Dominik Humbel is a Swiss orienteering competitor and world champion. He won a gold medal at the 1993 World Orienteering Championships in West Point with the Swiss relay team (Christian Aebersold, Urs Flühmann and Thomas Bührer).

References

External links

Living people
Year of birth missing (living people)
Swiss orienteers
Male orienteers
Foot orienteers
World Orienteering Championships medalists
Swiss mountain runners


Lee Walton is an American visual artist whose artwork is regularly associated with the subject of sports. Walton has exhibited his work internationally in a variety of media including drawing, concept-based systems, performance art, video art, net art, and public projects. Several projects by Walton were included in the 2013 visual art exhibition Art of Sport at CEPA Gallery in Buffalo, New York.

Academic career
Walton holds a Master of Fine Arts Degree from the California College of the Arts and a Bachelor of Fine Arts Degree from San Jose State University. He is a professor at University of North Carolina at Greensboro.

Projects
Much of Walton's work involves sports. For example, in 2004 to 2005 Walton organized a free throw contest with basketball player Shaquille O'Neal; for every free throw by O'Neal, Walton attempted one, hoping to beat O'Neal's average.

"Stacked" took place in New York from May to September 2005, as part of the exhibition "Sport." Walton purchased 35-pound plates in the Upper East Side of Manhattan, then walked them to the Socrates Sculpture Park where he stacked them on a vertical metal pole.

Performances
Produced in 2010, "The Rules for Staying Young" was a performance where Walton created a 3x6 module grid and created rules to the May 8, New York Mets vs San Francisco Giants baseball game. Walton viewed the game live from his home and via Skype watched as the installation crew added to the grid from the rules given to them by Walton. The Performance was shown from May 7–30 at New Wilmington Art Association in Delaware.

Awards, honors, and commissions
 2008 Commission, Jet Blue: Video Installation at JFK International Airport, Curated by Creative Time, New York, NY
 2007 Commission, Rhizome at the New Museum of Contemporary Art, New York, NY
 2005 New Commissions • Art in General New York, New York
 2005 Performa commission, New York, New York
 2004 Visiting Artist Project, Indianapolis Museum of Contemporary Art, Indianapolis, Indiana

References

External links
 LeeWalton.com

Modern artists
American contemporary artists
American conceptual artists
California College of the Arts alumni
Year of birth missing (living people)
Living people
American performance artists
San Jose State University alumni


The New York City Housing Authority Police Department was a law enforcement agency in New York City that existed from 1952 to 1995, which was then merged into the NYPD. The roots of this organization go back to 1934 and the creation of the New York City Housing Authority (NYCHA). New York City Mayor Fiorello H. La Guardia authorized the hiring of security guards to patrol the city's public housing buildings.  These guards eventually were trained and became the first officers of the Housing Police, which was officially created in 1952.  The Housing Police, along with the New York City Transit Police, was merged into the New York City Police Department in 1995 by New York City Mayor Rudy Giuliani and continues today as the Housing Bureau.

History

Creation of the New York City Housing Authority

In 1934, under the authority of the NYS Public Housing Law, the NYCHA was established.  Housing Authority developments quickly began to sprout up around the five boroughs of New York City.  It didn't take long for the city to realize that these developments, some like little cities, provided unique policing challenges.  The initial response was a simple one - the formation of a security guard corps with individual guards assigned to specific developments.

As time passed, the problems of law enforcement throughout the City became more complex. Calls for service to the NYPD from housing developments increased dramatically, and it became clear that a more professional law enforcement component than the guard service was needed to deal with the complexities of policing diverse, decentralized public housing developments.

Beginning of the NYCHA Police Department

In December 1952 the NYCHA Police Service was formed to answer the above challenge.

Initially, the officers assigned to this new group were designated as "special patrolmen."  This designation gave them limited peace officer powers, including the authority to effect arrests and to carry firearms while on duty. The qualifications for employment in this new group were more stringent than those required of the former guard service, and their training was more comprehensive.

Although these officers performed more effectively and efficiently than the former guard service, this arrangement also had its limitations. However, this was all to change.

In 1958, legislation was enacted making members of the Housing Authority "special patrolman" fully sworn peace officers. Subsequently in 1966, the state legislature designated the Housing Police a duly constituted Police Department. As part of that same legislation, the role of law enforcement agents became more specific. Members of police departments throughout New York State, including the NYC Police Department, NYC Transit Police Department, and the NYC Housing Police Department, were designated "police officers" with broad arrest powers.  Their former category of "peace officer" was reserved for other members of the law enforcement community who were granted less authority and powers of arrest. This latter group composed of Tri-Borough bridge and tunnels officers, corrections officers, court officers, and others whose need for arrest powers was less immediate.

By this time, the Housing Police had already established a reputation as an effective, foot patrol oriented, neighborhood police force.  Groups of officers were assigned to individual developments or clusters of several adjoining developments. This resulted in the officers developing an intimate knowledge of the tenants and conditions in their assigned developments. Their awareness of potential and actual criminal activity greatly enhanced their ability to suppress crime, as well as making them an excellent source of intelligence for detectives investigating past crimes.

The downside of this strategy was an inadequate amount of first line supervision.  Because of the expanded span of control for sergeants (they could have as many as 40 officers assigned, working at several different housing developments) officers got little field supervision.

Development of the Police Service Area system

The Department recognized this problem and it was rectified in 1978, with the establishment of the Police Service Area concept. This concept was based on the number of calls for service, the personnel available, and the geographical area served. Considering these factors, nine (9) PSAs, covering all the public housing developments in the City of New York, were established.

The PSAs were essentially precinct type operations, with officers reporting to one of the nine locations. In addition, the Housing Police radio network was scrapped in favor of assimilation into the 911 radio network.  Further, the training of all new police officers was shifted to the NYC Police Academy.

This new distribution of resources alleviated several of the deficiencies of the previous system. It also provided greater interplay between officers of the NYPD and the Housing Police. Officers now were part of a precinct-type operation, standing roll call, being seen by their supervisors on a daily basis, exchanging information with other officers within their command, and responding to radio calls transmitted via the 911 system.

The establishment of the PSAs marked the beginning of the modern era of the Housing Police Department. The Department already had Patrol Bureau, Detective Bureau, Internal Affairs Bureau, Support Service Bureau, and Personnel Services Bureau components. But after the establishment of the PSAs these Bureaus grew and became more diversified with many specialized units created to deal with special conditions and circumstances.

The Patrol Bureau, the largest of the Bureaus, created and deployed Project Stabilization Units, Narcotics Units, Anti Crime Units, Bicycle Units, and Emergency Rescue Units; the Detective Bureau deployed a Homicide/Major Case Squad, Robbery Squad, Burglary Squad, Warrant Squad, Elevator Vandalism Squad, and each PSA had a Precinct Detective Unit assigned; the Internal Affairs Bureau had a Special Investigation Unit, and the Civilian Complaint Review Unit; Support Services Bureau had the Motor Pool, responsible for the acquisition, and maintenance of all Department vehicles now numbering over 200; and the Personnel Services Bureau fielded
the Police Academy Unit, the Firearms Training Unit and the Driver Training Unit, making the department the largest and most professional Housing Police Department in the world.

In the span of 43 years, the department moved from 47 sworn officers in December 1952, to a diverse Department of over 2700 sworn personnel in 1995.

On May 1, 1995, the New York City Housing Authority Police Department was merged into the New York City Police Department and now exists in spirit in the NYPD Housing Bureau.

References

New York City Police Department
Specialist police departments of New York (state)
Defunct law enforcement agencies of New York (state)


James Patrick Dunne (16 March 1935 – 1983 or 1984) was an Irish footballer.

The son of Irish international Jimmy Dunne, Jimmy Dunne the younger played for St Patrick's Athletic with his brother Tommy, winning the 1959 FAI Cup. He also had brief stints in England, with Leicester City and Peterborough United. After leaving Leicester City he had a short spell with Tunbridge Wells United and on leaving Peterborough United he moved to Bedford Town and then Cambridge United

A former schoolboy international he made a scoring League of Ireland debut on 22 April 1956 against Shamrock Rovers in a Top Four Cup semi final tie.

Notes

References

1935 births
1980s deaths
Republic of Ireland men's association footballers
Association footballers from Dublin (city)
Leicester City F.C. players
Peterborough United F.C. players
St Patrick's Athletic F.C. players
League of Ireland players
Tunbridge Wells F.C. players
Bedford Town F.C. players
Dunstable Town F.C. players
Men's association football forwards


Erich Kästner may refer to:

Erich Kästner (1899–1974), German author
Erich Kästner (camera designer) (1911–2005), German camera engineer
Erich Kästner (World War I veteran) (1900–2008), last German veteran to serve in World War I


Daniel Hotz (born 1967) is a Swiss orienteering competitor and World champion. He won a gold medal at the 1995 World Orienteering Championships in Detmold with the Swiss relay team (Alain Berger, Christian Aebersold and Urs Flühmann).

References

External links

1967 births
Living people
Swiss orienteers
Male orienteers
Foot orienteers
World Orienteering Championships medalists


Red Berets Football Club was a football club based in Nakuru, Kenya. It was based in Nairobi until 2007.

Its home ground was the Afraha Stadium, but due to its unavailability in 2008, the club played its home games at the Greensteds School Grounds.

The club was founded in 1980 and owned by the Kenya Police. In 2000, it won promotion from the Nationwide League to the Premier League, where it stayed until they were relegated at the end of the 2010 season, after which it was disbanded as it was under immense pressure from its sponsors to produce good performances, contrary to the season they had.

The coaches that have been at the helm include Coach Martin Asin (deceased), Coach Said (deceased) Coach Kiragu Mwangi, Coach Gideon Ambani, Coach Caleb Okuku among others. Some of the notable players who made the team shine include Gibson Koluma, Peter Onyango, Joseph Asuza, Leonard Autai, Rexine Ogoli, Wycliffe Kasaya, Erick Ochieng, Samuel Kiarie, Shem Nyaberi, Geoffrey Otieno, Wakhu, Kamanga, Washington Odundo, Alex Njenga, Peter, Orupia, Abiud, Ndeche, Owira, Hassan, Mraja, Gabriel Nduro and Peter Muthui.

References

Football clubs in Kenya
Sport in Nairobi
Sport in Rift Valley Province
Nakuru
1980 establishments in Kenya
Association football clubs established in 1980
2011 disestablishments in Kenya
Association football clubs disestablished in 2011
Police association football clubs in Kenya


Douglas Horace Clemens (born June 9, 1939), is an American former professional baseball outfielder, who played in Major League Baseball (MLB) from – for the Chicago Cubs, Philadelphia Phillies and St. Louis Cardinals. During Clemens’ playing days, he stood  tall, weighing . He batted left-handed and threw right-handed.

