Sir Nigel Martyn Carrington is a British lawyer and academic leader who served as Vice-Chancellor of University of the Arts London between 2008 and 2020.

Education
Carrington studied at Brighton College, a boarding independent school for boys (now co-educational) in the city of Brighton and Hove in East Sussex in southern England (1969–1974), before going to St John's College, Oxford, where he graduated with a law degree in 1978.

Career

Baker McKenzie
He worked as an international lawyer with Baker McKenzie from 1979 to 2000. He was appointed Managing Partner of the London office at the age of 38, and was also a Member of the firm’s International Executive Committee, and Chairman of its European and Middle East Regional Council.

McLaren Group
In 2000, he joined the McLaren Group as Managing Director, becoming Deputy Chairman in 2005, when he undertook a Graduate Diploma in the History of Art at the Courtauld Institute and became a non-executive director of companies, charities and organisations in the public sector.

University of the Arts London
In September 2008 he became Vice-Chancellor of University of the Arts London.

As Vice-Chancellor and Chief Executive, he had overall responsibility for the executive management of the University and chaired the University’s Executive and Academic Boards. He stepped down in December 2020.

During his tenure at the University, which has an annual budget in excess of £250 million, he managed a number of strategic projects including the University’s £200m capital development of the Central Saint Martins campus at King’s Cross and the £69m Camberwell College of Arts redevelopment project, which officially launched on 5 March 2018.

He has commented publicly on a number of issues affecting Higher Education and the creative industries. These include the importance of studying in the EU, universities’ expansion in the uncapped student numbers environment, tuition fees, student visas, and the impact of Government policy on the design industry. He has also written for the Higher Education Policy Institute arguing that a structural deficit has emerged in higher education across creative subjects because of the expense of teaching art and design subjects.

He has also appeared before the All Party Parliamentary Group (APPG) on Art, Craft & Design in Education.

He was knighted in the Queen's Birthday Honours 2019 for services to higher education and the creative industries.

Carrington was knighted in the 2019 Birthday Honours for services to higher education and the creative industries.

Boards and committees
He is Chairman of the Henry Moore Foundation, former Chair of the Board of Advance HE, a Director of the Creative Industries Federation, a Trustee of The English Concert, a trustee of Cass Sculpture Foundation, chair of trustees at Burgh House & Hampstead Museum from 2017 and a member of the Board at Universities UK. Previous positions held include Non-Executive Director of University College London Hospitals NHS Foundation Trust (2005–2008), Trustee of Crisis (2005–2011) Trustee of Independent Opera (2006–2010),  Trustee and Chairman of Jeans for Genes (2006–2008), a Governor of North London Collegiate School, (2007–2015), non-executive director of Hornby plc (2007–2014) and a Governor of International Students House (2009-2017).

References

External links

Year of birth missing (living people)
Living people
British solicitors
People associated with the University of the Arts London
Alumni of St John's College, Oxford
Alumni of the Courtauld Institute of Art
People associated with Baker McKenzie
Knights Bachelor
Lawyers awarded knighthoods


A maritime disaster is an event which usually involves a ship or ships and can involve military action. Because of the nature of maritime travel, there is often a substantial loss of life. The term maritime disaster can refer to both commercial ships and military naval ships. A maritime disaster can result in one or more of the following simultaneously;
Loss of life
Pollution of marine environment (in case of oil spill, foul discharge of materials, sulphur emitted from fuels, etc.)
Degradation of the aquatic ecosystem
Economical loss at a grand scale
Destruction of onshore properties (accidents at harbor are not only limited to the vessels but also damage the nearest lands)
There are countless incidents reported on marine disasters.

The sinking of the British ocean liner  in 1912, with over 1,500 fatalities, is probably the most famous shipwreck, but not the biggest in terms of lives lost. The wartime sinking of the German  in January 1945 in World War II by a Soviet Navy submarine, with an estimated loss of about 9,400 people, remains the deadliest isolated maritime disaster ever, excluding such events as the destruction of entire fleets like the 1274 and 1281 storms that are said to have devastated Kublai Khan's fleets in his invasions of Japan. The 1987 loss of the Philippine ferry , with an estimated 4,386 dead, is the largest peacetime loss recorded.

Peacetime
Many maritime disasters happen outside the realms of war. All ships, including those of the military, are vulnerable to problems from weather conditions, faulty design or human error. Some of the disasters below occurred in periods of conflict, although their losses were unrelated to any military action. The table listings are in descending order with respect to the number of casualties suffered.

In 1972, the British liner SS Queen Elizabeth caught fire and sank, just a short distance from Kowloon.

Wartime
Disasters with high losses of life can occur in times of armed conflict. Shown below are some of the known events with major losses.

Russo-Japanese War

World War I

 See List of maritime disasters in World War I

Spanish Civil War

World War II

 See List of maritime disasters in World War II

There are at least eight maritime disasters during WWII, each of which has a greater death toll than any other maritime disaster.

Second Chinese Civil War

Six-Day War

Indo-Pakistani War of 1971

Falklands War

Iran-Iraq War

See also
 List of maritime disasters
 List of maritime disasters in the 18th century
 List of maritime disasters in the 19th century
 List of maritime disasters in World War I
 List of maritime disasters in World War II
 List of maritime disasters in the 21st century
 Shipwreck
 Lists of shipwrecks
 List of disasters
 List of accidents and disasters by death toll
 List by death toll of ships sunk by submarines
 List of RORO vessel accidents

References

External links
 WRECKSITE Worldwide free database of + 65.000 ships wrecked with history, maritime charts and GPS positions
 Titanic Facts The life and loss of the RMS Titanic, in numbers
 G. Duncan. Maritime disasters of World War 2
 World sea disasters timeline, 21st century
 Notable peacetime passenger ship disasters

20th century-related lists
Lists of shipwrecks


Cetyl myristoleate is a fatty acid ester or, more specifically, a cetylated fatty acid (CFA).  It is the cetyl ester of myristoleic acid. Preclinical and clinical data show potential benefits in the management of arthritis and fibromyalgia.

History
Cetyl myristoleate was isolated for the first time by Dr. Harry Diehl at the Laboratory of Chemistry of the National Institute of Arthritis, Metabolic, and Digestive Diseases in Bethesda, Maryland. Dr. Diehl had tried to unsuccessfully induce polyarthritis in Swiss albino mice using Freund's adjuvant (heat-killed desiccated Mycobacterium butyricum) but realized that they were immune. Further investigation revealed that cetyl myristoleate was what was causing the mice to be immune to becoming arthritic. The compound was isolated and identified using thin layer chromatography. In order to validate his theory that cetyl myristoleate could prevent arthritis in rodents, Diehl injected two groups of rats with the arthritis-inducing Freund’s adjuvant. After 20 days, both groups had no visible sign of arthritis. Then, a group was re-injected with the adjuvant while the other group received an injection of cetyl myristoleate followed by an injection of the adjuvant 48 hours later. After 58 days of observation, the rats that had not received cetyl myristoleate injections had developed swelling, had grown on average 5.17 times less than the other group and were lethargic. On the other hand, the rats who received cetyl myristoleate injections were healthy and growing at a normal rate. The findings were first published in 1994 in the peer-reviewed American Journal of Pharmaceutical Sciences.

Synthesis
Cetyl myristoleate has been prepared by an esterification reaction between myristoleic acid and cetyl alcohol, catalyzed by p-toluenesulfonic acid monohydrate.

Animal pharmacology
In animal studies, cetyl myristoleate was first reported to block inflammation and prevent adjuvant-induced arthritis at very high doses in rats. In follow-up studies in mice, a modest anti-inflammatory effect was observed.

Studies in humans
In 1997, a prospective randomized study conducted by H. Siemandi showed that after 32 weeks of observation, cetyl myristoleate had clearly superior efficacy in terms of reducing the frequency of arthritic episodes when compared to control groups of patients who received a mixture of natural compounds or a placebo.

Although cetyl myristoleate is sold as a dietary supplement, its possible benefits in the treatment of any medical condition are not completely established and the Federal Trade Commission has taken legal action against supplement manufacturers for inaccurate claims.

There is some clinical evidence for the benefits of CFAs, which may contain cetyl myristoleate, in arthritic patients. One pilot study found that cetyl myristoleate may be beneficial against fibromyalgia, and there have been other studies. However, these low-quality clinical trials provide only limited scientific evidence of efficacy.

Mechanism of Action
Although not fully established, the most likely mechanism of action of cetyl myristoleate is the decrease of production of prostaglandins and leukotrienes through the inhibition of the lipoxygenase and cyclooxygenase pathways of arachidonic acid metabolism.

References

Dietary supplements
Fatty acid esters


The design of photographic lenses for use in still or cine cameras is intended to produce a lens that yields the most acceptable rendition of the subject being photographed within a range of constraints that include cost, weight and materials. For many other optical devices such as telescopes, microscopes and theodolites where the visual image is observed but often not recorded the design can often be significantly simpler than is the case in a camera where every image is captured on film or image sensor and can be subject to detailed scrutiny at a later stage. Photographic lenses also include those used in enlargers and projectors.

Design

Design requirements

From the perspective of the photographer, the ability of a lens to capture sufficient light so that the camera can operate over a wide range of lighting conditions is important. Designing a lens that reproduces colour accurately is also important as is the production of an evenly lit and sharp image over the whole of the film or sensor plane.

For the lens designer, achieving these objectives will also involve ensuring that internal flare, optical  aberrations and weight are all reduced to the minimum whilst zoom, focus and aperture functions all operate smoothly and predictably.

However, because photographic films and electronic sensors have a finite and measurable resolution, photographic lenses are not always designed for maximum possible resolution since the recording medium would not be able to record the level of detail that the lens could resolve. For this, and many other reasons, camera lenses are unsuited  for use as projector or enlarger lenses.

The design of a fixed focal length lens (also known as prime lenses) presents fewer challenges than the design of a zoom lens. A high-quality prime lens whose focal length is about equal to the diameter of the film frame or sensor may be constructed from as few as four separate lens elements, often as pairs on either side of the aperture diaphragm. Good examples include the Zeiss Tessar or the Leitz Elmar.

Design constraints
To be useful in photography any lens must be able to fit the camera for which it is intended and this will physically limit the size where the bayonet mounting or screw mounting is to be located.

Photography is a highly competitive commercial business and both weight and cost constrain the production of lenses.

Refractive materials such as glass have physical limitations which limit the performance of lenses. In particular the range of refractive indices available in commercial glasses span a very narrow range. Since it is the refractive index that determines how much the rays of light are bent at each interface and since it is the differences in refractive indices in paired plus and minus lenses that constrains the ability to minimise chromatic aberrations, having only a narrow spectrum of indices is a major design constraint.

