In winemaking, pressing is the process where juice is extracted from the grapes with the aid of a wine-press, by hand, or even by the weight of the grape berries and clusters. Historically, intact grape clusters were trodden by feet but in most wineries today the grapes are sent through a crusher/destemmer, which removes the individual grape berries from the stems and breaks the skins, releasing some juice, prior to being pressed. There are exceptions, such as the case of sparkling wine production in regions such as Champagne where grapes are traditionally whole-cluster pressed with stems included to produce a lighter must that is low in phenolics.

In white wine production, pressing usually takes place immediately after crushing or/and before primary fermentation. In red wine production, the grapes are also crushed but pressing usually doesn't take place till after or near the end of fermentation with the time of skin contact between the juice and grapes leaching color, tannins and other phenolics from the skin. Approximately 60-70% of the available juice within the grape berry, the free-run juice, can be released by the crushing process and doesn't require the use of the press. The remaining 30-40% that comes from pressing can have higher pH levels, lower titratable acidity, potentially higher volatile acidity and higher phenolics than the free-run juice depending on the amount of pressure and tearing of the skins and will produce more astringent, bitter wine.

Winemakers often keep their free-run juice and pressed wine separate (and perhaps even further isolate the wine produced by different pressure levels/stages of pressing) during much of the winemaking process to either bottle separately or later blend portions of each to make a more complete, balanced wine. In practice the volume of many wines are made from 85 to 90% of free-run juice and 10-15% pressed juice.

When to press and other winemaking decisions

The timing of pressing and the methods used will influence other decisions in the winemaking process. In white wine making, pressing usually happens immediately after harvest and crushing. Here, the biggest decision will be how much pressure to apply and how much pressed juice the winemakers wants in addition to the free-run juice. Some grape varieties, such as Sémillon and Aurore have very "liquidy" pulps that releases juice easily without needing much pressure that could risk tearing the skins. Other varieties, such as Catawba, have much tougher pulps that will require more pressing.

In red wine production the timing of when to press is one of the most important decisions in the wine making process since that will be the moment that maceration and phenolic extraction ceases. Some winemakers use the decreasing sugar level (such as brix measurement) scale and press once the wine has reached complete dryness. Often winemakers will use taste to determine if the wine has extracted enough tannins to produce a balanced wine and may press before complete dryness (such as at 3-8 brix). Though removing the skins by pressing often removes some solids that the wine yeast need to complete fermentation and the benefits of pressing early is often balanced by the risk of potential stuck fermentation.

The quality of the vintage year and the overall ripeness of the harvested grapes may also play a role since in cool years when the grapes are often harvested under-ripe, the tannins in the grape are often very "green" and harsh. In these years winemakers might press early (such as at 15 brix), a process that the Australians call "short vatting". In warmer years, the tannins may be full ripe or "sweet" and the winemaker may decide to do a period of extended maceration and not press the grapes for as long as a month after fermentation has completed.

Usually the pressed juice will require some additional treatment, which can be done separately to the pressed juice alone or to the entire batch of wine if the pressed juice is blended with the free-run. These treatments may include acid adjustments to lower pH, extended settling periods for clarification and additional racking to remove the extra suspended solids and the use of fining agents to remove extra solids or excess tannins. Grape pulp contains a lot of pectins that create colloid coagulation with these solids that will make the wine difficult to stabilize. Some winemakers will use pectolytic enzymes during the maceration process to help break down the cell walls to allow the release of more juice freely. These enzymes are also used with white wines to assist in clarification. The type of pressing used and the amount of suspended solids plays a particular role in filtering decisions as a high amount of suspended solids (particularly natural gums) can clog and damage expensive filters.

History

The earliest wine press was likely the human foot or hand, crushing and squeezing grapes into a bag or container where the contents would ferment. The pressure applied by these manual means was limited and these early wines were likely pale in color and body. Eventually humans discovered that more juice could be extracted and potentially a better wine could be produced if they developed ways of pressing. It began with the ancient Egyptians who developed a "sack press" made of cloth that was squeezed with the aid of a giant tourniquet.

The ancient Greeks and Romans developed large wooden wine presses that utilized large beams, capstans and windlasses to exert pressure on the pomace. That style of wine press would eventually evolve into the basket press used in the Middle Ages by wine estates of the nobility and Catholic Church. There are many church records that showed feudal land tenants were willing to pay a portion of their crop to use a landlord's wine press if it was available. This was likely because added volume of wine (anywhere from 15 to 20%) that pressing could produce versus manual treading was substantial enough to justify the cost.