Early life
Born in Leesport, Berks County, Pennsylvania, in 1939, Clemens attended Muhlenberg High School, lettering in both football and baseball, while under the tutelage of his own father, Head Coach Lloyd “Scoop” Clemens (himself, a Phillies scout). A highly-recruited halfback, he (young Clemens) played collegiately in Jim Brown’s footsteps, at Syracuse University. While on a full athletic (gridiron) scholarship, Clemens suffered a severe knee injury, early on in Fall, 1957; however, the Orangemen transferred his scholarship to the diamond, where he played first base, lettering in baseball in both  and . Following his Junior year, Clemens turned pro, signing with the Cardinals.

Baseball career
A pinch-hitting specialist for most of his MLB career, Clemens’ main claim to fame stems from the June 15, 1964, trade that brought future Hall of Famer Lou Brock to the Cardinals.

That spring, Clemens broke camp with the Cards. In early-season action, he tallied 33 games played, while hitting .205, with six walks, and 16 strikeouts. On June 15, the Cardinals traded Clemens, Bobby Shantz, and Ernie Broglio to the Chicago Cubs, in exchange for Jack Spring, Paul Toth, and (although not-yet-evident) Cooperstown-bound outfielder Brock.

Clemens continued in platoon and pinch-hitting roles until retiring as a Phillie, following a 1968 season, most of which was spent with their Triple-A San Diego Padres (PCL) club.

During his nine-year MLB career, including the full seasons of  through , Clemens collected 211 hits, with 34 doubles seven triples, and 12 home runs. He batted .229 and was credited with 88 runs batted in (RBI).

References

External links

Doug Clemens at SABR (Baseball BioProject)
Doug Clemens at Baseball Almanac
Doug Clemens at Baseball Library
Doug Clemens at Baseball Gauge

1939 births
Living people
Atlanta Crackers players
Billings Mustangs players
Charleston Marlins players
Chicago Cubs players
Major League Baseball outfielders
Baseball players from Berks County, Pennsylvania
Philadelphia Phillies players
St. Louis Cardinals players
San Diego Padres (minor league) players
San Juan Marlins players
Syracuse Orange football players
Syracuse Orangemen baseball players
Tulsa Oilers (baseball) players


La Salle Township may refer to the following places in the United States:

 LaSalle Township, LaSalle County, Illinois
 La Salle Township, Michigan

Township name disambiguation pages


The Fokker F.XX was a 1930s Dutch three-engined airliner designed and built by Fokker. It was the first Fokker design to use an elliptical-section fuselage instead of the traditional square fuselage and the first Fokker aircraft with retractable landing gear.

Development

The F.XX was a high-wing thick-section cantilever monoplane with a retractable tailwheel landing gear. It was powered by three Wright Cyclone radial engines, one in the nose and one under each wing on struts. The main landing gear retracted into the engine nacelles. The F.XX registered PH-AIZ and named Zilvermeeuw (en: Silver Gull) first flew in 1933. It was delivered to KLM for services from Amsterdam to London and Berlin. Although the F.XX was a more advanced design both in aerodynamics and looks than earlier Fokkers, the arrival of the twin-engined low-wing Douglas DC-2 and DC-3 soon rendered it obsolete. Only one aircraft was built, and after service with KLM was sold to French airline Air Tropique; the plane got a camouflage paint scheme and was registered F-APEZ. Air Tropique had ties with the Spanish Republican government, that used the plane to operate a liaison service between Madrid and Paris. In 1937 it went to LAPE in Spain, and was registered EC-45-E. The plane crashed in Spain February 15, 1938 near Barcelona at Prat de Llobregat Airport.

Licence production in the UK as the Airspeed AS.21 was not proceeded with.

Operators

KLM

Líneas Aéreas Postales Españolas (LAPE)
Spanish Republican Air Force

Specifications (F.XX)

References

Bibliography

 The Illustrated Encyclopedia of Aircraft (Part Work 1982-1985), 1985, Orbis Publishing, Page 1895

External links

 "The Fokker F.XX". Flight, 5 October 1933, pp. 993–995.

1930s Dutch airliners
F 20
Abandoned civil aircraft projects
Trimotors
High-wing aircraft
Aircraft first flown in 1933


VNS Matrix was an artist collective founded in Adelaide, Australia, in 1991, by Josephine Starrs, Julianne Pierce, Francesca da Rimini and Virginia Barratt. Their work included installations, events, and posters distributed through the Internet, magazines, and billboards. Taking their point of departure in a sexualised and socially provocative relationship between women and technology the works subversively questioned discourses of domination and control in the expanding cyber space. They are credited as being amongst the first artists to use the term cyberfeminism to describe their practice.

Background

VNS Matrix was an Australian feminist artist group who were active from 1991 to 1997. Their activist practice was concerned primarily with women's role in technology and art, specifically taking issue with "the gendered dominance and control of the new technologies" and exploring, "the construction of social space, identity and sexuality in cyberspace"

One of their first works was a 6 by 18 foot billboard announcing "the clitoris is a direct line to the matrix...". In 1991, they wrote their "A Cyberfeminist Manifesto for the 21st Century." Though the manifesto was designed for the Internet—reposted to various websites—it also piratically circulated through traditional media, including radio broadcast, television, posted in public spaces and placed in the printed advertisements of magazines.

In 1993 VNS Matrix debuted their computer art game/installation All New Gen at the Experimental Art Foundation Gallery in Adelaide which received national interest, critical acclaim, and wildly enthusiastic reviews.

After logging on to All New Gen, the first question asked of game players is: 'What is your gender? Male, Female, Neither.' 'Neither' is the correct answer, since clicking the Male or Female icon sends players spinning on a loop that takes them out of the game. In 1994 All New Gen was well received at the International Symposium on Electronic Art in Helsinki after which it toured to a number of galleries and art spaces in Australia, Europe, the United States, Canada and Japan. VNS Matrix was later awarded a $100,000 grant from the Australian Film Commission to develop a prototype of an All Gen CD-ROM game for international distribution called Bad Code, which included a number of enhancements including sophisticated new images, 3D graphic spaces, animations, video sequences, characters and zones.

Recent Work
In 2019, VNS Matrix participated in the group show Producing Futures: An Exhibition on Post-Cyberfeminism at the Migros Museum für Gegenwartskunst in Zurich, Switzerland.

See also
 Art manifesto
Cyberfeminism
 Australian Feminist Art Timeline

References

Further reading
VNS Matrix and Virginia Barratt interviewed by Bernadette Flynn. Continuum: Journal of Media and Cultural Studies 8(1): 1994, pp. 419–432.
 An Oral History of the First Cyberfeminists by Claire L. Evans Motherboard, Dec 11th 2014. Retrieved 4.2.2014

External links
 Transmediale archive
 VNS Matrix bio on Media Art Net
 Cyberfeminist Manifesto for the 21st Century
 Virginia Barratt on academia.edu
 Josephine Starrs website
 Mention in Wired Magazine Article on Cyborgs and Donna Haraway
 Vice Motherboard Article
 "A Cyberfeminist Manifesto for the 21st Century" at Rhizome's Net Art Anthology

Australian digital artists
Australian feminists
Australian conceptual artists
Australian contemporary artists
Postmodern artists
Postmodern feminists
New media art


Ukrainian wedding is the traditional marriage ceremony in Ukrainian culture, both in Ukraine and in the Ukrainian diaspora. The traditional Ukrainian wedding featured a rich assortment of folk music and singing, dancing, and visual art, with rituals dating back to the pre-Christian era.  Over time, the ancient pagan traditions and symbols were integrated into Christian ones.

Traditional wedding rituals

Betrothal

Ivan Kupala Day – On the eve of the celebration of Ivan Kupala Day village folks would roam through the forests in search of paporot flower, an elusive and magical flower that brings great wealth. Unmarried women, wearing a Ukrainian wreath, would be the first to enter the forest. They are followed by young men. If the couple comes out with the young man wearing the girl's wreath, they are engaged to be married.

Paying the ransom – The groom must go to the bride's parents' house and offer a ransom to get his bride. The bridesmaids protect the bride from getting "stolen" without a ransom. First, the groom offers something valuable, usually money or jewellery for the bride. The parents of the bride bring out a woman or man dressed as the bride and covered with a veil, so the groom can't see her face. When the groom realizes that it is not his bride, he asks for his true love, and the family demands a bigger ransom because she is valuable. Once the ransom is negotiated, the bride's family offers the bride to the groom.

If the bride's parents meet the bridegroom at the door with a pumpkin, it means that his offer of marriage was not accepted by either the bride or by her family, and the pumpkin is something for him to carry, so that he doesn't leave empty-handed.

Blahoslovennia - This is a ritual blessing of the bride and groom by their parents. It usually takes place shortly before the wedding ceremony. The bride and bridegroom at their own homes with their parents and grandparents perform this ritual. When the bridegroom arrives at the bride's house, after he has paid ransom for his bride, the bride and bridegroom perform this ritual together, in front of both of their parents. In the combined blessing ceremony, the elder (starosta) first asks the couple's parents to sit on benches. Once seated, a long embroidered cloth, rushnyk is placed on their lap, and everyone is given a loaf of wedding bread. The starosta recites a ceremonial text such as the following: "As these two children stand before their own mother, before their own father, before their uncles, before their godparents; maybe they did not listen to one of you, I ask you to forgive them and bless them." In Ukrainian, the word proschannia is used to describe forgiving someone of their offenses as well as bidding them farewell. Then the family members repeat "Bih sviatyi" (May Holy God forgive and bless you) three times. The couple then bows to their parents and kisses their faces, hands, and feet. This blessing is performed three times.  This ritual symbolizes forgiveness for any sins, and a blessing of the marriage from the parents.

Ceremony

The couple steps up on a rushnyk before they take their vows. Traditionally, the one who steps on the towel first, will have the final say throughout their marriage.

During the crowning ceremony in a traditional wedding the bride's vinok is replaced by an ochipok and namitka that covers her hair and signifies that she is now married. The groom is also crowned with a hat, symbolic of him accepting responsibility as a man.

Vesellia
The wedding celebration can last days and sometimes weeks, with dancing, singing, long toasts, and a feast that includes the entire community.