Lens elements

Except for the most simple and inexpensive lenses, each complete lens is made up from a number of separate lens elements arranged along a common axis. The use of many lens elements serves to minimise aberrations and to provide a sharp image free from visible distortions. To do this requires lens elements of different compositions and different shapes. To minimise chromatic aberrations, e.g., in which different wavelengths of light are refracted to different degrees, requires, at a minimum, a doublet of lens elements with a positive element having a high Abbe number matched with a negative element of lower Abbe number. With this design one can achieve a good degree of convergence of different wavelengths in the visible spectrum. Most lens designs do not attempt to bring infrared wavelengths to the same common focus and it is therefore necessary to manually alter the focus when photographing in infrared light. Other kinds of aberrations such as coma or astigmatism can also be minimized by careful choice of curvature of the lens faces for all the component elements. Complex photographic lenses can consist of more than 15 lens elements.

Most lens elements are made with curved surfaces with a spherical profile. That is, the curved shape would fit on the surface of a sphere. This is partly to do with the history of lens making but also because grinding and manufacturing of spherical surface lenses is relatively simple and cheap. However, spherical surfaces also give rise to lens aberrations and can lead to complicated lens designs of great size. Higher-quality lenses with fewer elements and lower size can be achieved by using aspheric lenses in which the curved surfaces are not spherical, giving more degrees of freedom to correct aberrations.

Lens glass

The majority of photographic lenses have the lens elements made from glass although the use of high-quality plastics is becoming more common in high-quality lenses and has been common in inexpensive cameras for some time. The design of photographic lenses is very demanding as designers push the limits of existing materials to make more versatile, better-quality, and lighter lenses. As a consequence many exotic glasses have been used in modern lens manufacturing. Caesium and lanthanum glass lenses are now in use because of their high refractive index and very low dispersion properties. It is also likely that a number of other transition element glasses are in use but manufacturers often prefer to keep their material specification secret to retain a commercial or performance edge over competitors.

Focus

Until recent years, focusing of a camera lens to achieve a sharp image on the film plane was achieved by means of a very shallow helical thread in the lens mount through which the lens could be rotated, moving it closer or further from the film plane. This arrangement, while simple to design and construct, has some limitations, not least the rotation of the greater part of the lens assembly including the front element. This could be problematic if devices such as polarising filters are used that require accurate rotational orientation irrespective of focus distance.

Later developments adopted designs in which internal elements were moved to achieve focus without affecting the outer barrel of the lens or the orientation of the front element.

Many modern cameras now use automatic focusing mechanisms which use ultrasonic motors to move internal elements in the lens to achieve optimum focus.

Aperture control

The aperture control, usually a multi-leaf diaphragm, is critical to the performance of a lens. The role of the aperture is to control the amount of light passing through the lens to the film or sensor plane. An aperture placed outside of the lens, as in the case of some Victorian cameras, risks vignetting of the image in which the corners of the image are darker than the centre. A diaphragm too close to the image plane risks the diaphragm itself being recorded as a circular shape or at the very least causing diffraction patterns at small apertures. In most lens designs the aperture is positioned about midway between the front surface of the objective and the image plane. In some zoom lenses it is placed some distance away from the ideal location in order to accommodate the movement of floating lens elements needed to perform the zoom function.

Most modern lenses for 35mm format rarely provide a stop smaller than f/22 because of the diffraction effects caused by light passing through a very small aperture. As diffraction is based on aperture width in absolute terms rather than the f-stop ratio, lenses for very small formats common in compact cameras rarely go above f/11 (1/1.8") or f/8 (1/2.5"), while lenses for medium- and large-format provide f/64 or f/128.

Very-large-aperture lenses designed to be useful in very low light conditions with apertures ranging from f/1.2 to f/0.9 are generally restricted to lenses of standard focal length because of the size and weight problems that would be encountered in telephoto lenses and the difficulty of building a very wide aperture wide angle lens with the refractive materials currently available. Very-large-aperture lenses are commonly made for other types of optical instruments such as microscopes but in such cases the diameter of the lens is very small and weight is not an issue.

Many very early cameras had diaphragms external to the lens often consisting of a rotating circular plate with a number of holes of increasing size drilled through the plate. Rotating the plate would bring an appropriate sized hole in front of the lens. All modern lenses use a multi-leaf diaphragm so that at the central intersection of the leaves a more or less circular aperture is formed. Either a manual ring, or an electronic motor controls the angle of the diaphragm leaves and thus the size of the opening.

The placement of the diaphragm within the lens structure is constrained by the need to achieve even illumination over the whole film plane at all apertures and the requirement to not interfere with the movement of any movable lens element. Typically the diaphragm is situated at about the level of the optical centre of the lens.

Shutter mechanism

A shutter controls the length of time light is allowed to pass through the lens onto the film plane. For any given light intensity, the more sensitive the film or detector or the wider the aperture the shorter the exposure time need to be to maintain the optimal exposure.
In the earliest cameras, exposures were controlled by moving a rotating plate from in front of the lens and then replacing it. Such a mechanism only works effectively for exposures of several seconds or more and carries a considerable risk of inducing camera shake. By the end of the 19th century spring tensioned shutter mechanisms were in use operated by a lever or by a cable release. Some simple shutters continued to be placed in front of the lens but most were incorporated within the lens mount itself.
Such lenses with integral shutter mechanisms developed in the current Compur shutter as used in many non-reflex cameras such as Linhof. These shutters have a number of metal leaves that spring open and then close after a pre-determined interval. The material and design constraints limit the shortest speed to about 0.002 second. Although such shutters cannot yield as short an exposure time as focal-plane shutter they are able to offer flash synchronisation at all speeds.

Incorporating a commercial made Compur type shutter required lens designers to accommodate the width of the shutter mechanism in the lens mount and provide for the means of triggering the shutter on the lens barrel or transferring this to the camera body by a series of levers as in the Minolta twin-lens cameras.

The need to accommodate the shutter mechanism within the lens barrel limited the design of wide-angle lenses and it was not until the widespread use of focal-plane shutters that extreme wide-angle lenses were developed.

Types of lenses

The type of lens being designed is significant in setting the key parameters.
Prime lens -  a photographic lens whose focal length is fixed, as opposed to a zoom lens, or that is the primary lens in a combination lens system.
Zoom lenses - variable focal length lenses. Zoom lenses cover a range of focal lengths by utilising movable elements within the barrel of the lens assembly. In early varifocal lens lenses, the focus also shifted as the lens focal length was changed. Varifocal lenses are also used in many modern autofocus cameras as the lenses are cheaper and simpler to construct and the autofocus can take care of the re-focussing requirements. Many modern zoom lenses are now confocal, meaning that the focus is maintained throughout the zoom range. Because of the need to operate over a range of focal lengths and maintain confocality, zoom lenses typically have very many lens elements. More significantly, the front elements of the lens will always be a compromise in terms of its size, light-gathering capability and the angle of incidence of the incoming rays of light. For all these reasons, the optical performance of zoom lenses tends to be lower than fixed-focal-length lenses.
Normal lens - a lens with a focal length about equal to the diagonal size of the film or sensor format, or that reproduces perspective that generally looks "normal" to a human observer.

Wide angle lens - a lens that reproduces perspective that generally looks "wider" than a normal lens. The problem posed by the design of wide-angle lenses is to bring to an accurate focus light from a wide area without causing internal flare. Wide-angle lenses therefore tend to have more elements than a normal lens to help refract the light sufficiently and still minimise aberrations whilst adding light-trapping baffles between each lens element.

Extreme or ultra-wide-angle lens - a wide-angle lens with an angle of view above 90 degrees. Extreme-wide-angle lenses share the same issues as ordinary wide-angle lenses but the focal length of such lenses may be so short that there is insufficient physical space in front of the film or sensor plane to construct a lens. This problem is resolved by constructing the lens as an inverted telephoto, or retrofocus with the front element having a very short focal length, often with a highly exaggerated convex front surface and behind it a strongly negative lens grouping that extends the cone of focused rays so that they can be brought to focus at a reasonable distance.

Fisheye lens - an extreme wide-angle lens with a strongly convex front element. Spherical aberration is usually pronounced and sometimes enhanced for special effect. Optically designed as a reverse telephoto to enable the lens to fit into a standard mount as the focal length can be less than the distance from lens mount to focal plane.
Long-focus lens - a lens with a focal length greater than the diagonal of the film frame or sensor. Long focus lenses are relatively simple to design, the challenges being comparable to the design of a prime lens. However, as the focal length increases the length of the lens and the size of the objective increase in size and length and weight quickly become significant design issues in retaining utility and practicality for the lens in use. In addition because the light path through the lens is long and glancing, the importance of baffles to control flare increases in importance.
Telephoto lens - an optically compressed version of the long-focus lens. The design of telephoto lenses reduces some of the problems encountered by designers of long-focus lenses. In particular, telephoto lenses are typically much shorter and may be lighter for equivalent focal length and aperture. However telephoto designs increase the number of lens elements and can introduce flare and exacerbate some optical aberrations.
Catadioptric lens - catadioptric lenses are a form of telephoto lens but with a light path that doubles back on itself and with an objective that is a mirror combined with some form of aberration correcting lens (a catadioptric system) rather than just a lens. A centrally-placed secondary mirror and usually an additional small lens group bring the light to focus. Such lenses are very lightweight and can easily deliver very long focal lengths but they can only deliver a fixed aperture and have none of the benefits of being able to stop down the aperture to increase depth of field.
Anamorphic lenses are used principally in cinematography to produce wide-screen films where the projected image has a substantially different ratio of height to width than the image recorded on the film plane. This is achieved by the use of a specialised lens design which compresses the image laterally at the recording stage and the film is then projected through a similar lens in the cinema to recreate the wide-screen effect. Although in some cases the anamorphic effect is achieved by using an anamorphising attachment as a supplementary element on the front of a normal lens, most films shot in anamorphic formats use specially designed anamorphic lenses, such as the Hawk lenses made by Vantage Film or Panavision's anamorphic lenses. These lenses incorporate one or more aspheric elements in their design.
Periscope lens - uses a prism or mirror to redirect the light through the lenses with a 90° angle to the optical axis, like the half of a periscope.

Enlarger lenses
Lenses used in photographic enlargers are required to focus light passing through a relatively small film area on a larger area of photographic paper or film. Requirements for such lenses include
the ability to record even illumination over the whole field
to record fine detail present in the film being enlarged
to withstand frequent cycles of heating and cooling as the illumination lamp is turned on and off
to be able to be operated in the dark - usually by means of click stops and some luminous controls

The design of the lens is required to work effectively with light passing from near focus to far focus - exactly the reverse of a camera lens. This demands that internal light baffling within the lens is designed differently and that the individual lens elements are designed to maximize performance for this change of direction of incident light.