Machine pressing became even more widespread in the 17th and 18th century as the style of winemaking in France and other parts of Europe was shifting towards heartier wines that could age and survive long transport voyages overseas. Winemaking text began recommending the use of mechanical pressings over feet treading in lagars. Even in Bordeaux, which was still using lagars long after Burgundy, Champagne and other French wine regions had adopted the basket press, saw the use of a wine press become more popular after darker, more full bodied wines of Château Haut-Brion produced by Lord Arnaud III de Pontac began receive wide acclaim from English writers.

In the 20th century, wine presses advanced from the vertical style pressing of the basket press and ancient wine press to horizontal pressing with pressure either being applied at one or both ends or from the side through use of an airbag or bladder. These new presses were categorized as "batch", which like the basket press had to have the pomace emptied and grapes reloaded, and as "continuous" where a belt or Archimedes' screw would subject the grapes/pomace to increasing pressure from one end of the press to the other with new grapes being added and the pomace being continuously removed. Another advancement was the complete enclosure of the press (sometimes called "tank press") that reduced the exposure of the grape must to air. Some advance presses can even be flushed with nitrogen to create a complete anaerobic environment that can be desired for wine making with white wine grapes. Additionally, many of today's modern presses are computerized, which allows the operator to control exactly how much pressure is being applied to the grape skins and for how many cycles.

Types of presses

Wine presses are generally classified into two types—batch and continuous. Batch presses involve pressing a set amount (a "batch") of grapes with the press needing to be emptied of the pomace or "cake" (the leftover skins, seeds and stems) between batches. There are many different styles of batch presses ranging from simple hand-operated basket presses to computerized membrane presses and presses that are "opened" with oxygen able to come into contact with the must or "enclosed" in a tank that allows for anaerobic winemaking. Continuous presses use a helical screw (such as an auger) or belt that transports the grapes from a feed in across a cylindrical screen or between air pressured filled pads that presses the grapes, compacts the cakes and then removes the cake through an output all in one continuous operation.

In general, batch presses are considered more "gentle" with less movement of the grape skins that minimize the amount of tearing of the skins. The more the grape skins are torn or scoured, the more phenolic compounds and tannins that are extracted, which can increase the harshness of the wine. However, batch presses are much more labor-intensive, requiring repeated emptying and filling and can also be more time-consuming, often requiring between 1 and 2 hours per press cycle. Continuous presses, which are often used by high-volume wine producers, can be more efficient, with some continuous screw presses having the capability of doing upwards of 100 metric tonnes per hour.

The development of large, enclosed membrane presses in the 1970s that could more efficiently process larger batches of grapes with acceptable quality of juice encouraged many wineries to transition away from using screw presses. While basket presses are still popular among artisan and small wineries and some high volume producers still utilize continuous screw, the most commonly used presses in the wine industry tend to be membrane presses.

Batch presses
Batch presses typically operate in a cycle that can be mechanized or manual. This involves the following steps:
Filling the tank or basket with grapes
Applying pressure
Rotating the tank or manually breaking up the cake
Applying pressure again at higher levels
Repeat of rotation or cake break up if applying further pressure
Depressurizing and emptying
The benefit or rotating the tank or breaking up the cake is to promote a more even pressing and formation of a regular-shape cake that will be easier to move. From the moment that grapes are filled into the tank or basket, juice is being released and extracted. This juice is usually drained by the tank into a waiting container or "press pan" that is then transferred or pumped into another container.

The amount of pressure applied (and speed) will depend on the winemaker's preference with additional pressure increasing the likelihood that the skins and seeds of the grapes will be scoured and torn, releasing tannins and other phenolic compounds that could make the juice more astringent and bitter. Typically mechanized batch presses will begin at less than 1 bar (slightly less than 1 atm) of pressure and gradually increase to a maximum of 4 to 6 bars over a course of 1 to 2 hours. The slower that the pressure is applied and gradually increased, the more gentle the overall pressing will be.

There are several different types of batch presses, each with its own benefits and disadvantages. The ones most commonly found in wineries are listed below.