Features
  Rushnyk - is a Ukrainian embroidered long ritual cloth. Rushnyks are very important part of the ceremony and have symbolic meaning. They are often part of the bride's dowry and have pairs of birds embroidered on them, representing the wedding couple.
  Svashky — is a woman's choir that sings during the wedding ceremony
  Korovai – is the ceremonial and symbolic wedding bread. Traditionally it was a large round braided bread, baked from wheat flour and decorated with symbolic flags and figurines, such as suns, moons, birds, animals, and pine cones. It was given to the bride and groom as a blessing.
  Myrtle or periwinkle Crowns
  Bread and Salt
  Hand Fasting

Traditional songs
 Horila sosna, palala (Pine was burning, was in flames)
 Bdzholy (Bees, golden wings)
 Nese Halia vodu (Helen carries water)
 Byla mene maty (Mother was hitting me)
 Oy u vyshnevomu sadu (Hey, in a cherry garden)
 A kalyna ne verba (Yet guelder rose is not a willow)
 Oy na hori dva dubky (Hey, on the hill are two oaks)

Locations

 Church
 Civil

Funerals
Young women who die unmarried are buried in a wedding dress in some areas. The most followed religion in Ukraine is Eastern Orthodox and when it comes to funerals it has strict rules. The mourning period is very important and because it is believed that the soul of the person wanders the earth for 40 days, there are ceremonies that pay respect to the dead. It is believed that on the 3rd day the soul leaves the body, on the 9th day spirit leaves the body and on the 40th day the body starts to die as well. One of the most important and interesting parts of a Ukrainian funeral is the preparation of the body which includes washing the body to get rid of worldly sins, but this is mostly performed by the family and friends because in Ukrainian traditions the family has to take care of the loved one to the end. The next step is dressing the dead in clean, all white clothes as a symbol of purity. Then the body is placed in the casket in the family home and is let to rest for a few days. Next comes the wake which is done the night before the actual funeral and lasts the whole night. On this night friends and family gather in the house and mourn for the deceased.

Weddings in Literature
Natalka Poltavka (, ) is a Ukrainian play written by Ivan Kotlyarevsky.
Ukrainian Wedding (, ) was first performed in 1851, with Semen Hulak-Artemovsky in the role of the father-in-law.

References

External links
  Wedding at the Encyclopedia of Ukraine
  Wedding songs at the Encyclopedia of Ukraine
  Dr. Natalie Kononenko. Ukrainian Village Weddings; Collected in Central Ukraine, 1998 SEEFA Journal, vol.4, no.1 Spring 1999 pp. 65–72
  Wedding Traditions in Ukraine University of Alberta Museums
 Orysia Paszczak Tracz. Vesillia: Ukrainian weddings in Manitoba over the last century Part I. The Ukrainian Weekly, October 27, 2002.
  Orysia Paszczak Tracz. Vesillia: Ukrainian weddings in Manitoba over the last century Part II. The Ukrainian Weekly, November 3, 2002.
  Nancy Millar.  Once Upon a Wedding: Stories of Weddings in Western Canada, 1860-1945. Bayeux Arts, 2000.
  Dzvinka Kachur. Traditional Hutsul wedding in Western Ukraine. Welcome to Ukraine magazine.
  Welcome to a wedding, Central Ukrainian style! Welcome to Ukraine magazine.

Culture of Ukraine
Weddings by nationality
Ukrainian traditions


John H. Meier (born September 28, 1933) is an American financier and business consultant now living in Vancouver, Canada. He is noted for playing a key role in a controversial mine acquisition project for Howard Hughes and for his behind-the-scenes involvement in events that precipitated President Richard M. Nixon's resignation.

Background
John Meier was born in 1933 and raised on Long Island, New York. He worked briefly for the New York Life Insurance Company before being drafted into the U.S. Army in 1952 and sent to the war in Korea. Upon his honorable discharge in 1954, Meier returned to working for New York Life.

In 1959, Meier was hired in the computer division at Hughes Aircraft and two years later transferred to Hughes Dynamics, a Los Angeles-based information management subsidiary of the Hughes Tool Company."

Howard Hughes adviser
Meier was associated with Howard Hughes for 15 years, claiming  he was one of the few in the reclusive Hughes's inner circle to have met with him regularly. However, according to Robert Maheu, a known Hughes confidante, all the reports Meier submitted to Hughes were passed along by intermediaries.

Meier publicised himself as the someone closely involved in Hughes's business operations and leveraged his connections to the industrialist. One newspaper called Meier one of two "all-powerful aides who ran Howard's Nevada Empire."

During his tenure with the Hughes organization, Meier was involved in a controversial mine acquisition project. At the same time as he was in the employ of Hughes, he was also being paid to represent people who were selling claims to Hughes. In just two years, Meier oversaw the transfer of $20 million to purchase over 2,000 mining claims in California and Nevada – some of which were not even owned by the original sellers.

Despite Meier predicting that the mines would produce silver, gold and other valuable metals, according to several geological surveys, many of them were declared "worthless." Meier alleged that Hughes was behind some of the controversy in a complex scheme he hatched in order to convince Moe Dalitz to sell the Stardust Casino. Afterwards it was revealed that over $5 million worth of mine claims that should have gone to Hughes had been passed through tax shelters in Switzerland. In November 1969, Meier resigned from the Hughes organization.

Legal troubles
In the 1970s, Meier was indicted and arrested for tax evasion, and the largely worthless mine claims were a source of legal trouble. The Hughes Tool Company was suing him for $8 million and in March 1978 was awarded a judgment of $7.9 million. That summer Meier left for Australia where he was briefly detained, but because he carried with him a diplomatic passport issued by the Kingdom of Tonga – Meier was heavily involved in the financing of infrastructure projects there – the Australian authorities released him. Avoiding return to the United States, he then went to live permanently in Vancouver (Meier had become a Canadian citizen in 1977).

Meier was eventually arrested in Canada and despite his appeals, was extradited to the United States in 1979 and charged with fraud and obstruction of justice. At this time Meier claimed to have in his possession the secret Hughes papers, obtained from John Reynolds, that would exonerate him. However, the court deemed that the papers were a forgery. Meier was sentenced to 30 months in prison, of which he served 21 months.

Watergate
Meier has been connected to the events that led to President Richard Nixon's resignation in the wake of the Watergate scandal. Meier told the President's brother, Donald, that he was sure the Democrats would win the election since they had a lot of information on Richard Nixon's illicit dealings with Howard Hughes that had never been released, and that Larry O’Brien had the information. Donald then told his brother that Meier had given the Democrats all the Hughes information that could destroy him, leading to the subsequent Watergate burglary.

Other activities
Meier became involved in the nuclear disarmament movement, and launched a motion picture production company, Meier-Murray Productions, with fellow Hughes consultant Thomas E. Murray, Jr., which produced two films in the early 1970s.

Further reading
 Speaking for the Earth written by John Meier, 1970, The Nevada Environmental Foundation

References

External links
 Records of the Watergate Special Prosecution Force
  Campaign Contributions Task Force #804 - Hughes/Rebozo Investigation

1933 births
Living people
United States Army personnel of the Korean War
People from Hempstead (village), New York
Recipients of the Order of Christopher Columbus
People extradited from Canada to the United States


Hussein Jamil Barghouthi, also spelled Barghouti, ( May 5, 1954 – May 1, 2002, ) was a Palestinian poet, writer, essayist, critic, lyricist, playwright and philosopher, born in the village of Kobar in the Ramallah and al-Bireh Governorate. Barghouthi lived his childhood between Kobar, where his mother lived, and Beirut, where his father worked. An outcast since childhood, seen and treated by his society as different and distant for being unique, he found his friends to be the rocks and trees of his village, and the words of his language. He was misunderstood by his surroundings, and was too different from his society by the time he reached his last year in highschool, when he read out loud one of his poems for the first time in a poetry contest. The contest was held by Jordanian education ministry, during the Jordanian custody of the West Bank, and Barghouthi was deprived of 1st place because the ministry of education thought he had stolen a poem from some famous author. "Ignorance is not an excuse" replied Barghouthi, in front of the live audience. Barghouthi got his high school diploma from Amir Hassan School in Birzeit.

He went on to continue his studies in Budapest, Hungary, studying Political Science and State Finance there for 5 years. After returning to Palestine,  he studied at Birzeit University and obtained his BA English literature from in 1983, and taught there for one year before leaving to obtain both his M.A. (1987) and Ph.D. (1992) in Comparative Literature from the University of Washington - Seattle. He returned to Palestine to become a professor of Philosophy and Cultural Studies at Birzeit University, and went on to work for three years in Al-Quds University as a professor of Literature Critique and Theater in 1997, during which he was a founding member of the Palestinian “House of Poetry” and Publishing Manager in a couple of literature magazines.

Barghouthi died on May 1, 2002, in Ramallah Hospital, after a long struggle with cancer.

Works
The various and diverse works of Hussein Barghouthi include novels, poetry, autobiography, critique, folklore, song lyrics, theater and cinema script, and many intellectual research and studies scattered in newspapers, books and magazines. Only two of his works were translated, both into French by Marianne Weiss, which are “The Blue Light” and “I’ll be among the almonds”. His top works include:

"The Blue Light"
Barghouthi wrote his masterpiece, “The blue light” (2001), on his experience of living with the unorthodox, outcast and “mad” people of the streets of Seattle, frequenting at “The Grand Illusion” cinema, “The Blue Moon” bar and “The Last Exit” café, drawn to them by their names. A book that levitates the standards of any reader, in which Barghouthi describes his journey with Barry, a Sufi Whirling Dervish of Konyan origin who left his academic life and homeland to become a “homeless madman, or any other word we use to describe those we don’t understand”. The book is an exploration of Hussein's madness and spiritual paradox, and the confluence of the “mountain child and the sea”, the two opposite poles of his spirit; A book similar to the works of America's Beat Generation. The book was translated to French in the title of "Lumière bleue", by Marianne Weiss in 2004. An English translation by Fady Joudah was publishded by Seagull Books in 2023.

"The Third Bank of The Jordan River"
He wrote his book “The third bank of the Jordan River”, published first in 1984, on his journey in Europe, describing his mental state at the time, that was edging both reality and insanity and not settling in either. Making the Jordan River an analogy, he uses it to explain that while there are two banks to the river of life, homeland and exile, there are some people destined to live in the virtual third bank; The bank of spiritualism, thought, passion, pain, love, magnitude, madness and poetry. A book that takes you on a trip, and might bring you to tears, and make you fall in love with it.

"I'll Be Among the Almonds"
Written in his last years in the same time as “The blue light”, his autobiography, “I’ll be among the almonds”, documents his final years of struggling with cancer, in which he reflects on his origins, beginnings and end, and paints an image of his beautiful village that was, and still is, subject to colonialism. The book was meant to give the magical place of “Deir al Juwani”, an area of wilderness and mountains in the village of Kobar, eternal life, and so it did. The reader can live in the place that was slowly being deformed by colonialism and civilization. “Tell her, no matter what happens… If you visit me, I’ll be among the almonds”, and so it was; Barghouthi was buried between the almond trees in the garden of his mother's house. The book was later translated to French by Marianne Weiss, and published as "Je Serai Parmi les Amandiers" in 2008.

"The Rosette Stone"
“The Rosette Stone”, published in 2002, is a postmodern script that cannot be framed into one style or genre of literature. The title of the book is an analogy to the Rosetta stone that was discovered in Egypt, which was the key to deciphering the hieroglyphic language of ancient Egypt and uncover the truth of its three thousand year history. His best and most difficult work, in his own belief, where every other work he wrote was aimed to remove the barriers between him and his reader, allowing the reader to understand his script, vision and total personality.