Projector lenses
Projector lenses share many of the design constraints as enlarger lenses but with some critical differences. Projector lenses are always used at full aperture and must produce an acceptably illuminated and acceptably sharp image at full aperture.

However, because projected images are almost always viewed at some distance, lack of very fine focus and slight unevenness of illumination is often acceptable. Projector lenses have to be very tolerant of prolonged high temperatures from the projector lamp and frequently have a focal length much longer than the taking lens. This allows the lens to be positioned at a greater distance from the illuminated film and allows an acceptable sized image with the projector some distance from the screen. It also permits the lens to be mounted in a relatively coarsely threaded focusing mount so that the projectionist can quickly correct any focusing errors.

History

The lenses of the very earliest cameras were simple meniscus or simple bi convex lenses. It was not until 1840 that Chevalier in France introduced the achromatic lens formed by cementing a crown glass bi-convex lens to a flint glass plano-concave lens.
By 1841 Voigtländer using the design of Joseph Petzval  manufactured the first commercially successful two element lens.

Carl Zeiss was an entrepreneur who needed a competent designer to take his firm beyond just another optical workshop. In 1866, the service of Dr Ernst Abbe was enlisted. From then on novel products appeared in rapid succession which brought the Zeiss company to the forefront of optical technology.

Abbe was instrumental in the development of the famous Jena optical glass. When he was trying to eliminate astigmatism from microscopes, he realised that the range of optical glasses available was insufficient. After some calculations, he realised that performance of optical instruments would dramatically improve, if optical glasses of appropriate properties were available. His challenge to glass manufacturers was finally answered by Dr Otto Schott, who established the famous glassworks at Jena from which new types of optical glass began to appear from 1888, and employed by Zeiss and other makers.

The new Jena optical glass also opened up the possibility of increased performance of photographic lenses. The first use of Jena glass in a photographic lens was by Voigtländer, but as the lens was an old design its performance was not greatly improved. Subsequently, the new glasses would demonstrate their value in correcting  astigmatism, and in the production of  achromatic and apochromatic lenses. Abbé started the design of a photographic lens of symmetrical design with five elements, but went no further.

Zeiss' innovative photographic lens design was due to Dr Paul Rudolph. In 1890, Rudolph designed an asymmetrical lens with a cemented group at each side of the diaphragm, and appropriately named "Anastigmat". This lens was made in three series: Series III, IV and V, with maximum apertures of f/7.2, f/12.5, and f/18 respectively. In 1891, Series I, II and IIIa appeared with respective maximum apertures of f/4.5, f/6.3, and f/9 and in 1893 came Series IIa of f/8 maximum aperture. These lenses are now better known by the trademark "Protar" which was first used in 1900.

At the time, single combination lenses, which occupy one side of the diaphragm only, were still popular. Rudolph designed one with three cemented elements in 1893, with the option of fitting two of them together in a lens barrel as a compound lens, but it was found to be the same as the Dagor by C.P. Goerz, designed by Emil von Höegh. Rudolph then came up with a single combination with four cemented elements, which can be considered as having all the elements of the Protar stuck together in one piece. Marketed in 1894, it was called the Protarlinse Series VII, the most highly corrected single combination lens with maximum apertures between f/11 and f/12.5, depending on its focal length.

But the important thing about this Protarlinse is that two of these lens units can be mounted in the same lens barrel to form a compound lens of even greater performance and larger aperture, between f/6.3 and f/7.7. In this configuration it was called the Double Protar Series VIIa. An immense range of focal lengths can thus be obtained by the various combination of Protarlinse units.

Rudolph also investigated the Double-Gauss concept of a symmetrical design with thin positive menisci enclosing negative elements. The result was the Planar Series Ia of 1896, with maximum apertures up to f/3.5, one of the fastest lenses of its time. Whilst it was very sharp, it suffered from coma which limited its popularity. However, further developments of this configuration made it the design of choice for high-speed lenses of standard coverage.

Probably inspired by the Stigmatic lenses designed by Hugh Aldis for Dallmeyer of London, Rudolph designed a new asymmetrical lens with four thin elements, the Unar Series Ib, with apertures up to f/4.5. Due to its high speed it was used extensively on hand cameras.

The most important Zeiss lens by Rudolph was the Tessar, first sold in 1902 in its Series IIb f/6.3 form. It can be said as a combination of the front half of the Unar with the rear half of the Protar. This proved to be a most valuable and flexible design, with tremendous development potential. Its maximum aperture was increased to f/4.7 in 1917, and reached f/2.7 in 1930. It is probable that every lens manufacturer has produced lenses of the Tessar configuration.

Rudolph left Zeiss after the First World War, but many other competent designers such as Merté, Wandersleb, etc. kept the firm at the leading edge of photographic lens innovations. One of the most significant designer was the ex-Ernemann man Dr Ludwig Bertele, famed for his Ernostar high-speed lens.

With the advent of the Contax by Zeiss-Ikon, the first serious challenge to the Leica in the field of professional 35 mm cameras, both Zeiss-Ikon and Carl Zeiss decided to beat the Leica in every possible way. Bertele's Sonnar series of lenses designed for the Contax were the match in every respect for the Leica for at least two decades. Other lenses for the Contax included the Biotar, Biogon, Orthometar, and various Tessars and Triotars.

The last important Zeiss innovation before the Second World War was the technique of applying anti-reflective coating to lens surfaces invented by Olexander Smakula in 1935. A lens so treated was marked with a red "T", short for "Transparent". The technique of applying multiple layers of coating was also described in the original patent writings in 1935.

After the partitioning of Germany, a new Carl Zeiss optical company was established in Oberkochen, while the original Zeiss firm in Jena continued to operate. At first both firms produced very similar lines of products, and extensively cooperated in product-sharing, but they drifted apart as time progressed. Jena's new direction was to concentrate on developing lenses for the 35 mm single-lens reflex camera, and many achievements were made, especially in ultra-wide angle designs. In addition to that, Oberkochen also worked on designing lenses for large format cameras, interchangeable front element lenses such as for the 35 mm single-lens reflex Contaflex, and other types of cameras.

Since the beginning of Zeiss as a photographic lens manufacturer, it has had a licensing programme which allows other manufacturers to produce its lenses. Over the years its licensees included Voigtländer, Bausch & Lomb, Ross, Koristka, Krauss, Kodak. etc. In the 1970s, the western operation of Zeiss-Ikon got together with Yashica to produce the new Contax cameras, and many of the Zeiss lenses for this camera, among others, were produced by Yashica's optical arm, Tomioka. Yashica's owner Kyocera ended camera production in 2006. Yashica lenses were then made by Cosina, who also manufactured most of the new Zeiss designs for the new Zeiss Ikon coupled rangefinder camera. Another licensee active today is Sony who uses the Zeiss name on lenses on its video and digital still cameras.

See also
 Camera lens

References

Industrial design
Photographic lenses


Major Frank G. Robinson was a Canadian ice hockey executive and soldier from Montreal. He was an owner of the Toronto Blueshirts ice hockey team and later, president of the National Hockey Association (NHA), a predecessor organization of the National Hockey League (NHL).

National Hockey Association

In 1911, Robinson, Toronto businessman Percy Quinn and other investors purchased an NHA franchise from Ambrose O'Brien, founder of the NHA. In 1912–13, the team, the Toronto Professional Hockey Club, or Toronto Blueshirts as they were nicknamed took to the ice. In 1913–14, the club won the NHA championship and the Stanley Cup. In 1916, Quinn and Robinson sold the franchise to Eddie Livingstone, the Toronto Ontarios/Shamrocks owner.

Robinson was elected president of the NHA after the resignation of Emmett Quinn in October 1916. Despite being re-elected in October, 1917 for a second term, Robinson would only serve as president of the league for one year. During his term, bickering between team owners led to the suspension of the Toronto franchise and its players taken by the other franchises. Robinson opposed the moves of the owners and resigned due to his position being ineffective.

References

Notes

Toronto Blueshirts
Year of birth missing
Year of death missing
National Hockey Association


Corinna Halke-Teichmann (born 9 July 1957 in Dortmund) is a German former pair skater and current sport journalist.

With partner  Eberhard Rausch, she is the 1974–1976 German national champion. They competed five times at the European Figure Skating Championships and the World Figure Skating Championships. They placed 10th at the 1972 Winter Olympics and 8th at the 1976 Winter Olympics.

After retirement from competitive skating in 1981, she became sport journalist. She has worked for the Bayerischen Rundfunk and for the German TV-station ARD since 1984.

She is married. The couple has one child.

Competitive highlights
(with Eberhard Rausch)

References
 ARD profile
 ISU statistics

1957 births
Sportspeople from Dortmund
German female pair skaters
Olympic figure skaters for West Germany
Figure skaters at the 1972 Winter Olympics
Figure skaters at the 1976 Winter Olympics
Living people
20th-century German women
21st-century German women


Harold O'Neil is an American psychologist.

Career
His interest in technology began at Florida State University, where, in the late 1960s, he obtained his degree in experimental psychology, conducting research in their computer-assisted instruction laboratory. He moved to the University of Texas at Austin, where he co-directed their computer-assisted instruction lab and attained tenure. In 1975, O'Neil was recruited to join the Defense Advanced Research Projects Agency (DARPA), where he ran a program on computer-based learning, including PLATO IV (the state-of-the-art computer-assisted instruction system with "600 terminals online at the same time").

From 1978 to 1985, O'Neil served in various roles at the US Army Research Institute for Behavioral and Social Sciences (ARI). As Director of the Training Research Laboratory, he managed an in-house staff of 200 and contract R&D program. He was a member of the Senior Executive Service (less than .01% of U.S. Army civilian personnel held this status). His research program emphasized technology development and included interactive technologies, simulation-based training systems, and intelligent tutoring systems as well as the Job Skills Education Program, a computer-based basic skills program. His emphasis was on R&D that could be implemented in Army education and training.

In the mid-1980s, O'Neil left government service and assumed a position as Full Professor of Educational Psychology and Technology in the Rossier School of Education at the University of Southern California. At USC, he has been active in the development of technology-based student assessment approaches involving public schools through a research relationship with UCLA/CRESST. His work has emphasized computer-based assessment of workforce readiness in the area of team skills and collaborative problem-solving skills. He designed and managed a major study of motivation on the Third International Mathematics and Science Study (TIMSS), conducted for the National Center for Education Statistics (NCES). He also co-authored articles on assessment and equity.

With his graduate students at USC, O'Neil conducts research on the development of both trait and state measures of effort, anxiety, self-efficacy, and metacognition. He directs USC dissertations involving data collection in South Korea, Malaysia and Taiwan. His USC activities also involved multimedia strategic planning (e.g., distance learning) and assessment of faculty and organizational productivity, as well as evaluation of games. His current interests involve the teaching and assessment of self-regulation skills (including self and peer assessment), use of games for training, and the impact of motivation on testing.

