifetime" and won the Sarie Award (South Africa's equivalent of a Grammy) for best new band.

After leaving Petit Cheval in 1987 he did session work and eventually moved to Los Angeles, California in 1999 to work on Geffen records recording artist Vincent Rocco's solo album co-produced by Steve Van Zandt. He then joined "Tribe After Tribe" featuring Robbi Robb of South African band "Asylum Kids" and Three Fish and appeared on the albums "Enchanted Entrance" and "Ra Hoor Khuit". In 1992 he joined Roadhouse and played five nights a week, five forty-five-minute sets a night for five years. During this time he played with D.H. Peligro from Dead Kennedys and appeared on the albums "Peligro", "Welcome to America" and "The Virus that Would Not Die" . He appeared on many other albums including Taylor Dayne's "Naked Without You" and Pure Sugar's eponymous debut album.

1990s and 2000s
In 2000 Else joined Bay City Rollers and then in 2007 began touring with them as "The Original Idols" along with Leif Garrett, Barry Williams, The Cowsills, and Bo Donaldson and the Heywoods. They also appeared with the Family Stone, the Guess Who, and Nelson. Craig played with Leif Garrett for some shows and recorded Neil Young's "Old Man" with him. He left the Bay City Rollers in 2008.

Craig is currently working on solo projects and continues to produce music for a variety of projects.

Equipment

Craig is the owner/operator of Or Else Productions and is a live sound engineer for Fox Television in Los Angeles.

Craig uses about ten guitars of varying types, notably a 7-string Ibanez uv777bk, a Veillette electric 12 string, a Gibson Les Paul, and a Yamaha Billy Sheehan "Attitude" bass, a gift from Billy Sheehan.

Discography

 Petit Cheval "Once in a Lifetime"
 Petit Cheval "The Voice of Reason"  Petit Cheval "A Perfect Gift"  Petit Cheval "Young Lions" Petit Cheval "Sharp Cuts" Petit Cheval "Concert in the Park" Petit Cheval "Rocking Against the System" Petit Cheval "Best of SA Pop" Petit Cheval "Campus Classics" Petit Cheval "My Bleeding Heart" Taylor Dayne "Naked Without You" Sheila Nichols "Wake" Tribe After Tribe "Enchanted Entrance" Pure Sugar "Pure Sugar" Journey w/ Steve Farmer (Ted Nugent) Steve Olson "What About the Kids" Skateboarder Sessions  Amritakripa "Dancing Lotus" Robbi Robb "Ra Hoor Khuit" Ian Mitchell (Bay City Rollers) "The Gift" Sex With Lurch "The Good, the Bad and the Lurchy" Sex With Lurch "Sex With Lurch" Sex With Lurch "Sex With Lurch 2" Sex With Lurch "Best of Sex With Lurch" Sex With Lurch "Sex With Lurch and the Barbarellatones" DH Peligro (Dead Kennedys) "Peligro" DH Peligro (Dead Kennedys) "Welcome to America" DH Peligro (Dead Kennedys) "The Virus that Would Not Die" (1984)
 Jeannie Ortega "No Place Like Brooklyn"  (1990)
 Ivy and the Creepers "Ivy and the Creepers" (1993)
 "Jesse McCartney"'' (1995)

Awards and nominations

Sarie "Best Contemporary Pop Artist, Petit Cheval"
Emmy "Laker's Riot"
Golden Mic

External links
 Craig Else's homepage
 Craig Else's Official MySpace

1964 births
Living people
American rock guitarists
American male guitarists
Musicians from Victoria, British Columbia
Seven-string guitarists
20th-century American guitarists
20th-century American male musicians


The Arkansas Valley and Western Railway (AV&W) was built as a short line railroad operating within the U.S. state of Oklahoma. It was founded in 1902 to link the city of Tulsa with the main transcontinental line of the Atchison, Topeka and Santa Fe Railway (AT&SF) at Avard. The line was built in sections, initially from AV&W Jct. (West Tulsa) to Steen (Enid) during 1902-03.  In 1904 it was extended westward to the junction with AT&SF at Avard.  On July 19, 1907, the railroad was purchased by the St. Louis-San Francisco Railway (the "Frisco"), who operated it until November 21, 1980, when the Frisco was acquired by Burlington Northern Railroad.

Geography
The AV&W was built westward from Tulsa, leaving the St. Louis, Missouri, to Fort Worth, Texas, Frisco line in West Tulsa.  Following the valley of the Arkansas River, the line enters the Osage Hills and begins climbing the south bank of the river.  In the early 1960s, a portion of the line was relocated uphill during the building of Keystone Dam.  The reroute took the line out of the Arkansas and Cimarron River valleys.  Leaving the Osage Hills the line continues westward along the Cimarron River, crossing it at Oilton, then angles northwest to Pawnee, intersecting the north-south former AT&SF (now BNSF Railway) line at Black Bear Junction near Perry.  Continuing westward through the wheat belt, the line intersects with the former Chicago, Rock Island and Pacific Railroad (now Union Pacific Railroad), Denver, Enid and Gulf Railroad, and Blackwell, Enid and Southwestern Railway (now Grainbelt) at Enid, home of the third largest grain storage facilities in the world. The final section continues northwestward until the junction with the BNSF transcontinental line at Avard.

Current operations
Intact intrastate line for BNSF, including BNSF-CSX intermodal traffic between the West Coast and the Southeast via the BNSF Cherokee sub from Tulsa to Springfield, Missouri, then the BNSF line to Birmingham, Alabama.

References

Defunct Oklahoma railroads
Predecessors of the St. Louis–San Francisco Railway
Railway companies established in 1902
Railway companies disestablished in 1907
American companies established in 1902


J. J. Johnson (1924–2001) was an American jazz trombonist and composer.

J. J. Johnson may also refer to:
 J. J. Johnson (American football) (born 1974), former American football running back
 J. J. Johnson (UK musician) (born 1951), British drummer
 JJ Johnson (EastEnders), character in the BBC soap opera, EastEnders
 J. J. Johnson (producer), Canadian television producer and writer

See also
 Jay Johnson (disambiguation)
 Johnson & Johnson, an American multinational company
 J. C. Johnson (1896–1981), American pianist and songwriter
 J. J. Johnston (born 1933), American actor
 Joshua J. Johnson (born 1976), American sprinter