“The Demise of The 7th Wall: Psychological Struggle In Literature”
Considered a cornerstone in cognition and psychology, in the form of an extended essay, the book serves as a therapist to the reader. It analyzes the history of psychological conflict. The book explains how every individual creates his own "main reason" of existing, and how the time and place in which a person is born influences the creation of this reason. He introduces is it saying "The main reason is no more than a complicated reflection of the dominant social relations in a certain phase of time". The book focuses on the history of psychological struggle, rather than on the history of the figures and characters it discusses. "There is no absolute main reason for every time and place, and so the main reason develops and changes as history develops and changes", he explains. "Each individual can change, and choose with freedom that is proportional to his time, his own main reason. This depends on the opportunities given by the historical period in which he lives", and following that concept, the book follows the main reason through every era.

Starting from Brahmanism, the book goes on to include the development and diversification of psychological conflict through time and place, including that of many poets like Mudhafar Al-Nawab and Al-Mutanabbi, and various fictional characters of literature from writers such as Shakespeare and Dostoevsky. It tracks the origins of conflict in human life, cognition and society, and is considered the key to understanding one’s own difficulties, and understanding the rest of his books.

"The Emptiness That Saw The Details"
A postmortem accumulation of five writings of various subjects: The beginning of existence, a philosophical analysis of the First Intifada, the magnitude of experience, the paradox caused in Palestine by capitalism and an analysis of the concepts of time and place; A book that brings together many cultures, visions and times.

"The emptiness that saw the details"
A script that includes 29 quotes from books, poetry, songs and writings of divergent figures such as Mahmoud Darwish, Al-Mutanabbi, Friedrich Nietzsche, Thomas Hardy, Fyodor Dostoevsky and Maxim Gorky, and lyrics from songs such as Hotel California. Written in 1st person narrative, the script ends with a poem by Barghouthi himself. The script was first published in Ugarit magazine in 1996, of which Barghouthi was chief editor. The magazine was named after the ancient city of Ugarit.

"An ordinary memory of an extraordinary time"
Written in Ramallah, the script is a reflection of Barghouthi's experience of the First Intifada years later. He witnessed the beginning of the Intifada and lived in Ramallah for the most part of it, before leaving to study in Seattle. The script, however, is far from political, and is a contemplation on the period he spent in Palestine during that extraordinary time. An eccentric script in which Barghouthi shows his style of free, unbound writing.

"The I and the place"
Starting with a trip to Jibya, a woodland between the villages of Kobar and Umm Safa, Barghouthi loses his way and enters a state of disorientation - also mentioned in his other books - on his way back to the city. After confusing Kobar with Umm Safa, it seems to him that the place he had known for years was once again new to him. Building on this incident, he explores the 'reality' of things in rather than the 'name' of things, and explains the state of 'losing realization' that he intermittently enters and talks about in his other books. "I see something I don't know, and I know something I don't see" he says, describing the incident. "Where is Umm Safa? where is everything? the answer is clear: Umm Safa is everywhere, sometimes on my right, sometimes on my left, sometimes in the north-east and so on; to determine the exact place of where Umm Safa is, I must determine the exact place in which I am. And if I lose the orientation of the place I'm in, I lose the orientation of where it is as well, and vice versa." he says, explaining the relationship between the I and the place. "I usually say this my house, and  this is my way. This 'my' in 'my house' and 'my way' is an indication of the desire to own." he says. "Take the 'my' out of 'my realization' and it gets lost, like the way home, and I find myself in a strange state; there is 'a' realization, but it's not mine" he also says, and continues to follow through this philosophy to the furthest extent. A philosophy similar to that of Lao-Tzu, which he also mentions in this script.

"On the extinct place"
This piece, written first in Kobar, focuses on “the extinct place” which is any place that loses its history and ‘depth’. Barghouthi starts with an analysis of the architectural inconsistency of Ramallah city. The transformation of architecture from normal houses and rural life in the 1960s in Palestine, to new and bigger buildings, towers and villas that all “seem to say that the world is split only into ‘what is me, and what is not me’”. This development caused what is called “the phenomenon of the extinct place”, which is the same place in which a person feels belonging, after urbanization or change. The diverse architecture caused the city to have a ‘split personality’, one being its surface and the other its depth.

Barghouthi explores the Palestinian subconscious, and how this domination of “the extinct place” imprinted somewhat of a ‘fall’ in the Palestinian mind, in which there is an original sin; the Nakba. And the ‘return’ to that lost depth of the place, similar to the ascension to heaven, is the ray of hope that battles the extinct place; this concept, says Barghouthi, defines the national and humanitarian Palestinian self.

The city of Ramallah, he explains, is a constant battle between the historical and the extinct place, due to the external entry of colonialism and the internal entry of capitalism and private ownership, “a plot similar to a plot of a realistic novel of a temporal and spatial progression” with a tangible script. Perceiving ‘place’ in time as a ‘past place’ that goes through the present and into the future created a dominance of memory and past over Palestine, which, in turn, annihilated the feeling of belonging to ‘the extinct place’ (Ramallah) and a feeling of exile from a ‘past place’.

"The illusion of a beginning... the ghost of the place"
Barghouthi explores and compares concepts from various religions and mythology, including the Akhenaten religion, The Book of Genesis, Enlil of the Sumerian religion, Brahmanism, African mythology, Plato's Symposium, Persian, Greek and Mexican mythology.

The title, which is also the final conclusion of the script, can be explained in the last page:

"That which was 'before the beginning' haunts it like an invisible ghost, and it tries to bury it, or deny it, but fails. The beginning's attempt to hide what is before it is the true beginning, precisely like the attempt of 'the end' to hide what is after it, in order to seal that same beginning, is the true 'ending'. i.e the beginning is in need, right from the start, of a certain illusion of it being 'the beginning'; The beginning's illusion of itself is the start of the beginning, and this illusion takes a spatial form. It is, necessarily, a spatial illusion of 'place'."

Philosophy
Barghouthi's philosophy had no boundaries, and cannot be wholly summed up. The way the reader can understand his thought is through reading his works and trying to build a personal connection between the author and himself.

He did not seek to be framed into a certain or single genre, like 'poet' or 'philosopher''. Barghouthi's works are inter-connected; one book might explain a missing part of another book, or one poem might explain a sentence in one of his novels.

He believed that the reader should be an active thinker and searcher, rather than just a receiver of knowledge. His philosophy is based on that each individual should re-build his “pyramid of thought”, and that the reader has to be an active receptor and participator in this process of developing creativity. “Empty your mind of its contents”, as he said in The Blue Light.

He saw that the problem with the Arab mind was that "it lost its ability to create", and that's what he sought not to lose: his ability to create. In his writings, he presented new concepts to explain the mind, heart, language, psychological conflict, time, memory, cancer, blossom, occupation, love, exile, nature, passion, pain, magnitude, madness and poetry; all of which are themes discussed in his various works.

The experience, he believed, is more important than the place. Each person creates his own experience in any place; the place does not determine one's experience. There should not be difference, but rather harmony, between his writing and his life, and that is why his impact was not solely through his books but also through his interaction with any person, whether that person may be his student, friend or just a stranger. He was looked upon as a phenomenon by readers and other authors and critics. His works are constantly being studied and deciphered, considering that his popularity in the mainstream rose during the last years of his life and the few years after his death, when his most well-known works were published, including his two postmortem auto-biographies (The Blue Light) and (I’ll Be Among The Almonds).

Popularity
Barghouthi's popularity came from his experimentation with literature, both in his narrative and poetry. His holistic approach to each genre of literature, which combined philosophy and unbound experimentation with language, was a new and revolutionary method of writing. His poetry was not popularized in its first years, due to the style of writing being different from conventional Arabic poetry. In many of his poetic writings, he creates new words which he conceived from philosophical exploration; it was his style, more than the work itself, that gained Barghouthi his uniqueness and popularity.

It was, however, the narrative works that brought more interest to his previous, shunned works. The publishing of his postmortem narratives, including his masterpiece "The Blue Light", revived interest in his poetry which his narratives aimed to help decipher. Barghouthi's personal focus was his poetry, which he considered most important, and aimed to help the reader better understand it through writing narratives.

His popularity in the Arab world grew after the release of his postmortem narratives, mostly in his homeland Palestine, which increased interest and support for publishing older works of his, like "The Vision" and "Liquid Mirrors", both which are poetry books; his narratives are considered a simpler form of his poetry.

Barghouthi's works, however, have not been globalized because not many have yet been translated. Only two of his books, "The Blue Light" and "I'll be among the almonds", were translated, both only into French. He never had the chance to popularize or translate the works himself, since he had little time to even write them, having struggled with cancer while writing them, and died before they were published. His main focus, in addition, was life itself and not popularity or fame, and so he lived the majority of his life with his works unknown, before the final years when his narratives gained great attention.

See also

Barghouthi

A short biography
The language of almonds a documentary about Hussein al Barghouthi, directed by Salim Abu Jabal.

References

1954 births
2002 deaths
Birzeit University alumni
University of Washington College of Arts and Sciences alumni
Academic staff of Birzeit University


Dario Coates (born 25 April 1992) is an English actor. He is known for portraying Alex Neeson in the television ITV soap Coronation Street.

Biography
He attended Calder High School and Calderdale Theatre School. He acted in Calderdale Theatre School's production of the Philip Pullman novels His Dark Materials, for which he received acclaim from The Halifax Courier.

In 2016, he appeared in the BBC series The Coroner episode 2.4 "The Beast of Lighthaven" as Ben Fairhead.

In 2023, he appeared as Connie in the fourth season of the Netflix series You.

Filmography

Film

Television

Video games

References

People from Hebden Bridge
21st-century English male actors
English male soap opera actors
English male video game actors
English television actors
1992 births
Living people
Male actors from Yorkshire


Chad Thomas Vaughn (born May 11, 1980 in Konawa, Oklahoma) is an American Olympic weightlifter.

He was a member of the 2004 Olympic team in Athens, Greece, and ranked 18th in the 77 kg category, lifting a total of 320 kg.

He competed in the 85 kg category at the 2005 World Weightlifting Championships, and ranked 14th lifting a total of 335 kg.

At the 2007 World Weightlifting Championships he ranked 24th in the 77 kg category, lifting a total of 326 kg.

He qualified for the 2008 Summer Olympics.

Vaughn currently resides in San Antonio, Texas, and is coached by Richard Flemming.