In the training research area, he continues his interests in high technology with consulting relationships with the Institute for Defense Analyses in the area of evaluation and technology planning. He was a member of the Army Science Board (1994–2001). He was a member of the Defense Science Board Task Force on Training for Future Conflicts. He is a Fellow of the American Psychological Association and a Certified Performance Technologist (CPT).

Author
A prolific writer, in addition to numerous articles, chapters, professional papers, and reports, he has co-edited four books: What Works in Distance Learning: Guidelines (2005), Web-Based Learning: Theory, Research, and Practice (2006), Assessment of Problem Solving Using Simulations (2008), and Computer Games and Team and Adult Learning (2008).

References

External links
List of books by Dr. O'Neil

Year of birth missing (living people)
Living people
21st-century American psychologists
University of Southern California faculty
Florida State University alumni
Fellows of the American Psychological Association


Everyday Demons is the second studio album by Irish rock band The Answer. It was released on 2 March 2009 in the UK and 31 March 2009 in the US. The album entered the UK Albums Chart at #25.

Style and composition

According to Cormac Neeson, "Demon Eyes" is "basically about the two-faced motherfuckers in this world who think they're the dog's bollocks. They pretend to be your friend but the whole time they're looking down on you in a very f—king condescending way and then going round the corner and slagging you off behind your back." "Too Far Gone" was written in response to then-Prime Minister Tony Blair's plans to introduce ID cards in the UK. In Neeson's opinion, "they might as well attach tracking devices on to everybody so they know exactly where everybody's going at every moment of the day." "On and On" is "about stepping up to the challenges that everyday life throws at you."
Neeson explained that "Cry Out" is an attempt to "capture the spirit of youth, that kinda feeling when you're young". The song's lyrics reference Troublegum and "Take the Power Back", by Therapy? and Rage Against the Machine, respectively, two bands favoured by Neeson in his youth. "Why'd You Change Your Mind" relates to Neeson's efforts to comprehend why a friend of his chose to commit suicide. Neeson explains: "In the chorus of the song I'm just trying to understand what goes through a person's mind and why they should take their own life."

"Pride" pertains to Neeson's time working in a bar in Ireland, where "you'd see a lot of really beautiful young women coming into the bar and kinda drink themselves away all day and end up going home with some kind of fucking lowlife motherfucker, who was just hanging around the bars waiting to pick up women like that. I just remember thinking these girls don't need to do that. They're beautiful, intelligent and they deserve a lot better." "Walkin' Mat" is about "the world we're living in at the minute, the one that as you know yourself has the shallow music industry parties that you've got to go to, and everybody's a smiling face and a compliment and you have to really see through that. There's just some point along the way you just get sick of it. You're just talking like that because you're off your face on coke and you don't mean what you're saying." Neeson notes the influence of The Black Crowes and AC/DC on this track.

According to Neeson, "Tonight", the album's second single, is about the "simple philosophy" of "meeting a girl and taking her out and letting the f—king fireworks commence." "Dead of the Night" is about how the band views itself, both at home in Belfast, and around the world. Neeson explains, "When you're away from home you almost start to paint a prettier picture of where you're from, whether it's homesickness or just missing your local pub and friends. When you get back there and you're like, okay, this is the reality, this is the way it is, and that's cool too."

Neeson states that "Comfort Zone" is simply "about stepping out of your comfort zone and taking a chance. I'm a firm believer that you really benefit from taking the riskier decision." "Evil Man" portrays the story of "a girl I know that went to a bar one night and got her drink spiked by one of those date rape drugs. Luckily enough, she got away unscathed." Neeson suggests that the perpetrators of such actions "are fucking scum of the earth." The song is sung from the perspective of the man, "which gives the song a bit of a twist as well."

Promotion and release
The first single, "On and On", was released on 22 February 2009. The second single "Tonight" was released on 21 June 2009. The third single "Comfort Zone" was released on 4 November 2009.

"Demon Eyes" was the iTunes "Single of the Week" for the week beginning 10 March 2009.

The 2CD version of the album includes a concert recorded live at the Shibuya-AX in Tokyo, Japan, on 27 March 2007 as an audio on the second CD.

Critical reception
Everyday Demons was met with "mixed or average" reviews from critics. At Metacritic, which assigns a weighted average rating out of 100 to reviews from mainstream publications, this release received an average score of 54 based on 7 reviews.

In a review for AllMusic, Stephen Thomas Erlewine wrote: "The Answer has the right sound and feel on Everyday Demons and that does make them the perfect opener for latter day AC/DC: they work as pleasant appetizer for the main course." Rolling Stone editor Christian Hoard said "the sound isn't very distinct, and the tunes don't usually stick." At Consequence of Sound, Alex Young said: "Everyday Demons is one of those alright albums that you can listen to a couple of times before tucking it away in the case and waiting for that accidental nostalgia to kick in ages later."

Track listing

Personnel

Musicians
 Cormac Neeson – lead vocals, harmonica
 Paul Mahon – guitar
 Micky Waters – bass
 James Heatley – drums

Production
 James Cassidy − producer
 John Travis – engineer, producer
 George Marino – mastering
 Mike Fraser – mixing
 Tim Palmer - Mixing

Sales chart positions

References

2009 albums
The Answer (band) albums
Albert Productions albums


Holmboe is a Norwegian family which originated at Hirsholmene in Jutland, Denmark. It was introduced into Norway with the arrival  of brothers Jens Olsøn Holmboe (1671–1743)  and Hans Olsøn Holmboe (1685–1762). Jens Olsen Holmboe was a senior priest who arrived at Vardal during 1705. Hans Olsen Holmboe was a  senior military officer who came to Norway during 1716.

Family tree
The family trees are not meant to be complete. It lists only the notable individuals of this family, as well as their ancestors.

Jens Holmboe line
Below is a family tree that branches off from ancestor Jens Holmboe, bailiff (fogd) in Senja and Troms.

Otto Holmboe line
Below is a family tree that branches off from ancestor  Otto Holmboe, provost ()  at Christiania.

In addition, Arnold Holmboe (1873–1956) was a great-great-grandchild of Otto's first cousin.

References

Literature
 Hans Cappelen: Norske Slektsvåpen (Norwegian Family Coats of Arms) with an English Summary, Oslo 1969, p. 128

Norwegian families


Humberht (fl. 835-866) was an official (titled duke or prince) among the Tomsaete, who was granted land in Derbyshire in return for what he would provide annually to Christ Church in Canterbury.

External links

Anglo-Saxon ealdormen
9th-century English people
Year of birth unknown
Year of death unknown


Henry Twist (30 January 1870 – 16 May 1934) was a British miner's agent and Labour politician.

Twist was born at Platt Bridge, near Wigan, Lancashire, and after primary education at the local Wesleyan School, began employment at Bamfurlong coal mine at the age of eleven. At the age of thirty he became a checkweighman at the mine, having also been elected to the Wigan Rural District Council. In 1906 he succeeded Sam Woods as the area's agent for the Lancashire and Cheshire Miners' Federation, and was the organisation's vice-president in 1929. He subsequently served on the executive of the Miners' Federation of Great Britain.

Twist was twice elected to the House of Commons as a Labour Member of Parliament. At the January 1910 general election he became Wigan's first Labour MP. However he was defeated at the subsequent contest in December of the same year. At the 1922 general election he was returned as member for Leigh, another Lancashire coal-mining constituency. However he was forced to retire due to ill health and did not stand at the subsequent election in 1923.

Henry Twist died in Blackpool in May 1934, aged 64.

References

External links

1870 births
1934 deaths
Labour Party (UK) MPs for English constituencies
Miners' Federation of Great Britain-sponsored MPs
People from Wigan
UK MPs 1910
UK MPs 1922–1923
Members of the Parliament of the United Kingdom for Leigh


The Tomsaete or Tomsæte (dwellers of the Tame valley) were a tribe or clan in Anglo-Saxon England living in the valley of the River Tame in the West Midlands of England from around 500 and remaining around Tamworth throughout the existence of the Kingdom of Mercia. The tribe was identified as Anglian Mercens who came from the north, following the Trent Valley, and eventually settling along the valleys of the Tame.

An Anglo-Saxon charter of 849 describes an area of Cofton Hackett in the Lickey Hills south of Birmingham as "the boundary of the Tomsæte and the Pencersæte", and another charter of 835 describes Humberht as "Princeps of the Tomsæte", suggesting that the group retained its identity long after being subsumed into Mercia. The said boundary between Tomsæte and the Pencersæte often had Late Iron Age hill forts that also served as collecting points for territorial produce. As part of Mercia, the Tomsaete was considered an important early group that settled in the heartland.

References

External links
 "Wirksworth Roman Project"
 On Google Book Search:
  D. P. Kirby, The Earliest English Kings
 Barbara Yorke, Kings and kingdoms of early Anglo-Saxon England

Peoples of Anglo-Saxon Mercia


Feering Halt was on the Kelvedon and Tollesbury Light Railway, serving the village of Feering, Essex.

The halt station was opened by the London and North Eastern Railway, which had acquired the Kelvedon and Tollesbury Light Railway upon the 1923 Grouping as part of the Great Eastern Railway.

The halt was closed, along with the rest of the line, on 7 May 1951.

References

External links
 Feering Halt station on navigable 1948 O. S. map

Disused railway stations in Essex
Former London and North Eastern Railway stations
Railway stations in Great Britain opened in 1934
Railway stations in Great Britain closed in 1951
1951 disestablishments in England


The Butts Ferry is a hand-operated pedestrian cable ferry that crosses the River Exe in the city of Exeter in the English county of Devon. The crossing has been in use since at least 1641, but the name is more recent. The ferry is named after Mr George Butt, who fought to keep the ferry open when the City Council attempted to close it in 1971.

The ferry is currently operated using a -long aluminium-hulled ferry-boat that was new in 2005, and was custom designed to replace the previous wooden built ferry. The boat is manually pulled along a cable across the river, which is some  wide at this point, by its operator.

References

Ferry transport in England
Transport in Exeter
Water transport in Devon
Chain ferries in the United Kingdom


is a railway station in the city of Kanuma, Tochigi, Japan, operated by the East Japan Railway Company (JR East).

Lines
Kanuma Station is served by the Nikkō Line, and is located 14.3 kilometers from the starting point of the line at .

Station layout
The station consists of one island platform and one side platform, connected to the station building by a footbridge; however, one side of the island platform is not in operation.

Platforms

History
Kanuma Station opened on 1 June 1890. On 1 April 1987, the station came under the control of JR East with the privatization of the Japanese National Railways (JNR).

Passenger statistics
In fiscal 2019, the station was used by an average of 2064 passengers daily (boarding passengers only).