Basket press
One of the earliest styles of mechanical press, these can range from a simple wooden basket with vertical slats and a capstan providing pressure to large hydraulic presses that can even be enclosed to prevent exposure to oxygen. An advantage of this style of press is the usually gentle means that it presses the grape but its disadvantages includes the labor intensiveness of its use, small volumes and tendency to provide uneven pressure to all parts of the cake as well as usually exposing the must to significant amounts of oxygen. Another disadvantage from a time perspective but an advantage in other regards such as gentleness, is that by its nature pressing with a basket press is very slow. Applying too much pressure too rapidly can break the press.
Moving head press
This press is essentially a basket press that has been turned on it sides with two heads at opposite ends providing more homogenous pressure as it moves horizontally towards the compacting cake. Often these presses have chains connected between the two heads that break up the cake between pressings as the heads are retracted. While less labor-intensive than traditional basket presses and providing more even pressure, one disadvantage of the moving head press is that it that cake gets so compact that it is often difficult for juice to strain from the inner core of the cake out. This has the effect of creating a dry "outer cake" and wet "inner cake" with trapped juices still inside. The juice extracted from the dry outer cake can also be very coarse and high in phenolics.
Bladder press
Also known as a "pneumatic press". To counter the disadvantages of the moving head press, the bladder press was designed to have a long cylindrical rubber sausage (the "bladder") mounted through the center of the tank (creating essentially an annulus) that is inflated by air or water to produce outward pressure on the cake against a perforated screen. The cake becomes like a donut with even pressure applied almost equally to all parts of the cake. The benefits of this style are a usually even amount of pressure applied to the cake as well as an added ability to help cool the must if the bladder is filled with cold water. A disadvantage is the labor intensiveness of cleaning and empty and the potential high oxygen exposure if the tank is not enclosed.
Membrane press
Instead of providing pressure from the center out like with a bladder press, the membrane of a membrane press is mounted on one side of the press horizontally between the two ends. On the opposite ends are drain screens that allow the release juice to drain through into the waiting press pan. Like a bladder press external pressure is applied by pressurized air (rarely water) that gradually inflates the membrane that gently presses the grapes against the drain screen. The advantage of this style of press is the gentle pressure and minimal movement of the grapes, which minimizes the amount of tearing and scouring of the skins and seeds. This limits the amount of suspended solids and extracted phenolics in the pressed wine. Also, many membrane presses are fully enclosed, allowing for anaerobic winemaking without any exposure to oxygen. In addition to the same labor and time disadvantages (some presses can take 2 to 4 hours a batch) of the other batch presses, these computerized and enclosed membrane press are often some of the more expensive pieces of equipment a winery can buy.

Continuous presses

The benefits of continuous presses is the "continuous" sequence that allows large volumes of grapes to be pressed with minimum labor involvement. Instead of pressing separate batches that need to be emptied and refilled, continuous press typically have an input area and some mechanism (such as an auger screw or belt) that transfers the grapes through the pressings with an output area for the discarded cake. The throughput is limited by the capacity of the tank and the diameter of the screw or width of the belts. Many models of continuous screw presses can process from 50 to upwards of a 100 metric tonnes an hour. This can be a significant advantage for a high volume winery compared to batch presses that often only process 1 to 5 tonnes an hour.

While not as varied as batch presses, there are three main types of continuous presses, each with their own benefits and disadvantages. While often more common in the juice industry than in winemaking (and are even banned for quality wine production in some wine regions such as Algeria), the following presses may be found in (usually high volume) wineries.

Screw press- Grapes are loaded into an input where a large helical screw transfers the grape across perforated cylinder that allows the release juice to escape. As screw moves further down, the cake pomace is subjected to increasing pressure. While the advantage is the high throughput, the harsh pressing and movement cause tearing and grinding of the grape skins and seeds, causing more minerals (such as potassium, which can affect pH), tannins and natural gums to be extracted into the juice. As much as 4% v/v of the pressed juice from a screw press could be suspended solids that may need to be treated by clarification and fining agents to be stable and filterable.
Impulse press- A modification of the screw press that aimed to limit the amount of movement of the grapes. The press first draws the screw back into the container as the grapes to be loaded in. Then the screw moves forward horizontally acting more like a "battering ram" than an auger by intermittently pushing the cake in "impulses" against the far end of the press. While producing slightly less phenolic press fraction, the disadvantage of this press is the decrease efficiency that is almost on par with batch presses.
Belt press- This press utilizes a series of air-inflated pads along a wire mesh belt. Usually several meters long, fresh grapes are loaded onto the beginning of the belt where it is transferred by rollers through the series of pads that apply pressure, hold it for a time and release with the juice falling through the screens into waiting press pans. Belt presses have been used by high volume wineries for whole-cluster pressing and sparkling wine production but it has not caught on in many wine regions due to concerns about the amount of oxidation it introduces to the wine as well as the large amount of suspended solids that get past the screens.