References

External links

1980 births
Living people
American male weightlifters
Olympic weightlifters for the United States
Weightlifters at the 2003 Pan American Games
Weightlifters at the 2007 Pan American Games
Weightlifters at the 2011 Pan American Games
Weightlifters at the 2004 Summer Olympics
Weightlifters at the 2008 Summer Olympics
Pan American Games gold medalists for the United States
Pan American Games medalists in weightlifting
Medalists at the 2011 Pan American Games
People from Konawa, Oklahoma
Sportspeople from San Antonio
21st-century American sportsmen


Machine Project was a Los Angeles based not-for-profit arts organization and community event space.

History
Founded by Mark Allen, Machine Project launched in 2003 with its inaugural show, 'Tom Jennings - Story Teller,' an installation produced by Tom Jennings, which was displayed from December 6, 2003 until January 24, 2004. In the museums first year, it displayed six different exhibits.

Machine Project later moved toward larger collaborations, holding residences with major art museums, including a one-day takeover of the Los Angeles County Museum of Art (LACMA) on November 15, 2008 featuring 10 hours of performances, and a several month residency at the Hammer Museum in 2010, resulting in 80 programs including a series of micro-concerts in a coatroom.

In 2014, Machine Projects intervened in the Gamble House in Pasadena, an early 20th century Craftsman home that once belonged to David and Mary Gamble, of Procter & Gamble fame. Allen and a group of artists affiliated with Machine Project installed a series of contemporary artworks around the historic home in ways that both highlighted and harmonized with the architecture. This included a secret basement restaurant operated by Bob Dornberger whose menu was inspired by the architecture, and a massive sculpture of a vortex on the front lawn by Patrick Ballard that was also a puppet.

Machine Project announced its closure in January 2018.

References

External links
 Machine Project's Website

Performance art in Los Angeles
Art in Greater Los Angeles
Non-profit organizations based in Los Angeles
Arts organizations based in California


Around the World with 80 Dollars is the second Mandarin album by Hong Kong Cantopop girl group, Twins. It was released in June 2006 by EEG.

The music video for "我很想爱他" (I Really Want to Love Him) features Taiwanese artist Danson Tang.

The tracks "一时无俩" (One Time not Twice) and "我很想爱他" (I Really Want to Love Him) were nominated and "80块环游世界" (Around the World with 80 Dollars) won Top 10 Gold Songs at the Hong Kong TVB8 Awards, presented by television station TVB8, in 2006.

Track listing
 "变身派对" (Transformation Party)
 "80块环游世界" (Around the World with 80 Dollars)
 "我很想爱他" (I Really Want to Love Him)
 "流金摇摆" (Flowing Gold Swing Swans)
 "今天星期几" (Which Day is Today?) - Gillian Chung Solo
 "一时无俩" (One Time not Twice)
 "妳最勇敢" (You are the Bravest)
 "黑盒子" (Black Box)
 "一个人看电影" (Watching Movie Alone) - Charlene Choi Solo
 "森巴" (Samba)

References

2006 albums
Twins (group) albums
Mandopop albums


Abdo Baker Barnawi is a Saudi Arabian footballer. He plays as a defender .

He started his career at Al-Faisaly Club before joining Al-Nasr in the summer of 2007.

References
kooora.com - Arabic

External links

Profile at slstat.com

Saudi Arabian men's footballers
Al Faisaly FC players
Al Nassr FC players
Al Fateh SC players
Al-Tai FC players
Al-Nahda Club (Saudi Arabia) players
Jeddah Club players
Al-Riyadh SC players
Al-Entesar Club players
Living people
1984 births
Saudi First Division League players
Saudi Pro League players
Footballers from Jeddah
Saudi Second Division players
Saudi Fourth Division players
Men's association football defenders


Bomberman B-Daman Bakugaiden Victory or  is a Coro Coro Comic series by Koichi Mikata, based on Bomberman and B-Daman. The animated television series is broadcast on Nagoya TV. V stands for "Victory" but the anime is also based on the 5th BB-daman manga.

Characters

B-DaCop
Shirobon (White Bomber): A B-da Cop who travels through space and time to protect peace in the world.  He is determined but a bit childish at times.
Aobon (Blue Bomber): Shirobon's partner.  He is very shy and timid, but always pulls through in the end to save his friends.
Kurobon (Black Bomber): An elite B-da Cop who is very independent and acts on his own.  He often comes in at critical times to save the other B-da Cops and then disappears as quickly as he came. He also has a number of shining medals, and is said to be the "uncrowned king".
Akabon (Red Bomber): She is the princess of Border Kingdom.  After Devil Vader attacks her country she is saved by the B-da Cops Shirobon and Aobon.  She later joins them as a B-da Cop to stop Devil Vader and save her kingdom.
Kiirobon (Yellow Bomber): A Kansai speaking shipping carrier who dreams of becoming a B-da Cop.  While he waits to become one, he assists the others in their battles against dark B-da.
Midoribon (Green Bomber): A soldier from Border Kingdom who was stranded on an island.  After being rescued by the B-da Cops, he joins forces with them to save Border Kingdom. He is very dedicated to Akabon and is willing to die for her.
Graybon Hakase (Professor Gray Bomber): A genius scientist who builds new armors for the B-da Cop.
Mimitan: A bat-like animal who is Graybon Hakase's assistant.

Devilvader
Akumantle:A mustached villain. For a while, the only one with a mecha of his own, but Docdandy and Gestler both obtain mechas as well in Episode 20. His Mecha resembles an scorpion.
Docdandy:A rather girly villain who likes pretty things, dislikes Kiirobon and has a crush on Kurobon. His mecha resembles a bee.
Devil Slinger: A very experienced Devilvader who seems to resemble a gunslinger. He and Kurobon are rivals.
Gestra:A chubby villain who is the brains of his trio, formed by him, Akumantle and Docdandy.
King Vader: The demon-like Devilvader leader.

Others
Geniusbon
Witchy
Carrierbon
Bestbon
B-DaMaster
B-Da King

External links
The B-Daman Wiki Forums, a community dedicated to B-Daman

1999 anime television series debuts
B-Daman
Bomberman anime and manga
Japan-exclusive video games
Konami franchises
Madhouse (company)
Manga (year of release missing)
Shogakukan franchises
Shōnen manga
Takara Tomy franchises
Comics based on toys
Television shows based on toys
Video games based on toys


Majed Hazazi (; born July 1, 1988) is a Saudi Arabian football player who currently plays as a full back for Al-Shoulla.

He was a member of the Saudi football team in the 2010 FIFA World Cup qualification.

References

External links

Living people
1988 births
Saudi Arabia men's international footballers
Saudi Arabian men's footballers
Al Nassr FC players
Al Taawoun FC players
Al Raed FC players
Al Fateh SC players
Ohod Club players
Damac FC players
Al-Jabalain FC players
Al-Orobah FC players
Hajer FC players
Al-Shoulla FC players
Men's association football fullbacks
Saudi Pro League players
Saudi First Division League players


Sarah Dance was the female winner of the National Collegiate Athletic Association's highest academic honor, the 2005 Walter Byers Award, in recognition of being the nation's top female scholar-athlete.  She was a 28-time All-American swimmer who helped lead Truman State University to four national championships.

Notes

American female swimmers
Living people
Truman Bulldogs women's swimmers
Year of birth missing (living people)


The Afraha Stadium is a multi-purpose stadium in Nakuru, Kenya.  It used mostly for football matches and is the home stadium of Nakuru AllStars of the Kenyan Premier League and Ulinzi Stars of the Kenyan Premier League.  The stadium holds 8,200 people and opened in 1948. The stadium is two kilometres from the famous Lake Nakuru National Park. Even though it is a football stadium, it became famous for hosting many political meetings including the GEMA promoted change the constitution series held in the 1970s. The former ruling party KANU also held many prominent meetings there during the Moi era.

References

External links
Stadium information
Stadium information
Frank Jasperneite page

Sport in Rift Valley Province
Football venues in Kenya
Nakuru
Multi-purpose stadiums in Kenya
Buildings and structures in Rift Valley Province


Ruaraka Stadium is a multi-purpose stadium in Nairobi, Kenya.  It used mostly for football (soccer) matches and is the primary home stadium of Tusker FC.  The stadium holds 4,000 people.

External links
Stadium information

Football venues in Kenya
Multi-purpose stadiums in Kenya


Kangemi United Football Club is a football club in Nairobi, Kenya. In the 2006–07 season they played in the top level of Kenyan professional football, the Kenyan Premier League. However the club were disqualified from the league and forcibly relegated as punishment for failing to turn up for several league matches. In 2008, the team played in the Kenyan Nationwide League.

References

Football clubs in Kenya
Sport in Nairobi


WSDV (1450 AM) is a commercial radio station licensed to Sarasota, Florida, and broadcasting to the Sarasota - Bradenton radio market. The station airs a hot adult contemporary format and is owned by iHeartMedia, Inc.

WSDV is powered at 1,000 watts non-directional.  Programming is also heard on FM translator W280EV. The station uses the translator's dial position, calling itself "103.9 Kiss FM".

History
On December 7, 1939 the station first signed on the air.  Its call sign was originally WSPB, powered at 250 watts, located at 1420 kilocycles.  Its tower and studios were on City Island.  The North American Regional Broadcasting Agreement (NARBA) in 1941 moved its dial position to 1450 kHz.

WSPB became a CBS Radio Network affiliate, airing CBS's line up of dramas, comedies, news, sports, soap operas, game shows and big band broadcasts.  It was unique among stations on the Gulf Coast of Florida to run hourly news updates before this was a common practice.

In 1965, WSPB-FM signed on at 106.3 (now WRUB at 106.5) as a full-time simulcast of the AM.  There have been many formats at 1450, ranging from Classical Music in the 1990s to Oldies later in the decade.  For part of the 1990s, the station, using the WSPB call sign, simulcast co-owned Tampa talk radio station WFLA 970 AM until 2002.  At that point, it switched to adult standards, using the WSRQ call letters beginning in 2003.

On January 3, 2014 WSDV and its simulcast sister station WDDV 1320 AM in Venice, Florida, rebranded themselves as "Sunny" and diverted from adult standards to an Oldies/Soft AC format.

On March 17, 2016 WSDV and WDDV switched to a talk radio format.

On November 1, 2017 WSDV split from its simulcast with WDDV and began stunting with Christmas music. On January 1, 2018, at midnight, the station became 103.9 Kiss FM with a Top 40/CHR format.  It is the only iHeartMedia-owned KISS-FM station on the AM band, although most of its listeners tune in the 103.9 translator to hear the station in FM stereo.

On November 11, 2022, at 5 p.m., WSDV dropped the "Kiss FM" brand for Christmas music as "103.9 Santa FM" but it returned back to Kiss FM on December 31, 2022.