Surrounding area
Kanuma City Hall
Kanuma Post Office

See also
 List of railway stations in Japan

References

External links

  JR East Station information

Railway stations in Tochigi Prefecture
Nikkō Line
Stations of East Japan Railway Company
Railway stations in Japan opened in 1890
Kanuma, Tochigi


The Tuscan Sun Festival is an annual music and lifestyle festival in Florence, the capital of Tuscany in Italy. The Independent called the festival “One of the Ten Best Summer Arts Festivals in Europe”.

Described by the International Herald Tribune as "a blend of Mozart and massages, Debussy and Dante, Tchaikovsky, and cuisine", the evening musical programme is balanced with daytime events including art exhibitions and culinary sessions with some of Tuscany’s chefs and winemakers.
The Tuscan Sun Festival presents international soloists, conductors and chamber orchestras who perform in Florence's beautiful Teatro della Pergola.

From 2012, the Tuscan Sun Festival also includes a film initiative called Tribeca Firenze.  As of February 7, 2013, the official website and this article have had no updates since June 2012 and no indication of a 2013 event.

History
The Tuscan Sun Festival was founded in 2003 by Barrett Wissman, cellist Nina Kotova and writer Frances Mayes, whose bestselling books helped to make Tuscany a popular tourist destination. In its first year, the festival lasted 10 days; in 2004, it expanded to 15. Wissman has since branched the sun festival internationally, with a Festival del Sole beginning in 2006 in Napa Valley.

Performers
Past festivals have included visits and performances by renowned artists such as Piotr Anderszewski, Joshua Bell, The Bolshoi Ballet, José Cura, Stéphane Denève, Anthony Hopkins, Jeremy Irons, Lang Lang, Danielle de Niese, Andrea Marcon and the Venice Baroque Orchestra, Ana Maria Martinez, Gabrielle Montero, Anna Netrebko, Antonio Pappano, Robert Redford, Sibylle Szaggars, Giuseppe Tornatore, Angela Gheorghiu, Barry Unsworth, Nina Stemme, Renée Fleming and Pinchas Zukerman. Poet Ed Mayes and painter Alberto Alfonso have exhibited their collaborative works in 2010 and 2011.

References

Further reading
"Italy's Tuscan Sun Fest, talent in high places", CNN
"Short breaks: Cultural Tourist - Music under the Tuscan sun", The Independent

External links
Official site

Music festivals established in 2003
Classical music festivals in Italy


Carlos Nicanor Toppings Toppings  (7 April 1953 — 24 August 2007) was a Costa Rican professional footballer.

Club career
Born in the Caribbean coastal town Limón, Toppings made his professional debut in 1974 for hometown club Limonense and had a lengthy spell at Municipal Puntarenas. He also had short stints at Herediano and San Carlos.

Toppings won the 1986 Primera Division de Costa Rica title with Puntarenas.

International career
Toppings made 32 appearances for the full Costa Rica national football team from 1979 to 1984. He also played at the 1980 and 1984 Olympic Games.

Retirement and death
After retiring as a player he worked at a customs agency in Limón harbour. He was unmarried but had a daughter, Violeta, and died in San José, Costa Rica, aged 54 due to a lung problem.

References

External links

1953 births
2007 deaths
Sportspeople from Limón Province
Men's association football defenders
Costa Rican men's footballers
Costa Rica men's international footballers
Olympic footballers for Costa Rica
Footballers at the 1980 Summer Olympics
Footballers at the 1984 Summer Olympics
Puntarenas F.C. players
C.S. Herediano footballers
A.D. San Carlos footballers
Deaths from lung disease


Eberhard Rausch (born 11 December 1947 in Mannheim) is a former German pair skater.

With partner Corinna Halke, he is the 1974–1976 German national champion. They competed five times at the European Figure Skating Championships and the World Figure Skating Championships. They placed 10th at the 1972 Winter Olympics and 8th at the 1976 Winter Olympics.

With partner Brunhilde Bassler, he is the 1970 German national champion.

Competitive highlights

Pairs with Brunhilde Bassler

Pairs with Corinna Halke

References
 ISU statistics
 IOC – Winter Olympics 1976

1947 births
German male pair skaters
Olympic figure skaters for Germany
Figure skaters at the 1972 Winter Olympics
Figure skaters at the 1976 Winter Olympics
Living people
Sportspeople from Mannheim


Tollesbury railway station was on the Kelvedon and Tollesbury Light Railway, serving the village of Tollesbury, Essex. The station was  from Kelvedon Low Level railway station.

The station was opened in 1904 by the Great Eastern Railway.

It was closed, along with the rest of the line, on 7 May 1951.

References

External links
 Tollesbury station on navigable 1945 O. S. map

Disused railway stations in Essex
Former Great Eastern Railway stations
Railway stations in Great Britain opened in 1904
Railway stations in Great Britain closed in 1951


The 1959–60 Toronto Maple Leafs season saw the Maple Leafs finish in second place in the National Hockey League (NHL) with a record of 35 wins, 26 losses, and 9 ties for 79 points. They defeated the Detroit Red Wings in six games in the Semi-finals before being swept by their arch-rivals, the Montreal Canadiens, in the Stanley Cup Finals.

Regular season

Final standings

Record vs. opponents

Schedule and results

Playoffs
Montreal swept the Chicago Black Hawks in four games to reach the Final. In the other semi-final, Toronto defeated the Detroit Red Wings four games to two.

Stanley Cup Finals
Montreal swept the Maple Leafs, outscoring them 15–5, en route to being the first team since the 1952 Detroit Red Wings to go without a loss in the playoffs.

After the series Rocket Richard retired. He went out with style, finishing with his 34th final-series goal in the third game.

Toronto Maple Leafs vs. Montreal Canadiens

Montreal wins best-of-seven series 4 games to 0

Player statistics

Forwards
Note: GP= Games played; G= Goals; AST= Assists; PTS = Points; PIM = Points

Defencemen
Note: GP= Games played; G= Goals; AST= Assists; PTS = Points; PIM = Points

Goaltending
Note: GP = Games played; W = Wins; L = Losses; T = Ties; SO = Shutouts; GAA = Goals against average

Awards and records
 Allan Stanley, Defence, NHL Second All-Star Team

Transactions

References

Toronto Maple Leafs seasons
Toronto Maple Leafs season, 1959-60
Tor
1960 Stanley Cup


Sewall, sometimes incorrectly spelled Sewell, is an unincorporated locality located on the north shore of Masset Inlet, on Graham Island in the Haida Gwaii archipelago (formerly known as Queen Charlotte Islands) off the North Coast of British Columbia, Canada.  It is located 21 miles up Masset Inlet.

History
Sewall began its life as a real estate promotion dubbed Star City, after the developer, the Star Realty Company, during a real estate boom on Graham Island that also saw the foundations of Juskatla, Delkatla and Graham Centre, but the name Sewall was finally chosen, being that of S.D. Sewall (the "Sewell" spelling is featured in the provincial gazette of 1930, but was a mistaken association with Sewell Inlet nearby, which has a different name-origin.)  By the end of 1913, seventy families had settled here, mostly Icelandic Canadians encouraged to relocate from Manitoba.  After the First World War, most families moved away, but one of the original homesteaders, Paul Bastian, bought up most of the land and continued to live on and raise his family there.  S.D. Sewall said that he was interested in farmland in the area surrounding Sewall, and that it was not the intention of the developers "to force the new town's growth but to build up the area around it".

Sewall had been the site of a sawmill owned by the Masset Inlet Lumber Company.

Climate

See also
List of communities in British Columbia
Sewall (disambiguation)

References

Populated places in Haida Gwaii
Unincorporated settlements in British Columbia
Ghost towns in British Columbia
Icelandic settlements in Canada


The Charca villagers were an Aymara speaking indigenous ethnic group who lived in what is called today El Departamento de Chuquisaca in Bolivia. Before the 15th century they were citizens of the Inca Empire. They regularly suffered from invasions of the people of ava guarani (who spoke an Aymaran language) that inhabited the Chuquisaca Department of Bolivia prior to the arrival of the Spaniards. They also suffered from incursions of the Chiriguanos.

Portuguese conquistador Aleixo Garcia is believed to be the first European to make contact with the Charcas in the year 1525.

The city of Sucre was founded in 1538 in the land of the Charcas.

See also
Aymara people
Aymara language

External links
Sucre's background in the World Heritage List

Aymara people
Indigenous peoples in Bolivia
Prehistory of Bolivia
People from Chuquisaca Department
Colonial Bolivia


Won't Change Places is an album by Marti Webb released in 1981 as a follow-up to Tell Me on a Sunday.

As with her previous album, the recording was produced by Andrew Lloyd Webber for the Polydor label. It included a recording of "Don't Cry for Me Argentina" from the musical Evita in which Webb was appearing as Eva Perón at the time.

The album featured the singles "Your Ears Should Be Burning Now" and "I've Been in Love Too Long", and was released in early 1981. Of these, only "Your Ears Should Be Burning Now" was a chart hit. Additional singles "Don't Cry For Me Argentina" and "All I Am" (a version of which was also released around the same time by Heatwave on their "Candles" album") were released in South Africa. A few months later, "Unexpected Song", a duet with Justin Hayward, was also released as a single but was not featured on this album. Webb had her own BBC Two special called Won't Change Places, where she performed some of the songs on this album. It featured guests Andrew Lloyd Webber, Paul Nicholas and Rod Argent and was broadcast on 16 February 1981.

The album was released two years later in the US (Polydor 2442-186) and the American trade magazine Stereo Review reviewed it in May 1983 under the section "Recording of Special Merit", mentioning "All I Am", "Masquerade", "I've Been in Love Too Long" and "Don't" as stand out tracks.

In 2015, Lloyd Webber reused the melody of "I've Been in Love Too Long" as the opening track of School of Rock, "I'm Too Hot for You", albeit with different lyrics.

Track listing

Side One
 "I Won't Change Places" (Andrew Lloyd Webber, Don Black) - 3:28
 "All I Am" (Lynsey de Paul) - 3:14
 "Your Ears Should Be Burning Now" (Tony Macaulay, Black) - 3:53
 "Angry and Sore" (Rod Argent) - 3:25
 "Don't Cry for Me Argentina" (Tim Rice, Lloyd Webber) - 5:32

Side Two
 "I've Been in Love Too Long" (Lloyd Webber, Black) - 3:19
 "What You Gonna Do With Your Freedom" (Lynsey de Paul, Susan Sheridan) - 4:09
 "Don't" (Jerry Leiber, Mike Stoller) - 3:50
 "Masquerade" (Argent) - 4:16
 "I Guess I'll Miss the Man" (Stephen Schwartz) - 3:11

Personnel
 Andrew Lloyd Webber - Production and arrangement (tracks 1, 5, 6, 8, 10), cover concept
 Lynsey de Paul - Production (tracks 2, 7)
 Tony Macaulay - Production (track 3)
 Rod Argent - Production (tracks 4, 9)
 David Cullen - Assistant arrangement and orchestration (tracks 1, 10)
 Susan Sheridan - Assistant arranger (tracks 2, 7)

References

1981 albums
Marti Webb albums
Polydor Records albums
Albums produced by Andrew Lloyd Webber


Club Sportif Chênois is a Swiss association football club, playing in the Swiss 2. Liga Interregional. It plays in the municipality of Thônex.