Press sections

There is a trade off between the high volume and throughput that continuous presses can manage versus the overall quality of the press juice compared to the potentially more delicate means of some batch presses. However, there are noticeable difference in the composition of the pressed juice from continuous presses that are taken from the beginning of the press (the 1st press section) with the least amount of pressure and movement versus the fractions that come further down the path. Often winemakers will have separate press pans under each section that they will keep apart and vinify separately.

Below is a table of the difference in Riesling juice composition between free-run juice and the juice that comes out from the different sections of a continuous press from the relatively low pressure 1st press section to the more compact, higher pressure 3rd press section.

Free-run versus pressed juice

For as long as presses have been used, winemakers have been aware of the different color, body and aroma characteristics of wine made from the "free-run" juice compared to pressed juice. Free-run is the juice that has been extracted through the process of crushing, the natural break down of the grape cell walls during maceration and fermentation and by the own weight of the grape berries as they are loaded on top of each other in a press. Even among press juice there are compositional difference between the various "fractions" of juice produced from initial pressing through subsequent (and usually harsher) pressing. Often winemakers will keep free-run and pressed juice separated for most of the winemaking process including malolactic fermentation and barrel aging with the options to later blend between them to make the most complete, balanced wine, bottle separately under different labels and price tiers or to discard/sell off the pressed fractions to another producer.

The main difference between free-run and pressed juice is that pressed juice often has lower acidity levels, higher potassium and pH level, more phenolic compounds such as tannins and more suspended solids such as natural gum and proteins. Some of these attributes can be positive influences on the wine with the increased phenolics offering more body, aroma characteristics (such as the varietal aromas from terpenes) and aging potential. Other attributes may have more negative influence such as increased astringency and bitterness, precursor for browning pigments in white wine, mouthfeel and balance issues (as well as potential microbial instability) from the increased pH and the enhance need for fining agents to assist in the clarification and stabilization of the wine with the increase in suspended solids.

The extent of these differences will be magnified or minimized based on the initial condition of the fruit after harvest (with moldy, damaged, sun-burnt or botryized grapes producing stark differences between free-run and pressed juice), the type of press used, the amount of pressure involved and the overall amount of movement that the grapes are subject to that could impact how much the skins and seeds are scoured and torn.

Pressed fractions

Below is a table of the difference in Riesling juice composition between free-run juice and various press fractions using a membrane press.

Whole-cluster pressing

Whole-cluster pressing is where instead of first sending the grapes through a destemmer/crusher the intact grapes are directly pressed still attached to the stems. This is a method that is widely used for white, rosé and sparkling wine production because it usually produces a more delicate, less phenolic and less colored wine. Even some red wine producers (most notably Pinot noir) will use this type of pressing to avoid harsh tannins or "green-ness" that may come from under ripe grapes. This method is different from "stem pressing" where the grapes are crushed and destemmed but portions of the stems are saved and tossed into the wine press to add some phenolics as well as create "channels" for the juice to drain between the skins, which can limit how often the drain screens get clogged.

Under the whole-cluster method, the first press fraction is essentially the "free-run" fraction since the grapes berries are only first being broken and releasing juice as the press cycle begins. However, like with the pressing of crushed grapes the composition of the juice changes with each subsequent pressing and these fractions are often kept separate. Unlike crushed grape pressing, where usually the free-run juice is most prized, in whole-cluster pressing the second fraction is often most valued for its balance of phenolic content and aging potential.

In Champagne, where whole-cluster pressing in shallow basket press is very common, the tradition of separating the press fractions dates back to Dom Pérignon with guidelines recorded in 1718 by his biographer Canon Godinot. According to Pérignon (Godinot), the  free run vin de goutte was considered too delicate and lacking on its own to make fine Champagne and it was sometimes discarded or used for other wines. The first and second pressings (called tailles or cut since the pomace cake was literally cut with ropes, chains or paddles to remove it between pressings) were the most ideal for sparkling wine production. The juice of the third pressing was considerable acceptable but the fourth pressing (called the vin de taille) was rarely used and all other pressings after that (the vins de pressoirs) were considered too harsh and colored to be of any value in Champagne production.

References

Winemaking


Events in the year 1960 in Norway.