References

External links

SDV
IHeartMedia radio stations
Hot adult contemporary radio stations in the United States
Radio stations established in 1939
1939 establishments in Florida


"I Was Country When Country Wasn't Cool" is a song written by Kye Fleming and Dennis Morgan, and recorded by American country music artist Barbara Mandrell. It was released in April 1981 as lead single from the album Barbara Mandrell Live.  It featured an uncredited guest appearance by country artist George Jones. The song reached number one on the U.S. Billboard Hot Country Singles chart in July 1981 and peaked at #14 on the Canadian RPM Country Tracks chart.  The song was nominated for 1981 Single of the Year by both the CMA and ACM Awards organizations.

Background and context
"I Was Country When Country Wasn't Cool" was a song produced by Tom Collins. Mandrell recorded the song as a "live" performance; but in actuality, the track was recorded in the studio with an audience applause track inserted over various sections of the song to fit into the context of the forthcoming live album. The song also featured an uncredited guest appearance on part of the chorus by country vocalist George Jones. The song was released during a period of rapid growth in the popularity of country music related to a dance-focused form of the genre called  neocountry that was popularized, in part, by the movie Urban Cowboy. In the song, the singer explains her relationship with country music as being authentic and part of long tradition, and not a part of some fad or, worse, something that's merely "cool."

I was country when country wasn't cool
I was country from my hat down to my boots
I still act and look the same
What you see ain't nothing new
I was country when country wasn't cool

The song was the first track released from Mandrell's 1981 "Live" album. Unlike the studio single version, the album version of the song was recorded during a live concert at the Roy Acuff Theater of Opryland in Nashville, Tennessee. Applause from the audience can be heard in the beginning and end of the song, as well as when Jones makes his guest performance and when Mandrell refers to Jones in the lyrics in the early part of the song.

Commercial performance
"I Was Country When Country Wasn't Cool" was released as Mandrell's second single of the year in mid 1981. The song became a major hit shortly after its release, reaching number one on the Billboard Magazine Hot Country Songs chart on July 4 of that year. George Jones was never credited as a featured vocalist on the recording charts at the time of its release. It has since been considered to be one of Mandrell's signature recordings during her career. The single helped her 1981 live album, Barbara Mandrell Live certify gold by the Recording Industry Association of America and also helped her win the Country Music Association's "Entertainer of the Year" award in 1981.

Charts

Parodies
 Dave Dudley, a country music artist of the 1960s and 1970s, recorded an answer song called "I Was Country Before Barbara Mandrell". The lyrics are a response to the then-prevalent "urban cowboy" style of country music and suggest that artists like Mandrell were cashing in on the style's popularity, all while he and fellow artists were genuinely country. The song, released later in 1982 as a double-sided single record, did not chart on the Hot Country Singles chart.
 American country music parody artist Cledus T. Judd released a parody of "I Was Country When Country Wasn't Cool" titled "I Was Country When Country Wasn't Pop" (which features Jones) on his 2003 album A Six Pack of Judd.
 Cartoonist Al Columbia alluded to the song in the title of his 1995 comic story "I Was Killing When Killing Wasn't Cool".

References

External links

1981 singles
Barbara Mandrell songs
George Jones songs
Songs written by Kye Fleming
Songs written by Dennis Morgan (songwriter)
Song recordings produced by Tom Collins (record producer)
MCA Records singles
1981 songs


William Powhida (born 1976) is an American visual artist and former art critic. Powhida's work is critical and addresses the contemporary art world.

Education
Powhida received his Master of Fine Arts in painting from Hunter College in January, 2002.

Career
Topics have included creating an "enemies" list as well as letters addressed to contemporary curators (such as Zach Feuer Gallery), collectors and critics, requesting recognition. His 2009 piece "Relational Wall" includes portraits sourced from Artforum's "Scene & Herd". He also produces portraits drawn entirely from memory.

Early career

In 2004, Powhida began compiling lists of enemies, rendering portraits of each enemy in graphite and gouache with insults written beneath each face. Few were spared from these lists, and his father is no exception, who is identified by the word "failure" under his portrait. These early works, which were in an exhibition at Platform Gallery as well as galleries in Williamsburg, display the physical evidence of the artist's toil, measured in sweat and coffee stains left on the paper.

He followed up his initial enemy lists with a Seattle Enemies List specific to the Pacific Northwest, targeting Tacoma-based artist Dale Chihuly and the Northern spotted owl among others. The 2006 exhibition at Platform gallery debuted a drawing of over 300 small head studies entitled Everyone I've ever Met from Memory (That I Can Remember), which Brooklyn Rail critic James Kalm described as a "meta-drawing" demonstrating a level of ambition and commitment to carry out the kind of stoner idea many people have but most would not actually do. The exhibition also included hex drawings of then United States president George W. Bush and New York-based gallerist Zach Feuer and a fictitious Artforum Top 10 penned by himself.

The New York magazine blog was featured in a New York magazine front cover, for Powhida's show at the Schroeder Romero Gallery (now Schroeder Romero & Shredder) in 2007. The work from his solo exhibition This Is a Work of Fiction at Schroeder Romero includes a nine-page handwritten feature that plays on a feature Ariel Levy wrote about Dash Snow for the magazine. By this time he had developed a trompe-l'œil technique, rendering pages from magazines as well as sheets of blue-lined notebook paper as if torn from real-world sources and taped to the wall. These sheets of notebook paper with lists titled "Proposals" and "Reasons" offer a comically distorted worldview that blurs the lines of fact and fiction in an ego-driven celebrity art culture.

In a 2009 drawing called "Post-Boom Odds", Powhida placed speculative bets on which young artists will matter in 10 years.

How The New Museum Committed Suicide With Banality

Powhida produced a drawing called "How the New Museum Committed Suicide with Banality" for the November 2009 cover of the Brooklyn Rail. The drawing was released in an edition of 20 prints sold by two galleries that represent Powhida, New York’s Schroeder Romero & Shredder and LA’s Charlie James.

The name of the drawing was taken from a post on James Wagner's blog. The work features caricatures of individuals involved in the controversial New Museum exhibition, including Jeff Koons as Howdy Doody, which Edward Winkleman remarked is ironic considering how much Powhida's work owes to Koons. New Museum trustee at the center of the controversy, Dakis Joannou, bought a print of Powhida’s drawing from his New York dealer for $1,500.

David W. Kiehl, curator at the Whitney Museum of American Art, said that drawings like this one, which accused the New Museum of cronyism, expose things that are undercover that people do not want to talk about.

Powhida later responded to criticism in an article published on the Art:21 blog.

Art Basel Miami Beach Hooverville
At Charlie James Gallery's booth at the Pulse Art Fair, Powhida unveiled a 40 by 60 inch drawing he and artist Jade Townsend had produced called Art Basel Miami Beach Hooverville, depicting an art world shantytown with artists, dealers, critics and curators gathering in food lines. The who's who of the art world are assembled outside the convention center in which Art Basel Miami Beach is held, and which Powhida describes as "the belly of the beast." In the bottom left corner, mega-collectors Marty Marguiles, Don Rubell, Charles Saatchi and Eli Broad place bets on a cockfight with miniature representations of Damien Hirst and Jeff Koons.

New York magazine art critic Jerry Saltz described the drawing as "a great big art world stink bomb" and a much needed institutional critique. He suggested that a museum commission Powhida to produce a one-year-long project that would result in a fifteen feet high, twenty feet wide drawing of the art world as it is today.

#class

#class was a month-long series of events at Winkleman Gallery in New York that took place between February 20 to March 20, 2010 organized by Powhida and artist Jennifer Dalton. #class invited guest artists, critics, academics, dealers, collectors and anyone else who would like to participate to examine the way art is made and seen in our culture and to identify and propose alternatives and/or reforms to the current market system.

Powhida has long collaborated with artist Jennifer Dalton, who worked with him to produce art world condolence cards for Art Basel in 2008 and co-directed a hypothetical, post-apocalyptic art gallery for Powhida's exhibition The Writing Is on the Wall.

Critical reception
In his review of Powhida's 2009 exhibition The Writing Is on the Wall, Holland Cotter of the New York Times called Powhida an "art world vigilante, virtuoso draftsman, compulsive calligrapher and fantasist autobiographer." Art critic Jerry Saltz called Powhida the second best thing to happen in 2009 in his assessment of art in New York that year, praising his drawing for the Brooklyn Rail as well as his spring exhibition at Schroeder Romero.

Critics have drawn comparisons between his art world diatribes and those of 18th and 19th century social critics and satirists William Hogarth, Honoré Daumier, Henri Meyer and Paul Iribe. Critics have also pointed out the site-specificity of his practice. For example, his 2009 exhibition at Charlie James Gallery drew on Los Angeles-based professional actors, voice talents, and film studios to produce his video "Powhida (Trailer)". Other works have investigated media portrayals of place when setting his works in New York, Seattle and Aspen, Colorado.

Damien Cave of the New York Times, who has called Powhida the "gadfly of the art establishment," has pointed out that the artist's own rising fame presents a problem for an artist who critiques the art market as feudal and celebrity obsessed. New York dealer-turned Museum of Contemporary Art director Jeffrey Deitch takes a similar stance, saying, "The irony is that by exposing art celebrity culture, he's becoming a celebrity himself... So hats off to him."

Leah Ollman of the Los Angeles Times has argued that there are two distinct voices in the artist's work, both named William Powhida, Powhida the "character" and Powhida the "author". In a 2007 interview Powhida hinted at the idea, saying, "I do a lot of writing, fiction."

Lifestyle
In the press release for This Is a Work of Fiction at Schroeder Romero, Powhida wrote, "I can't keep sitting around my studio getting drunk and yelling at my assistants forever." He arrived at the opening for that exhibition with a black eye and a cut. After viewing a set of Powhida's drawings about a night of hard drinking and bar fights, art critic James Kalm, taking the drawings at face value, offered the artist some personal advice on sobriety. Other accounts have described a more socially-responsible artist who works as a teacher at a public high-school in Brooklyn.

Publications
In 2007, Powhida collaborated with Jeff Parker on the book Back of the Line published by Decode. Regina Hackett of the Post-Intelligencer compared his facility to the "damning exactitude of a police sketch artist." During a reading of the book in Seattle, Powhida and Parker attempted to orchestrate an attack on one of his own works.

Quote
Powhida has been quoted on NPR as noting that "in one single auction, wealthy collectors bought almost a billion dollars in contemporary art at Christie's in New York." He further  commented: "If you had a 2 percent tax just on the auctions in New York you could probably double the NEA budget in two nights."

References

External links
William Powhida's website
New York Times Review for ABMB Hooverville
New York Times Review for The Writing Is on the Wall
David Joselit's review in Art Forum
review by James Kalm in The Brooklyn Rail
 Schroeder Romero press release

American contemporary painters
1976 births
Living people
20th-century American painters
American male painters
21st-century American painters
21st-century American male artists
Artists from New York (state)
Hunter College alumni
American curators
American art critics
20th-century American male artists


Mohsen Al-Garni (also Mohsen Al-Qarni) is a midfielder in Saudi Arabia.