History

Formed in 1907 as FC Thônex, the club adopted its current name in 1924. The club competed in the Intertoto Cup in 1977 and 1979.

References

External links
 Official website

CS Chenois
1907 establishments in Switzerland
Association football clubs established in 1907


Thaxted railway station served the village of Thaxted, Essex. It was located  from Elsenham station. It closed in 1952.

References

External links
 Thaxted station on navigable 1946 O. S. map

 Photograph of engine shed 1950

Disused railway stations in Essex
Former Great Eastern Railway stations
Railway stations in Great Britain opened in 1913
Railway stations in Great Britain closed in 1952
1913 establishments in England
Thaxted


Edwin Lascelles, 1st Baron Harewood (1713 – 25 January 1795) was a wealthy West Indian plantation owner and enslaver who was of English ancestry.

Early life
He was born in Barbados, the elder son of Henry Lascelles (1690–1753) and Mary Carter. His father split the family fortune, leaving Edwin's younger brother Daniel as head of the business, and raised Edwin as a lord of the manor over their English estates. He was educated at Trinity College, Cambridge, and on a European Grand Tour.

Military and political service
He fought against the Jacobites (1745), and entered Parliament as MP for Scarborough from 1744 to 1754. He was later MP for Yorkshire from 1761 to 1780 and for Northallerton from 1780 to 1790 (inheriting the latter seat from his father Henry and his brother Daniel). By 1748 Edwin was installed as Lord of the Manor of Harewood and he built Harewood House from 1759 to 1771.

On Daniel's death childless in 1784 and their only other sibling Henry's death two years later, Edwin was left in sole charge of the fortune, to which he added 22 working plantations, more than  of West Indian property and 2,947 enslaved people surrendered to planters' creditors as the planters defaulted on debts because of the American War of Independence, worth £293,000 (about £28.3 million today). A great many enslavers depended on their sale of sugar and molasses to the American colonies for income.

He was made Baron Harewood, of Harewood in the County of York on 9 July 1790, but died childless and the title became extinct. The fortune passed to his cousin Edward Lascelles (1740–1820), 1st Earl of Harewood.

Marriages
He was first married to Elizabeth Dawes, daughter of Sir Darcy Dawes, 4th Baronet, on 5January 1746–47. His second marriage was to Lady Jane Fleming, daughter of William Coleman and Jane Seymour, and widow of Sir John Fleming, 1st Baronet, in 31March 1770. His stepdaughters were Jane Stanhope, Countess of Harrington and Seymour Fleming, later noted for the separation scandal involving her husband Sir Richard Worsley, 7th Baronet. A picture of Seymour still hangs in Harewood House.

References

External links
thePeerage.com
http://www.bbc.co.uk/leeds/content/articles/2007/02/22/abolition_harewood_house_feature.shtml

1713 births
1795 deaths
Alumni of Trinity College, Cambridge
Colony of Barbados people
Merchants from the British West Indies
Members of the Parliament of Great Britain for English constituencies
British MPs 1741–1747
British MPs 1747–1754
British MPs 1754–1761
British MPs 1761–1768
British MPs 1768–1774
British MPs 1774–1780
Barons in the Peerage of Great Britain
Peers of Great Britain created by George III
Edwin
British slave owners


The Skin () is a 1981 Italian war film directed by Liliana Cavani and starring Marcello Mastroianni, Burt Lancaster, Ken Marshall, Carlo Giuffrè and Claudia Cardinale from Curzio Malaparte's book La pelle (The Skin). It was entered into the 1981 Cannes Film Festival.

Plot
Naples, 1944. General Mark Clark, commander of the United States Fifth Army, is negotiating with Eduardo Marzullo, a Camorra mobster, the delivery of 112 German soldiers captured during the four days of insurrection. Marzullo demands from the Americans a bribe of one hundred lire per kilo, susceptible to strong increases if not quickly paid, for each prisoner. The intermediary is the Italian liaison captain Curzio Malaparte who is also given the task of pleasing the aviator wife of an American senator, and of organizing a Renaissance style dinner that has as its highlight a fish: a "siren" of the Naples aquarium which looks like a cooked child.

Meanwhile in the slums, mothers sell their children as prostitutes to the Moroccan soldiers, and Jim, the young American liaison captain friend of Malaparte, falls in love with a young girl. He discovers she is being exposed by her father for a fee as the only virgin existing in the city. Malaparte moves in this "hell on earth" scenario with detachment. He tries to explain to the woman, during an orgy of homosexuals, that it is the corrupting power of the Americans which has so reduced the moral qualms of the starving people of the city, who are now severely impoverished by the war.

Vesuvius suddenly breaks out in an eruption, during which the aviator undergoes a cruel rape experience from a group of drunken and upset soldiers, an experience that brings her to the same level of all the other innocent and defeated women around her.

The story ends with the arrival of the Fifth Army in Rome through the Appian Way. Among the crowd that welcomes the Americans, and amidst the enthusiasm of the liberation, a poor man ends up crushed under a military tank.

Cast
 Marcello Mastroianni - Curzio Malaparte
 Burt Lancaster - Gen. Mark Clark
 Claudia Cardinale - Princess Consuelo Caracciolo
 Ken Marshall - Jimmy Wren
 Alexandra King - Deborah Wyatt
 Carlo Giuffrè - Eduardo Mazzullo
 Yann Babilée - Jean-Louis
 Jeanne Valérie - Princess in Capri
 Liliana Tari - Maria Concetta
 Peppe Barra - Taylorman (as Giuseppe Barra)
 Cristina Donadio - Friend of Anna
 Rosaria Della Femmina - Jimmy's lover (as Maria Rosaria Della Femmina)
 Jacques Sernas - Gen. Guillaume
 Gianni Abbate
 Anna Maria Ackermann
 Richard E. Carr - PVT Kaminski

References

External links

 Filmografia di Liliana Cavani Detailed information on the film and its director.

1981 films
Italian war drama films
1980s Italian-language films
English-language Italian films
1980s English-language films
Films set in Naples
Films directed by Liliana Cavani
Films scored by Lalo Schifrin
1980s war drama films
1981 drama films
Italian World War II films
Curzio Malaparte
1980s Italian films


Nogales is a city in the mountainous western region of the Mexican state of Veracruz. It serves as the municipal seat for the surrounding  municipality of Nogales.

It is situated at , at an altitude of 1280 m. In the 2005 INEGI Census, the city reported a total population of 21,113.

The name "Nogales" is the Spanish for walnut trees.

History
This part of the future state of Veracruz was brought under Aztec sway in or around 1450 under Emperor Moctezuma Ilhuicamina. Following the Spanish conquest of Mexico, the area was awarded to the conquistador Ojeda el Tuerto. Ojeda introduced sugar cane into the area, and the San Juan Bautista Nogales sugar mill – one of the earliest, if not the very first on the American continent – was later established there.

In 1627, Rodrigo de Vivero y Aberrucia, owner of the sugar mill at the time, was named the First Count of the Valley of Orizaba by Philip III of Spain.

On 27 October 1812, during the War of Independence, the sugar mill was taken by surprise by General José María Morelos, who used it as a staging post for his attack on the royalist forces in Orizaba the next day.

On 14 June 1862, with the invading French army stationed in Orizaba, General Ignacio Zaragoza set up his headquarters in Nogales.

On 7 January 1907, in the years of tension leading up to the Mexican Revolution, Nogales textile workers protesting their treatment by French textile-mill owners were massacred by the federal troops of President Porfirio Díaz.

In 1910, Nogales was awarded the status of a town (villa) and, in 1971, city status (ciudad).

Notable people
Heriberto Jara Corona (1879–1968), Governor of Veracruz from 1924 to 1927, recipient of the Senate's Belisario Domínguez Medal.

References

External links
Municipality of Nogales

Populated places in Veracruz


This is a list of notable companies, networks, and organizations which are primarily known for the production and distribution of podcasts in both audio and video format. Although the accessibility of the medium means that many media, news, and radio organizations have produced podcasts, the scope of this list is concerned only with organizations and companies which are primarily involved with, or significantly known for, the production and distribution of podcasts.

Entries are organized alphabetically, with country of origin listed. Entries which are subsidiaries of other organizations have their parent organization noted.

A-G
 Al Jazeera Podcasts – Al Jazeera Media Network, Qatar
 All Things Comedy – United States
 American Public Media
 ANIMA Podcasts – Kroma Entertainment, Philippines
 Audacy – Audacy, Inc., United States
 AudioBoom – England
 BBC – England
 Cadence13 – Audacy, Inc., United States
 Canadaland – Canada
 Carolla Digital – United States
 Castbox – Hong Kong
 CBC Radio – Canada
 Crooked Media – United States
 The Daily Wire - United States
 Dixo – Mexico
 Earwolf – SiriusXM, United States
 ESPN Radio – The Walt Disney Company, United States
 Exactly Right Podcast Network, United States
 Feral Audio – defunct in 2017, United States
 FineRadioCO - Nigeria
 Frogpants Network – United States
 Generally Speaking Production Network – United States
 Gimlet Media – Spotify, United States

H-Q
 HeadGum – United States
 Heritage Radio Network – United States
 Idle Thumbs – United States
 iHeartRadio – United States
 The Incomparable – United States
 Jupiter Broadcasting – United States
 Lemonada Media - United States
 Libsyn –  United States, Liberated Syndication, Inc.
 Luminary – United States
 Maximum Fun – United States
 Megaphone – Spotify, United States
 Nerdist Industries – United States
 New York Times Podcast – United States
 Night Vale Presents – United States
 NPR – United States
 Parcast – Spotify, United States
 Pineapple Street Studios, United States
 Play.it – Audacy, Inc., United States
 PodcastOne – United States
 Public Radio Exchange – United States
 QCode – United States

R-Z
 Radiotopia – Public Radio Exchange, United States
 Realm Media - United States
 Relay FM – United States
 Revision3 – defunct in 2017, Discovery Digital Networks, United States
 The Ringer – Spotify, United States
 The Roost – Rooster Teeth & WarnerMedia, United States
 Slate – United States
 SortedFood – United Kingdom
 SModcast Podcast Network – United States
 Stitcher – United States
 Team Coco – SiriusXM, United States
 TLV1 – Israel
 TWiT.tv – United States
 The Verge – United States
 Vox Media Podcast Network – United States
 Wall Street Journal Radio Network – United States
 WNYC Studios – New York Public Radio, United States
 Wondery – Amazon Music/Amazon, United States

References

Lists of companies
Companies


Matteo di Andrea de' Pasti (1420-1467/1468) was an Italian sculptor and medalist.