Incumbents
 Monarch – Olav V
 Prime Minister – Einar Gerhardsen (Labour Party)

Events

 1 May – The U-2 incident reveals that the United States uses Norwegian air bases as part of spying missions against the Soviet Union.
 20 August – King Olav V declares television officially opened in Norway.
 6 October – The Akershus University Hospital opens
 1 November – Population Census: 3,591,234 inhabitants in Norway.
 9 December – The Norwegian government decides, contrary to the advice of the Norwegian military leadership, that Norway will not acquire any nuclear weapons.
 NRK began its regular television broadcasts.

Popular culture

Sports
1960 in Norwegian football
Norway at the 1960 Summer Olympics
Norway at the 1960 Winter Olympics

Music

Film
Struggle for Eagle Peak (Venner), starring Alf Malland

Literature
Jens Bjørneboe - Den onde hyrde

Television

Notable births

17 January – Vivian Knarvik Bugge, politician.
7 February – Ingunn Foss, politician
2 March – Svein Stølen, chemist.
10 March – Agnete Haaland, actress and theatre director.
19 March – Hanne Woods, curler.
21 March – Gunn Nyborg, footballer.
29 March – Sonja Mandt-Bartholsen, politician
4 April – Brit Volden, orienteering competitor.
8 April – Jørn Sigurd Maurud, jurist and civil servant.
27 April – Hanne Hegh, handball player.
25 June – Randi Karlstrøm, politician
26 June – Rigmor Aasrud, politician
16 July – Trond Abrahamsen, ice hockey player.
17 July – Toril Marie Øie, Chief Justice of the Supreme Court of Norway.
21 July – Brynjar Aa, dramatist
27 July – Sverre Løken, rower.
2 August – Joar Vaadal, footballer.
10 August – Øystein Alme, author
2 September – Kristin Halvorsen, politician and Minister
2 September – Ida Hjort Kraby, civil servant.
2 September – Vetle Lid Larssen, journalist and novelist.
4 September – Ragnhild Aarflot Kalland, politician
18 September – Nils Petter Molvær, jazz trumpeter, composer and producer
1 October – Per Bergersen, musician (died 1990)
26 October – Arne Berggren, writer and musician.
18 December – Niels Christian Geelmuyden, journalist and writer
11 December – Frode Grytten, writer and journalist

Notable deaths

15 January – Carl Fredrik Holmboe, engineer (b. 1882)
2 February – Eilert Falch-Lund, sailor and Olympic gold medallist (b. 1875)
15 May – Rolf Jacobsen, boxer (b. 1899)
22 May – Anders Tjøstolvsen Noddeland, politician (b. 1885)
25 June – Carl Alfred Pedersen, gymnast and triple jumper (b. 1882)
22 July
Bodil Katharine Biørn, missionary known as Mother Katharine (b. 1871)
Hans Nordvik, rifle shooter and Olympic gold medallist (b. 1880).
29 July – Kristian Østervold, sailor and Olympic gold medallist (b. 1885).
29 July – Carl Wilhelm Rubenson, mountaineer (born 1885 in Sweden).
12 September – Jakob Nilsson Vik, politician and Minister (b. 1882)
28 September – Gabriel Kielland, architect, painter and designer (b. 1871)
14 October – Sigurd Hoel, author and publishing consultant (b. 1890)
27 November – Gunnar Kaasen, musher, delivered diphtheria antitoxin to Nome, Alaska in 1925, as the last leg of a dog sled relay that saved the city from an epidemic (b. 1882)
13 December – Christopher Hornsrud, politician and Prime Minister of Norway (b. 1859)
13 December – Einar Jansen, historian, genealogist and archivist (b. 1893)
17 December – Arne Sejersted, sailor and Olympic gold medallist (b.1877).
18 December – Trygve Schjøtt, sailor and Olympic gold medallist (b.1882).
28 December – Karl Eugen Hammerstedt, politician (b.1903)

Full date missing
Birger Gotaas, journalist (b. 1883).

See also

References

External links


Com.x is a British comic publishing company.

History

2000–2002
Com.x was founded in 2000 by Eddie Deighton, Russell Uttley and Neil Googe. Deighton later described how the group came together in 1999:

The company published a number of titles in the following couple of years like Cla$$war by Rob Williams and Trevor Hairsine, Puncture by Uttley and Ben Oliver, Razorjack by John Higgins and Bazooka Jules by Googe.