He played for all Al Nassr FC teams: under 17, under 20, under 23, and the first team.

He was a member of the Saudi football team under 23 years during the 2008 Summer Olympics qualifications.

References

Saudi Arabian men's footballers
Living people
1985 births
Al Nassr FC players
Al Raed FC players
Al Faisaly FC players
Al-Riyadh SC players
Najran SC players
Al-Shoulla FC players
Al-Diriyah Club players
Al-Kawkab FC players
Saudi First Division League players
Saudi Pro League players
Saudi Second Division players
Men's association football midfielders


Set the Mood is the debut studio album of British singer-songwriter David Jordan. Before the release of the album, Jordan had written between 60 and 100 songs. These songs were then whittled down to 11 for the final track listing of Set the Mood.
The album was produced by Trevor Horn, who has also worked with Seal and the English dance-pop band Frankie Goes To Hollywood. "Place in My Heart" was released as Set the Mood'''s lead single on 22 October. The album was released simultaneously in the UK, France and Germany a week later. Set the Mood and Jordan received many positive reviews following the album's 29 October release. The singer was dubbed the British version of Justin Timberlake, and compared with artists such as Lenny Kravitz, Prince and Michael Jackson.

Production
Prior to recording Set the Mood, Jordan had written between 60 and 100 songs, within a four-year time period. The singer's record company then chose the best 11 songs for the album. "Sun Goes Down" was written when the musician was 16 years old. Jordan stated that the song was about the parties he and his friends held at Old Street Studios in London, and what he would see there. "It's about when the sun goes down in London, all the madness starts." The album was produced by Trevor Horn, who has also produced for Seal and the English dance-pop band Frankie Goes To Hollywood. Horn assembled the album over 18 months before the final product was created. Jordan praised the producer, stating, "He's everything people say he is; he's a genius really and I'm having a great time working with him". Jordan discovered by Horn's wife, Jill Sinclair, co-founder of ZTT Records. Initially, Jordan was not aware of who Horn was. "My reaction was, 'Who?' I'd never heard of ABC, Seal or Frankie Goes To Hollywood. I wasn't aware of Trevor's amazing track record but when I discovered who he'd been involved with I felt honoured."

Release and reception

"Place in My Heart" was released as Set the Mood's lead single on 22 October. The album was released simultaneously in the UK, France and Germany a week later. Set the Mood and Jordan received many positive reviews following the album's release. The singer was dubbed the British version of Justin Timberlake, and compared with artists such as Lenny Kravitz, Prince and Michael Jackson. The Times described the album as being "soft-rock nostalgia, with the odd nod to Justin Timberlake's crossover style". They noted that the "playground political" "Place in My Heart" was "pretty ace". Combined with the "naggingly catchy" "Move On" and the "positively Slavic" "Sun Goes Down", Set the Mood was summed up as being "enjoyably timewarped". "Love Song" was described by The Guardian as being "strikingly, struttingly Jacko-esque". Nigel Gould of The Belfast Telegraph compared the album's 1980s-style pop to Michael Jackson and the soul to British funk group Linx. The BBC declared that Set The Mood'' "works" as a soul pop album. They added that the singer "could possibly have been made in a laboratory, cloned from the DNA of Lenny Kravitz, Prince and Michael Jackson". Despite the positive reviews, Jordan insisted that his success hadn't changed him. "I still go home, make my own dinner and clean out the cat litter. I've yet to taste the trappings of pop stardom."

Track listing

Charts

Weekly charts

Year-end charts

References

2007 albums
David Jordan (singer) albums


Cornholme railway station served the village of Cornholme in West Yorkshire, England on the Copy Pit line.  The station was opened by the Lancashire and Yorkshire Railway in July 1878 (nearly thirty years after the line itself) and closed by the LMS on 26 September 1938.  The line remains in use for passenger trains between York/Leeds and Blackpool, which run non-stop between Hebden Bridge and Burnley, and also for trains between Manchester and Blackburn, via Todmorden, utilising the reinstated Todmorden Curve.

With the re-opening of the Todmorden Curve, there is now a campaign to open a station again at Cornholme. The Campaign group CRAG (Cornholme Rail Action Group) have not stated where the new station would be located.

References

External links
 Cornholme station (shown closed) on navigable 1947 O. S. map

Disused railway stations in Calderdale
Former Lancashire and Yorkshire Railway stations
Railway stations in Great Britain opened in 1878
Railway stations in Great Britain closed in 1938


William Foxley Norris  (4 February 1859 – 28 September 1937) was Dean of York between 1917 and 1925 and of Westminster from then until his death in 1937.

Born into a clerical family, he was educated at Charterhouse and Trinity College, Oxford, before taking holy orders at Leeds Clergy School. After curacies in Eton and Chatham he embarked on a career that was to take him from pastoral (Incumbencies in Oxfordshire and Yorkshire) to administrative (Diocesan Educational Inspector) posts before a steady rise up the ecclesiastical ladder. He was successively Rural Dean of Silkstone, Rector of Barnsley, and Archdeacon of Halifax. In July 1902 he was appointed an honorary Canon of Wakefield Cathedral.

He became Dean of York in 1917, serving as such until 1925 when he was appointed Dean of Westminster. An exceptionally talented artist he wrote widely on church treasures. A much respected cleric, he died on 28 September 1937 and was buried in Westminster Abbey.

His grandson was Air Chief Marshal Sir Christopher Foxley-Norris the Battle of Britain pilot who went on to have a distinguished air force career.

References

20th-century English Anglican priests
Archdeacons of Halifax
1859 births
People educated at Charterhouse School
Alumni of Trinity College, Oxford
Deans of York
Deans of Westminster
1937 deaths


The Fokker F.XXII (also called Fokker F.22) was a 1930s Dutch four-engined 22-passenger airliner designed and built by Fokker.

Development
Developed as a smaller version of the Fokker F.XXXVI the F.XXII is a high-wing cantilever monoplane with a fixed tailwheel landing gear. It was powered by four Pratt & Whitney Wasp radial piston engines mounted in the wing leading edge. The first aircraft registered PH-AJP first flew in 1935, and was followed by two production aircraft all for KLM. A fourth aircraft was built for the Swedish airline AB Aerotransport.

A version with retractable landing gear and powered by two 650 hp Gnome-Rhône 9KF engines, the F.XXIII (or F.23), was developed in 1935. The increased engine power allowed a higher weight and increased speed by , but this reduced range from  to . The heavier engines did not justify the revised performance, so the F.XXIII was never built.

Operational history
One KLM aircraft crashed in July 1935 and the other two continued in service until August 1939, when they were sold to British American Air Services and Scottish Aviation in the United Kingdom. A month later the British American Air Services aircraft was also acquired by Scottish Aviation as a navigation trainer. In October 1941, they were both impressed into service with the Royal Air Force and used as transports and crew trainers. One aircraft survived the war to be returned to Scottish Aviation who used it for services between Prestwick and Belfast until it was grounded at the end of 1947.

The Swedish aircraft, which was named Lappland, flew a regular Amsterdam–Malmo service until it was destroyed in an accident in June 1936.

Airspeed Ltd. in Great Britain arranged a license to build F.XXIIs for the British market as the Airspeed AS.16, but no orders were received.

Operators

Civil operators

KLM

AB Aerotransport

British American Air Service
Scottish Airlines
Scottish Aviation

Military operators

Royal Air Force
No. 24 Squadron RAF

Accidents and incidents
 On July 14, 1935, a KLM F.XXII (PH-AJQ, Kwikstaart) crashed on climbout from Schiphol Airport due to double engine failure, killing six of 20 on board.
 On June 9, 1936, an AB Aerotransport F.XXII (SE-ABA, Lappland) crashed at Bulltofta Airport while attempting an emergency landing following triple engine failure, killing one of 13 on board.
 On July 3, 1943, RAF F.XXII HM159 ditched at Loch Tarbert, Scotland due to an in-flight fire, killing all 20 passengers and crew on board.

Specifications (variant)

References

 The Illustrated Encyclopedia of Aircraft (Part Work 1982-1985), 1985, Orbis Publishing, Page 1895/6
 A.J. Jackson, British Civil Aircraft since 1919 Volume 2, 1974, Putnam, London, , Page 373
Taylor, H.A.. Airspeed Aircraft since 1931. Putnam. 1970. London.

1930s Dutch airliners
F 22
Aircraft first flown in 1935
Four-engined tractor aircraft
Four-engined piston aircraft


Social Network Automation refers to tools that are used to semi/automate the process of posting content to social networking and social bookmarking websites.  Tools can range from mostly manual and free to semi-automated tools which are either commercial standalone software or paid subscriptions.

Background

Social networking sites (ex: Digg, Reddit, Propeller, etc.) run on a virtuous cycle of content (stories, pictures, videos) attracting users who interact with the content (voting, commenting) and who are then inspired to provide new content (original or culled from outside sources), thereby attracting more readers, etc., etc.  (see Web 2.0)

While much of the content is submitted by so-called-casual users a significant portion of stories are created specifically for social networking sites.  These stores are generally submitted to several sites to maximize the return on investment.  (Note that the motivation need not be commercial but may be personal or political (see Ron Paul for President)

To aid people submitting stories to multiple social networking and bookmarking sites, a number of tools have been created.

Mostly-Manual Solutions

These solutions are characterized by the following common attributes:
 Standalone, web based
 Free
 Direct URL submission
 Significant breadth of sites (20 to 70) supported
 Attractive UI
 Lack of workflow
 Low levels of error reporting

Semi-Automated Solutions

These solutions are all commercial software and do not seem to have been reviewed by an independent third party. They seem to all be standalone Windows-only based systems.  They all claim to have the following features:
 username/password login
 low number of sites supported (20-30)
 semi/automated site navigation
 historical activity reporting

Miscellaneous Solutions: Buttons

Some vendors offer "buttons" that you can place under your blog posts that will automatically start the submission process for your content or which will more easily allow your readers to find and "vote" for your content on that service.  As these seem to be less about automation and more about convenience they have been separated from the automation tools.  However, there is some overlap, with some automation providers offering buttons.

Many of the social networking sites also offer buttons, the most commonly seen being, of course, Digg's Digg This badge. and OnlyWire's

Miscellaneous Solutions: Toolbars

Many social networking sites also offer toolbars (mostly for Mozilla/Firefox and Internet Explorer) which aid in use of the social sites. These toolbars also offer easier submission of articles to and voting on stories. However they seem to be more about convenience than automation, so they are separated as well. One of the best known toolbars is from StumbleUpon.

Miscellaneous Solutions: Fully Outsourced

There are a large number of firms offering fully outsourced solutions for posting content to social networking and bookmarking sites.  These are traditional consulting engagements and should be evaluated as such.