Matteo was born in Verona. He worked on many royal commissions, including work for Lionello d'Este and Sigismondo Pandolfo Malatesta. Matteo collaborated with the architect Leone Battista Alberti on the design and construction of the Tempio Malatestiano in Rimini. Some of his works reside at the Cleveland Museum of Art and the British Museum He died in Rimini.

In 1461 he was sent by Sigismondo Malatesta to Istanbul to work at Mekhmed II's court. But the sculptor failed to reach Istanbul because he  was arrested as a spy by the Venetian authorities in Crete.

References

External links
European sculpture and metalwork, a collection catalog from The Metropolitan Museum of Art Libraries (fully available online as PDF), which contains material on de' Pasti (see index)

1420 births
1467 deaths
Artists from Verona
Italian sculptors
Italian male sculptors
Italian medallists


The 2nd Annual European Film Awards, presented by the European Film Academy, recognized excellence in European cinema. The ceremony took place on 25 November 1989 at the Théâtre des Champs-Elysées in Paris, France and was hosted by Franco-Swiss actress Agnès Soral and Spanish actor Fernando Rey.

Hungarian film The Midas Touch and Soviet film Little Vera led the nominations with five each while British film High Hopes received the most awards with three wins. Theo Angelopoulos's Landscape in the Mist received the award for Best European Film.

Italian director Federico Fellini received the Lifetime Achievement Award.

Winners and nominees
The winners are in a yellow background and in bold.

Best European Film

Best European Director
{| class="sortable wikitable" width="95%" cellpadding="5"
! width="20%" |Recipient(s)
! width="20%" |English title
! width="20%" |Original title
|-
|-style="background:#FAEB86"
|  Géza Bereményi || The Midas Touch || Eldorádó|-
|  Theo Angelopoulos || Landscape in the Mist || Topio stin omichli
|-
|  Maciej Dejczer || 300 Miles to Heaven || 300 mil do nieba
|-
|  Vasili Pichul || Little Vera || Malenkaya Vera / Ма́ленькая Ве́ра
|-
|  Jim Sheridan || colspan="2"|My Left Foot
|-
|}

Best European Actress

Best European Actor

Best Supporting Performance

Best Young Film

Best European Screenwriter

Best European Cinematographer

Best European Composer

Best Documentary

Lifetime Achievement Award
   Federico FelliniSpecial Jury Award
  Bertrand Tavernier for Life and Nothing But  Giuseppe Tornatore for Cinema ParadisoSpecial Mention Film / Person
  – Special Mention for the creative spirit of the new films from Sarajevo.  Pictures of the Old World (Obrazy starého sveta) – Dušan Hanák  The Road to God Knows Where – Alan GilsenanEuropean Cinema Society Special Award
  Anatole Dauman'''

References

External links
Official site

European Film Awards ceremonies
1989 film awards
Culture of Paris
1989 in Europe
1989 in French cinema


Henry Lascelles (1690 – 16 October 1753) was an English-born Barbados plantation owner. He was the son of Daniel Lascelles (1655–1734) and Margaret Metcalfe. He served as Collector of Customs for the British government in Barbados. He was a director of the British East India Company 1737–45, a financier, and Member of Parliament for Northallerton. He lived in his constituency, in Harewood, in Richmond-upon-Thames, and for periods in his twenties, at his family's plantation in Barbados.

Family, early life
The Lascelles family were increasingly prominent and politically involved Yorkshire landed gentry, at the time of Lascelles's birth, having owned land near Northallerton, in the Vale of Mowbray, rich farming country, since at least the late thirteenth century. They were based at Stank Hall, now a sheep farm, which the head of the family acquired in 1608 from land management profits. Lascelles's grandfather Francis Lascelles (c. 1612-1667) had been a Roundhead colonel in the English Civil Wars, and as an MP for the district sat in judgment on King Charles I of England, who was executed in 1649. Francis Lascelles was Cromwellian Commissioner for Yorkshire, during Oliver Cromwell's period as Lord Protector, ruling the country, and also served in both the First Protectorate Parliament and the Second Protectorate Parliament in the 1650s. Henry Lascelles's father Daniel Lascelles (1655-1734) assisted in driving out the Roman Catholic King James II of England in 1688. He became High Sheriff of Yorkshire in 1718–19, during the reign of King George I of Great Britain, was briefly an MP for Northallerton, calling himself a Whig, and a businessman.

Barbados
Lascelles was in Barbados by the age of 22, in 1712, following his elder brother George, who first crossed the Atlantic Ocean in 1706. The Lascelles family had Barbados interests as early as 1648, establishing a plantation, a warehouse, and shipping interests for the rapidly developing colony, first settled by the English in 1625. Henry Lascelles settled in Barbados with his brother Edward, where he was a merchant and planter; George Lascelles returned to England to run the business there.

It was a family-managed enterprise, concentrating on sugar production and exports, transportation of goods to supply the colony, and slavery. Slaves were imported from west Africa, put to work on the plantations, and were objects of lucrative financial trading by the business leaders. The triangular shipping trade routes of the era ran as follows: British goods were shipped to West Africa, slaves were bought in exchange for the goods and shipped to Barbados and other West Indian islands for sale, and sugar and other export crops were shipped to Britain, with great profits on all three journey legs. Barbados was by about 1680 the most prosperous English colony in the Americas.;

Customs Collector
In 1714, Lascelles gained the powerful position of Collector of Customs for Barbados, coinciding with the ascension of the new prime minister Sir Robert Walpole, a Whig. This influential and lucrative post, a reward for earlier political loyalties, was to remain in family hands for the next three decades. Lascelles was in charge of collecting duties on Barbados colonial exports (including his own), usually at the rate of 4.5 per cent; this money would then be remitted to the Treasury in London.

Business expansion
Upon George's death in 1729, Henry Lascelles returned to London and became one of its leading businessmen, with offices near the port district. He bought an estate in the country town of Richmond-upon-Thames, some 14 miles west of his business. He had developed a financial business, lending money on both sides of the Atlantic, and this was successful.

Henry Lascelles later co-founded the firm of Lascelles and Maxwell, sugar factors, of Mark Lane, in the City of London. This very successful partnership with the Scotsman George Maxwell began in September 1743. On his partner Maxwell's death in 1763, the firm became Lascelles, Clarke, and Daling.

Marriages and progeny
Lascelles and his first wife Mary (daughter of Edward Carter (fellow plantation owner), whom he married in Barbados on 8 April 1712) left three surviving children, all of whom were born in Barbados:
Edwin Lascelles, 1st and last Baron Harewood (5February 171325January 1795)
Daniel Lascelles (20May 171424May 1784)
Captain Henry Lascelles (18August 171614July 1786)

Mary died in 1721. Lascelles's second marriage to Jennet Whetstone in 1731 was childless.

Later years and death
Henry Lascelles retired from business in 1750, at the age of sixty, but retained his seat in Parliament, along with much of his influence. In his will, he divided most assets among his two eldest sons, with Edwin Lascelles receiving land, and Daniel Lascelles the business interests.

Extensive business correspondence from the Lascelles and Maxwell firm has survived, and is the basis of modern research work by writer Adam Nicolson.

Henry Lascelles committed suicide in 1753 by slashing veins in his arm. He had cataracts in his eyes. At this juncture, he was reckoned to be the wealthiest person in England, by writer Adam Nicolson, with a personal fortune estimated at some half-million pounds.

Legacy
Henry Lascelles, the son of a minor Yorkshire gentry family, amassed such extraordinary wealth and influence that his eldest son Edwin Lascelles was raised to the English peerage as the first Baron Harewood; he built Harewood House, the family seat. The head of the Lascelles family in the next generation was promoted to an earldom.

References

Further reading
 The Gentry: Stories of the English, by Adam Nicolson, 2011, Harper Press, London, chapter 'Dominance', pp. 213–241, .

1690 births
1753 deaths
Colony of Barbados people
Merchants from the British West Indies
British financial businesspeople
Directors of the British East India Company
People from Northallerton
Members of the Parliament of Great Britain for English constituencies
Henry
British MPs 1741–1747
British MPs 1747–1754
British slave owners
Suicides in England
Suicides by sharp instrument in England
British politicians who committed suicide
18th-century suicides


Nogales Municipality may refer to:

Nogales Municipality, Veracruz, Mexico
Nogales Municipality, Sonora, Mexico


The coat of arms of the Moldavian Autonomous Soviet Socialist Republic was the official emblem of the Moldavian Autonomous Soviet Socialist Republic in the Soviet Union, and underwent a number of changes over time.

History

Mid-1920s
The first coat of arms was adopted in 1925, when the Congress of the Soviets of Ukraine approved on May 10 the Constitution of the Moldavian ASSR. Thus, in section VII, Article 48, the coat of arms was enacted as follows: -"the Moldavian ASSR has its flag and coat of arms, established by the Central Executive Committee and confirmed by the Moldavian Central Executive Committee of the whole Ukraine."

In the meeting of the Presidium of the Central Executive Committee of the Moldavian ASSR, held on 4 September 1925, was decided that the organizational department of the Committee should organize a contest for designing the coat of arms and state flag of the Moldavian ASSR. The projects were to be evaluated by a committee composed of representatives of the Central Executive Committee, of the Agitprop, of the Popular Commissariat of Education and of the Council of trade unions in Moldova. There were established some prizes worth 50 ruble for the first place, 30 ruble for the second one and 20 ruble for third place.

Because of the lack of surviving documents, the results of the contest and the proposed designs are not known. A description of the selected model (which hasn't been found drawn anywhere) is included in the letter from 21 July 1927 of the permanent representative of the Moldavian ASSR near the Government of the Ukrainian SSR, Malcikov: "from the outside, the coat of arms of the Moldavian ASSR shows a wreath of maize stalks and grapes, with a light blue interior over which is displayed a white label. The label contains the map of the Moldavian ASSR, united with Bessarabia. At the bottom of the map, in the center of the wreath, is rising a sun spreading shining rays. On the sun is represented a red star. The wreath is festooned all over with the slogan "Workers of the world, unite!", in three languages - Russian, Ukrainian and Moldavian." These arms therefore contained irredentist symbolism.