Rob Williams suggested that the relatively greater impact Com.x had on the American publishing companies was:

The downside of this for the company was that their artists, like Trevor Hairsine, Ben Oliver, Joshua Middleton and Neil Googe, were snapped up by Marvel and DC.

They ran into bigger problems in 2002 when their offices were burgled and it took them time to recover. Other named projects, like Battle Raven Six by Antony Johnston, were never published and the company went quiet for over a year.

2003–2004
The second phase of the company's activity took place in 2003 and 2004. The first three issues of Cla$$war were collected into a trade paperback in 2003 and the series was finished in 2004 with new artist Travel Foreman. However, when interviewed in 2004 Googe said he did not feel the company had fully returned:

Other titles that were announced as returning, but never appeared, include Bazooka Jules with new artist LeSean Thomas and Thomas' own Cannon Busters.

2008–present
The company returned fully to comics publishing in 2008, led by Eddie Deighton and business partner Benjamin Shahrabani, with a more sustainable business model. To avoid delays in the releasing of series, Deighton said that "[o]ur publishing model, at least for the time being, is going to focus on graphic novel format, collected editions, complete story-arcs, etc."

This included the release of new original graphic novel Path by Gregory Baldwin, along with the collection of Razorjack and Cla$$war. Then they will roll out other titles, including Forty-Five written by Andi Ewington with forty-five comics artists, a softcover collection of Cla$$war and another creator-owned comic.

Titles

Titles published include:

Babble by writer Lee Robson, with art by Bryan Coyle
Bazooka Jules by Neil Googe
BlueSpear by writer Eddie Deighton/Andi Ewington, with art by Cosmo White
Cla$$war by writer Rob Williams, with art by Trevor Hairsine/Travel Foreman. Coloured by Len O'Grady
Codename: Babetool by writer Jose Luis Gaitan, with art by Walter Taborda
Duppy'78 by writer Casey Seijas, with art by Amancay Nahuelpan. Coloured by Daniel Warner
Forty-Five by writer Andi Ewington, with art by various artists
The Last American by writers Alan Grant/John Wagner, with art by Mike McMahon
Monster Myths by John Lupo Avanti
N-jin by writer Guy Haley, with art by Dan Boultwood. Coloured by Len O'Grady
O:R:E by writer Eddie Deighton and Jim Alexander
Path by Gregory Baldwin
Primal by writer Russell Uttley, with art by Joshua Middleton/Ben Oliver
Puncture by writer Russell Uttley, with art by Ben Oliver
Razorjack by John Higgins
SEEDS by Ross Mackintosh
Sky Between Branches by Joshua Middleton

Notes

References

External links

Comic book publishing companies of the United Kingdom
Publishing companies established in 2000
2000 establishments in the United Kingdom


Florentina Ioana Mosora or Florentina Stan-Mosora (7 January 1940 in Cluj, Romania – 2 February 1996 in Liège, Belgium) was a Romanian and Belgian biophysicist. In her earlier years, before 1964, she was a film actress in the Romanian film industry.

Biography
Mosora initially had a career in acting and was noted for her role in Dragoste la zero grade ("Love at Zero Degrees", 1964). She also starred in Sub cupola albastră ("Under the Blue Arch", 1962), Post-restant ("Poste Restante", 1961), and Băieţii noştri ("Our Boys", 1959). She was a graduate of the University of Bucharest's Faculty of Physics. Later she moved to Belgium, where she worked on the use of stable isotopes in medicine. She was awarded the 1979-1981 Prix Agathon de Potter for outstanding research work in physics by the Agathon de Potter Foundation and the Belgian Royal Academy. In 1989 she was one of three scientists co-organizing a NATO workshop on Biomechanical Transport Processes. She died aged 56 in Liège.

Selected works

Florentina Mosora, "Experimental Studies of Variations of the State," in

References

External links

Romanian film actresses
Romanian physicists
Romanian biologists
Actors from Cluj-Napoca
University of Bucharest alumni
Romanian women scientists
1940 births
1996 deaths
Women biophysicists
Belgian women scientists
Belgian women biologists
Belgian women physicists
Romanian emigrants to Belgium
20th-century Romanian actresses
20th-century women scientists
20th-century Belgian scientists
20th-century biologists
Scientists from Cluj-Napoca


Non-marine molluscs of New Zealand include gastropods, such as land snails, and freshwater molluscs (or shellfish), such as freshwater mussels. Among the best known are the large native forest snails such as the Paryphanta (kauri snails) and Powelliphanta.