Social network analysis


Lakeland Airport , also known as Noble F. Lee Memorial Field, is a public airport near Arbor Vitae, a town in Vilas County, Wisconsin, United States. The airport is three miles (5 km) northwest of the central business district of Minocqua and northwest of Woodruff, both cities in Oneida County, just south of the Vilas County border. It is included in the Federal Aviation Administration (FAA) National Plan of Integrated Airport Systems for 2021–2025, in which it is categorized as a local general aviation facility. It is owned by the Lakeland Airport Commission.

Facilities and aircraft
Lakeland Airport covers an area of  at an elevation of 1,629 feet (497 m) above mean sea level. The airport contains two asphalt paved runways: 18/36 measuring 5,150 x 100 ft (1,570 x 30 m) with approved GPS and LOC approaches and 10/28 measuring 3,602 x 75 ft (1,098 x 23 m) with approved GPS and NDB approaches. The Arbor Vitae NDB navaid, (ARV) frequency 221 kHz, is located on the field.

For the 12-month period ending August 10, 2023, the airport had 27,190 aircraft operations, an average of 74 per day: 88% general aviation, 12% air taxi and less than 1% military. In October 2023, there were 36 aircraft based at this airport: 32 single-engine, 3 multi-engine and 1 jet.

Incidents
On May 25, 2003, at 1754 central daylight time, a Piper PA-31P Pressurized Navajo crashed and was destroyed by fire after takeoff from the airport's runway 36. All four occupants were killed.
On September 12, 2008, a Cirrus SR22 arriving from General Mitchell International Airport crashed about a half mile southwest of the airport. All three people on board died.

See also
 List of airports in Wisconsin

References

External links
Lakeland-Noble F. Lee Memorial Field (ARV) at Wisconsin Department of Transportation
Lakeland Aviation of Minocqua, Inc. (Fixed-Base Operator at Lakeland Airport, Arbor Vitae, Wisconsin) - Owner: T.A. Solberg. Manager, Angie Bishop.

Airports in Wisconsin
Buildings and structures in Vilas County, Wisconsin


Stephen Willats (born 1943 in London) is a British artist. He lives and works in London.

Stephen Willats is a pioneer of conceptual art. Since the early 1960s he has created work concerned with extending the territory in which art functions. His work has involved interdisciplinary processes and theory from sociology, systems analysis, cybernetics, semiotics and philosophy.

Works
His multi-media projects often engage visitors to participate in creative social processes. Notable projects include Multiple Clothing (1965–1998), The West London Social Resource Project (1972), and the book Art and Social Function: Three Projects (1976). Willats considers Art and Social Function as a "kind of manual or tool that would be relevant to any artist thinking of enacting different paradigms for an art intervening in the fabric of society".

His 1973 work Meta Filter consisted of pairs of participants seated at a computer, attempting to reach an agreement about the meanings of various images and statements.

Stephen Willats ran the Centre for Behavioural Art, a cross-disciplinary research and discussion platform he established at Gallery House, London, in 1972–73. The Artist as an Instigator of Changes in Social Cognition and Behaviour is a publication originally published in 1973 and re-issued in 2010 by Occasional Papers. The essay includes rigorous analyses of social forms of artistic production and descriptions of a number of projects by Willats.

He has produced a number of extended projects working with residents of public housing estates across Europe. Examples include Pat Purdy and the Glue Sniffers' Club (1981-2), The Kids are in the Street (1981-2) and Are You Good Enough for the Cha Cha Cha? (1982), about, respectively, wasteland outside the Avondale estate in West London, a skateboard park near a Brixton housing estate, and a London punk music club. For Brentford Towers (1985) Willats worked with residents to map the interiors of their homes, identifying objects holding personal significance.

His works are held in the collections of the Tate, the National Portrait Gallery, and the Henry Moore Institute.

References

External links
Tate Modern: Talks & Discussions: MULTIPLE CLOTHING: Message, Interaction, Exchange: Stephen Willats
Stephen Willats biography at Victoria Miro Gallery
Jane Kelly, Stephen Willats: Art, Ethnography and Social Change, Variant, Issue 4, Autumn 1997
Stephen Willats at Galerie Nagel, Cologne, Germany, Frieze, Issue 98, April 2006
'Control' Publication edited by Stephen Willats since 1965

1943 births
Living people
British conceptual artists
English contemporary artists


The ascending branch of medial circumflex femoral artery is a small artery in the thigh. It branches of the medial circumflex femoral artery and is distributed to the adductor muscles of the hip. It anastomoses with the obturator artery.

It also serves as an important blood supply to the head of the femur.

References

Arteries of the lower limb


The superficial branch of medial circumflex femoral artery appears between the quadratus femoris and upper border of the adductor magnus, and anastomoses with the inferior gluteal artery, lateral femoral circumflex artery, and first of the perforating arteries of the deep femoral artery (crucial anastomosis).

References

Arteries of the lower limb


The deep branch runs obliquely upward upon the tendon of the obturator externus and in front of the quadratus femoris toward the trochanteric fossa, where it anastomoses with twigs from the superior gluteal artery and inferior gluteal artery.

References

Arteries of the lower limb


The acetabular branch is an artery in the hip that arises from the medial circumflex femoral artery opposite the acetabular notch and enters the hip-joint beneath the transverse ligament in company with an articular branch from the obturator artery. It supplies the fat in the bottom of the acetabulum, and is continued along the ligament to the head of the femur.

References

Arteries of the lower limb


The Slovene lands or Slovenian lands ( or in short ) is the historical denomination for the territories in Central and Southern Europe where people primarily spoke Slovene. The Slovene lands were part of the Illyrian provinces, the Austrian Empire and Austria-Hungary (in Cisleithania). They encompassed Carniola, southern part of Carinthia, southern part of Styria, Istria, Gorizia and Gradisca, Trieste, and Prekmurje. Their territory more or less corresponds to modern Slovenia and the adjacent territories in Italy, Austria, Hungary, and Croatia, where autochthonous Slovene minorities live. In the areas where present-day Slovenia borders to neighboring countries, they were never homogeneously ethnically Slovene.

Terminology
Like the Slovaks, the Slovenes preserve the self-designation of the early Slavs as their ethnonym. The term  Slovenia ("Slovenija") was not in use prior to the early 19th century, when it was coined for political purposes by the Slovene romantic nationalists, most probably by some pupils of the linguist Jernej Kopitar. It started to be used only from the 1840s on, when the quest for a politically autonomous United Slovenia within the Austrian Empire was first advanced during the Spring of Nations. "Slovenia" became a  de facto     distinctive administrative and political entity for the first time in 1918, with the unilateral declaration of the  State of Slovenes, Croats and Serbs, that Slovenia.

Although Slovenia did not exist as an autonomous administrative unit between 1921 and 1941, the Drava Banovina of the Kingdom of Yugoslavia was frequently called simply "Slovenia", even in some official documents.

Consequently, most Slovene scholars prefer to refer to the "Slovene lands" in English rather than "Slovenia" to describe the territory of modern Slovenia and neighbouring areas in earlier times. The use of the English term "Slovenia" is generally considered by Slovene scholars to be anachronistic due to its modern origin.

Geographical extension

In the 19th century, the territories regarded as part of the Slovene lands were:

Carniola
southern Carinthia
Lower Styria
Slovene March in the Vas county of the Kingdom of Hungary, and the adjacent zones of the Zala county (Beltinci, Turnišče, Velika Polana, Kobilje)
 Jennersdorf in the Kingdom of Hungary (now in Burgenland, Austria);
 most of the County of Gorizia and Gradisca, except for the lowlands south-west of Gradisca and Cormons, which were already part of historical Friuli
 the Imperial Free City of Trieste, a city in modern Italy
 northern Istria, in the modern municipalities of Koper, Izola, Piran, Hrpelje-Kozina, Muggia and Dolina
 Venetian Slovenia (Italian: Slavia Vèneta), until 1797 part of the Republic of Venice, later Kingdom of Lombardy–Venetia

The Žumberak and the area around Čabar, which today belong to Croatia, were long part of the Duchy of Carniola, and thus generally regarded as part of the Slovene lands, especially prior to the emergence of Romantic nationalism in the 19th century, when the exact ethnic border between Slovenes and Croats had not yet been specified.

Not all of the territories referred to as the "Slovene lands" have always had a Slovene-speaking majority. Several towns, especially in Lower Styria, maintained a German-speaking majority until the late 1910s, most notably Maribor, Celje and Ptuj. The area around Kočevje in Lower Carniola, known as the Gottschee County, had a predominantly German-speaking population between the 14th century and 1941 when they were resettled in an agreement between Nazi German and Fascist Italian occupation forces. A similar German "linguistic island" within an ethnically Slovene territory existed in what is now the Italian comune of Tarvisio, but used to belong to the Duchy of Carinthia until 1919. The city of Trieste, whose municipal territory has been regarded by Slovenes to be an integral part of the Slovene lands, has always had a Romance-speaking majority (first Friulian, then Venetian and Italian). A similar case is that of the town of Gorizia, which served as a major religious center of the Slovene lands for centuries, but was inhabited by a mixed Italian-Slovene-Friulian-German population. The towns of Koper, Izola and Piran, surrounded by an ethnically Slovene population, were inhabited almost exclusively by Venetian-speaking Italians until the Istrian–Dalmatian exodus in the late 1940s and 1950s, as were large areas of the comune of Muggia. In southern Carinthia, a process of Germanization started by the end of the 1840s, creating several German-speaking areas within what had previously been a compact Slovene territory. Since the late 1950s, most of southern Carinthia has had a German-speaking majority, with the local Slovene minority living in a scattered pattern throughout the area.

On the other hand, other areas with historically important Slovene communities, such as the Croatian cities of Rijeka and Zagreb, as well as the Slovene villages in the Somogy county of Hungary (the Somogy Slovenes), were never regarded to be part of the Slovene lands. The same goes for the Slovene communities in south-west Friuli (in the villages of Gradisca, Gradiscutta, Gorizzo, Goricizza, Lestizza, and Belgrado in the lower Tagliamento area) which extinguished themselves by the end of the 16th century.

See also

History of Slovenia
Carinthian Slovenes
Hungarian Slovenes
Slavia Friulana (Beneška Slovenija)
Slovene minority in Italy (1920–1947)

References

Further reading
Bogo Grafenauer, Slovensko narodno vprašanje in slovenski zgodovinski položaj (Ljubljana: Slovenska matica, 1987)
Josip Gruden & Josip Mal, Zgodovina slovenskega naroda I.-II. (Celje: Mohorjeva družba, 1992-1993)
Janko Prunk, A brief history of Slovenia: Historical background of the Republic of Slovenia (Ljubljana: Mihelač, 1994)

External links
 Peter Kozler's 1853 map of the Slovene lands on Geopedia

Former states and territories in Slovenia
Geography of Europe
Cultural history of Slovenia
Political history of Slovenia