On 21 September 1925, the small Presidium of the Central Executive Committee of the Moldavian ASSR decided the following amendments:

 Where the wreath arms join are to be written the letters "USSR", the abbreviation of the Ukrainian Soviet Socialist Republic in Russian
 The slogan "Workers of the world, unite!" is to be arranged as follows: at the top end of ribbon, to the right and left - in Moldovan, in the middle, to the right and left - in Ukrainian and at the bottom - in Russian.
 The star is to be located on the top of the coat of arms; the diameter of the star is to be smaller and its corners sharper.
 The sun rays are to be prolonged to the end of the blue field
 The proportion between maize and wheat ears is to be established, and leaves are to be painted so that they would look more like grape leaves.
 The proportion between the territories of the Moldavian ASSR on left and the right banks of the Dniester river is to be established.
 The part of the Moldavian ASSR on the left bank of the Dniester is to be colored in red, while the part on the right bank - in black with diagonal red lines
 The letters along the territory are to be arranged so that on the right bank of the Dniester are the letters "R.A.S.", and on the left bank - "S.M."
 The hammer and sickle must have the same shape as the one in the coat of arms of the Soviet Union.

The chosen coat of arms, together with the amendments above were approved by the Presidium of the Central Executive Committee on 19 October 1925. At the same time there was allocated a sum of 45 rubles for making the corrections, and, after 10 November, another 30 rubles for the execution of the drawings of the flag and coat of arms.

The approval of the Central Executive Committee of Ukraine was long delayed. On 23 February 1926, the Regional Moldovan Office of the Ukrainian Communist Party ordered that the map of the Moldavian ASSR was to be removed entirely, and replaced with the hammer and sickle. However, on 2 November 1926 the same office ordered that the problem of removing the map should be look into by the Central Committee of the Party.

In his letter from 1927, Malcikov explains the usefulness of keeping the map of the Moldavian ASSR including Bessarabia on the coat of arms and proposed other minor changes: instead of "USSR" should be written "USRR" (the abbreviation of the Ukrainian Soviet Socialist Republic in the Ukrainian language, instead of Russian), and on the map the names "Moldavian ASSR", "Odessa", "Chişinău" and "Dniester" should be written in the Ukrainian and Moldovan form, not the Russian one.

It is not known which of the options was approved in the end. So far, no graphical representation of such a coat of arms has been found.

Late 1920s / 1930s
In 1927 - 1929 a new coat of arms of the Moldavian ASSR was adopted, similar to the emblem of the Ukrainian SSR between 1919 and 1929. The latter is described as: "the coat of arms of the Ukrainian SSR consists of the golden hammer and sickle on a red background, in the rays of the sun, surrounded by a wreath of wheat ears and the inscription in Russian and Ukrainian: 1. R.S.S.U. and 2. Workers of the world, unite!". In the Moldavian version, R.S.S.U. was replaced by R.A.S.S.M. and the communist slogan was written in Ukrainian and Moldovan languages.

Late 1930s

On 12 July 1936 the draft of the new Constitution of the Soviet Union appeared in the newspapers. It was approved locally by the VIIth extraordinary Congress of the soviets of the Moldavian ASSR, whose work started on 18 November 1936 at Tiraspol. The Congress established a committee that would elaborate the future Moldavian Constitution. On 5 December 1936 the Constitution of the Soviet Union became effective. A month later, the VIIth extraordinary Congress of the soviets of the Moldavian ASSR resumed its work and on 6 January 1937 adopted the new Constitution of the Moldavian ASSR.

According to the Constitution, the coat of arms of the autonomous republic was supposed to coincide with the soviet socialist republic that it was part of. The only additions were the name of the Moldavian ASSR and the communist slogan "Workers of the world, unite!" in the Moldavian and Ukrainian languages on the ribbon. Chapter X of the new Constitution, entitled "The coat of arms, the flag, the capital," stated in Article 111: "The coat of arms of the Moldavian Autonomous Soviet Socialist Republic is the coat of arms of the Ukrainian SSR, which is composed of a golden hammer and sickle on a red background in the rays of the sun, surrounded by wheat ears, with the inscriptions "RSSU" and "Workers of the world, unite!" in the Ukrainian and Moldavian languages, with the addition, under "RSSU" inscription, in smaller letters, of the inscription "Moldavian ASSR" in the Ukrainian and Moldavian languages."

This coat of arms ceased to be valid on the disbanding of the Moldavian ASSR, on 2 August 1940.

Bibliography

 Silviu Andrieş-Tabac, Heraldica teritorială a Basarabiei şi Transnistriei, Ed. Museum, Chişinău, 1998, p. 116 - 119.

See also
 Flag of the Moldavian ASSR
 Emblem of the Moldavian SSR
 Coat of arms of Moldova

Moldavian ASSR
History of Transnistria
Moldavian ASSR
Moldavian ASSR
Moldavian ASSR
Moldavian ASSR
Moldavian ASSR


The Deserter () is a 1970 Italian-Yugoslav American international co-production Western film produced by Dino De Laurentiis. It was directed by Burt Kennedy and written by Clair Huffaker.

Scripted during the Vietnam War in the style of The Dirty Dozen (1967) with a party of professional or misfit soldiers going into an enemy sanctuary, it was designed as a vehicle for Yugoslavian theater and film matinee idol Bekim Fehmiu. The film featured an ensemble cast of well-known American actors. Noted as the boy in Shane (1953), actor Brandon deWilde appears in his last Western film before his death in 1972.

Plot
A US Army cavalry unit returns from a two week patrol to find the inhabitants of a Christian mission near its home fort have been killed by Apache Indians. Among the victims is the savagely tortured wife of the patrol's leader, Capt. Victor Kaleb (Bekim Fehmiu). Still alive after she was skinned alive, Kaleb has to execute his wife to take her out of her terminal pain.

Kaleb believes part of the fault lies with the passive fort commander, Major Wade Brown (Richard Crenna) and loudly criticizes him  in front of his command. Major Brown responds to Captain Kaleb by asking whether it was the Apaches or him who shot his wife. Captain Kaleb responds by shooting Major Brown in his leg and arm, then deserts the army. He disappears into the southwestern frontier to wage a private one man war of revenge against the Apache.

Two years later General Miles (John Huston) arrives at the fort with criticism of now Colonel Brown's unsuccessful military command and an offer of pardon for Kaleb. The scouts Natchai (Ricardo Montalbán) and Tattinger (Slim Pickens), old friends of Kaleb, are sent out to entice him (and his pet wolf-dog) back to the fort. With a bit of trickery they succeed.

General Miles tells Kaleb that Apaches led by Chief Mangus Durango have gathered in Mexico, intending to cross the border and attack at any time. As the United States Army is prohibited from entering Mexico, the General, over Brown’s objections, promises Kaleb amnesty in exchange for leading a select band of soldiers in plain clothes across the border to wipe out the Apache stronghold known as "La Spina Dorsale Del Diavolo", the Devil's Backbone.

In a reversal of the scenario of The Dirty Dozen, the formerly wanted Kaleb has his pick of the soldiers at the fort for his mission. Those willing to go on the mission include dynamite expert Reynolds (Chuck Connors), who also is an Army Chaplain, knife-fighting expert and military prisoner Corporal Jackson (Woody Strode), Gatling gun expert Captain Robinson (Patrick Wayne), grizzled veteran Quartermaster Sergeant Schmidt (Albert Salmi) and young army Lt. Ferguson (Brandon deWilde). A blustery Englishman, Crawford (Ian Bannen), sent by the British Army to study frontier tactics is selected by Kaleb's wolf dog. Kaleb selects the post's surgeon Dr. Robinson (Larry Stewart). Most of the men hate Kaleb, especially Trooper O'Toole (John Alderson).

Kaleb leads them into the desert to train them for the mission. It is severe, and results in a death of one of the party. The band also encounters Apaches, who they kill. On their return to the fort, Major Brown reveals that, despite the general’s amnesty offer, he intends to arrest Kaleb for having shot him two years ago. In response the general orders Brown to accompany Kaleb on the mission. Brown cannot disobey. Natchai and Tattinger go along as well.

They cross the border and successfully infiltrate the Apache stronghold of The Devil's Backbone by bringing their mounts and equipment up hazardous cliffs. After a successful smaller attack on part of the Apaches, due to one man's sense of morality the rest of the Apaches are alerted leading to a fierce battle with the main body of the Apaches. Kaleb's elite force wins, in large part due to the advantages proffered by dynamite and machine gun fire. The victorious survivors return to the fort, where an embarrassed General Miles explains that despite his amnesty offer he has been ordered to arrest Kaleb. Colonel Brown suggests the resolution: they will all say Kaleb was killed in action at the Devil's Backbone. Kaleb mounts up and rides away from the fort back into the desert.

Cast

Production
Bekim Fehmiu who had starred as Ulysses in Dino De Laurentiis' 1968 television miniseries L'Odissea had recently starred in Paramount's The Adventurers (1970).

The film was shot largely on location in Italy, Spain and Yugoslavia. Many exterior scenes were filmed at the Fort Bowie set built in the Province of Almería, Spain, where the desert landscape and climate that characterizes part of the province have made it a much utilized setting for Western films, among those A Fistful of Dollars (1964), The Good, the Bad and the Ugly (1966) and later 800 Bullets (2002). This same set was also used in the films Blindman (1971) with Ringo Starr and A Reason to Live, a Reason to Die (1972).

Reception
In his investigation of narrative structures in Spaghetti Western films, Fridlund writes that The Deserter mainly follows the "Professional Plot", as described by Will Wright in his analysis of American Westerns, that is the cooperation of a group of professionals fulfilling a mission.

Home media

Video
The Deserter was originally released on VHS in the United States by Paramount Home Entertainment, on September 9, 1992. Paramount has not released the film as a DVD in North American Region 1. It was available at one time in DVD Region 0 by East West Entertainment LLC in standard non-widescreen VHS conversion and Region 4 by Reel Corporation, Australia.

Soundtrack
The score for The Deserter had music composed and conducted by Piero Piccioni. Originally a practicing lawyer securing movie rights for Italian film  distributors, he was eventually credited with scoring over 300 films. Piccioni was influenced in his use of jazz by 20th century classical composers and American cinematography and this is apparent in The Deserter soundtrack.

Piccioni's score was released on CD in Italy in 1997 on the Legend label, as CD 28, 14-tracks under the title Piero Piccioni: La Spina Dorsale Del Diavolo. Recent discovery of the stereo master tapes of the original session, with an extra 25 minutes of music, is featured on the limited 1500 unit special edition Legend CD 32 DLX, released July, 2010, as a 26-track 74:34 CD.

See also
 List of American films of 1971
 List of films shot in Almería
 List of Spaghetti Western films

References

External links

 Fort Bowie/Spanish on-location set

1970 films
1970 Western (genre) films
Italian drama films
American Western (genre) films
Western (genre) cavalry films
Films about deserters
Films directed by Burt Kennedy
Films produced by Dino De Laurentiis
Films shot in Almería
Films scored by Piero Piccioni
1970 drama films
Films shot in Italy
Films shot in Yugoslavia
English-language Italian films
English-language Yugoslav films
Yugoslav drama films
1970s English-language films
1970s American films
1970s Italian films