Systematic list

Freshwater gastropods

Tateidae
 Catapyrgus jamyi Verhaegen & Haase, 2021
 Catapyrgus sororius Haase, 2008
 Obtusopyrgus farri Verhaegen & Haase, 2021
 Opacuincola gretathunbergae Verhaegen & Haase, 2021
 Opacuincola lisannea Verhaegen & Haase, 2021
 Opacuincola mete Haase, 2008 with the subspecies O. mete kahurangi Verhaegen & Haase, 2021

Latiidae - only one genus Latia is endemic to the North Island
 Latia climoi Starobogatov, 1986 - type species
 Latia lateralis (Gould, 1852)
 Latia neritoides Gray, 1850

Lymnaeidae

Planorbidae
 Planorbis kahuica Finlay & Laws, 1931

Land gastropods

Hydrocenidae
 Omphalorissa purchasi (Pfeiffer, 1862)

Orthalicidae
 Placostylus ambagiosus Suter, 1906

Pupinidae
 Cytora annectens (Powell, 1948)
 Cytora aranea (Powell, 1928)
 Cytora brooki Marshall & Barker, 2007
 Cytora calva (Hutton, 1882)
 Cytora chiltoni (Suter, 1896)
 Cytora climoi Marshall & Barker, 2007
 Cytora cytora (Gray, 1850)
 Cytora depressa N. Gardner, 1968
 Cytora fasciata (Suter, 1894)
 Cytora filicosta (Powell, 1948)
 Cytora gardneri Marshall & Barker, 2007
 Cytora goulstonei Marshall & Barker, 2007
 Cytora hazelwoodi Marshall & Barker, 2007
 Cytora hedleyi (Suter, 1894)
 Cytora hirsutissima (Powell, 1951)
 Cytora hispida N. Gardner, 1967
 Cytora houhora Marshall & Barker, 2007
 Cytora jamiesoni Marshall & Barker, 2007
 Cytora kahurangi Marshall & Barker, 2007
 Cytora kakano Marshall & Barker, 2007
 Cytora kamura Marshall & Barker, 2007
 Cytora kerrana N. Gardner, 1968
 Cytora lignaria (L. Pfeiffer, 1857)
 Cytora malleata Marshall & Barker, 2007
 Cytora maui Marshall & Barker, 2007
 Cytora mayhillae Marshall & Barker, 2007
 Cytora minor Marshall & Barker, 2007
 Cytora motu Marshall & Barker, 2007
 Cytora pakotai Marshall & Barker, 2007
 Cytora pallida (Hutton, 1883)
 Cytora pannosa (Hutton, 1882)
 Cytora paparoa Marshall & Barker, 2007
 Cytora parrishi Marshall & Barker, 2007
 Cytora rakiura Marshall & Barker, 2007
 Cytora septentrionalis (Suter, 1907)
 Cytora solitaria (Powell, 1935)
 Cytora taipa Marshall & Barker, 2007
 Cytora tawhiti Marshall & Barker, 2007
 Cytora tepakiensis N. Gardner, 1967
 Cytora tokerau Marshall & Barker, 2007
 Cytora torquillum (Suter, 1894)
 Cytora tuarua Marshall & Barker, 2007
 Liarea aupouria Powell, 1954: Liarea aupouria aupouria and Liarea aupouria tara
 Liarea bicarinata (Suter, 1907)
 Liarea egea (Gray, 1850): Liarea egea egea and Liarea egea tessellata
 Liarea hochstetteri (Pfeiffer, 1861): Liarea hochstetteri alta, Liarea hochstetteri carinella and Liarea hochstetteri hochstetteri
 Liarea lepida (Suter, 1904)
 Liarea ornata Powell, 1954
 Liarea turriculata (Pfeiffer, 1855): Liarea turriculata partula, Liarea turriculata turriculata and Liarea turriculata waipoua

Punctidae
 Laoma leimonias (Gray, 1850)
 Paralaoma servilis (Shuttleworth, 1852)
 Phrixgnathus celia Hutton, 1883

Rhytididae
 Paryphanta busbyi (Gray, 1840)
 Paryphanta watti Powell, 1946
 Powelliphanta spp. - all species of the genus Powelliphanta are endemic to New Zealand
 Rhytida spp. - all species of the genus Rhytida are endemic to New Zealand
 Rhytida greenwoodi (Gray, 1850)
 Schizoglossa spp. - all species of the genus Schizoglossa are endemic to New Zealand
 Wainuia spp. - all species of the genus Wainuia are endemic to New Zealand

Charopidae
 Allodiscus dimorphus (Reeve, 1852)
 Alsolemia longstaffae (Suter, 1913)
 Charopa coma (Gray, 1843)
 Fectola infecta (Reeve, 1852)
 Flammulina zebra (Le Guillou, 1842)
 Mitodon wairarapa (Suter, 1890)
 Mocella eta (Pfeiffer, 1853)
 Neophenacohelix giveni (Cumber, 1961)
 Otoconcha dimidiata (L. Pfeiffer, 1853)
 Phacussa helmsi (Hutton, 1882)
 Phenacohelix pilula (Reeve, 1852)
 Ranfurlya constanceae Suter, 1903
 Suteria ide (Gray, 1850)
 Therasia thaisa Hutton, 1883

Helicidae

Bivalvia

Hyriidae
 Cucumerunio websteri (Simpson, 1902)

See also

 List of marine molluscs of New Zealand
 List of non-marine molluscs of Australia
 Fauna of New Zealand

References

Further reading
 Hutton F. W. (1880). Manual of the New Zealand Mollusca. A systematic and descriptive catalogue of the marine and land shells, and of the soft mollusks and Polyzoa of New Zealand and the adjacent islands.
 Suter H. (1913). Manual of the New Zealand Mollusca Wellington.
 Powell A. W. B. (1979). New Zealand Mollusca, William Collins Publishers Ltd, Auckland, New Zealand, .

External links
 Invertebrates. Department of Conservation.
 New Zealand Mollusca website
 Hamish G. Spencer, Richard C. Willan, Bruce A. Marshall & Tara J. Murray. 2004.  Checklist of the Recent Mollusca Described from the New Zealand Exclusive Economic Zone. - See also: Exclusive Economic Zone#New Zealand
 Sykes R. E. (1893) "On a new helicoid land-shell from New Zealand". Proceedings of the malacological society 1(3): 218. - Endodonta (Charopa) prestoni Murdoch.
 Land snail posters

Non Marine
Molluscs, Non
New Zealand, Non
New Zealand, Non
New Zealand


Daniel Smith was a football goalkeeper who played one game for Port Vale in March 1923.

Career
Smith joined Port Vale in August 1922. His only appearance came in a 3–1 defeat to Southampton at The Dell on 5 March 1923. He was released at the end of the 1922–23 season after failing to dislodge Teddy Peers.

Career statistics
Source:

References

Year of birth missing
Year of death missing
English men's footballers
Men's association football goalkeepers
Port Vale F.C. players
English Football League players
Place of birth missing


Joshua Donen (born 1955) is an American film producer. He is the son of director Stanley Donen and actress Marion Marshall.

Donen dated singer and actress Cher from 1984 to 1986.

Work
The Quick and the Dead (1995)
Underneath (1995; executive producer)
The Great White Hype (1996)
Armored (2009)
Drag Me to Hell (2009; executive producer)
Spartacus: Blood and Sand (2010; executive producer)
Oz the Great and Powerful (2013)
House of Cards (2013; executive producer)
Mindhunter (2017; executive producer)
Love, Death & Robots (2019)
Voir (2021; executive producer)

References

External links

Living people
1955 births
American film producers
Primetime Emmy Award winners
American people of German-Jewish descent
American people of Russian-Jewish descent


Lee Jae-woo (, Hanja: 李載雨; born February 9, 1980) is a South Korean relief pitcher who plays for the Doosan Bears in the South Korean professional baseball league.

Career
Lee is from Seoul and in 2009, he played on the South Korean national team in the World Baseball Classic.

References

External links
Career statistics and player information from Korea Baseball Organization
Lee Jae-woo at doosanbears.com

1980 births
Living people
South Korean baseball players
Doosan Bears players
2009 World Baseball Classic players
Baseball players from Seoul


Magical Girl Lyrical Nanoha is a fantasy adventure anime and manga series written by Masaki Tsuzuki. Set in a fictional universe, its storyline follows several different users of magic as they become involved with incidents related to powerful ancient artifacts. Four anime series have been produced by Seven Arcs between 2004 and 2009 with music direction by Toshiki Kameyama. The first season anime television series titled Magical Girl Lyrical Nanoha directed by Akiyuki Shinbo was broadcast in 2004 spanning thirteen episodes. The second season of the anime series titled Magical Girl Lyrical Nanoha A's directed by Keizō Kusakawa was broadcast in 2005 spanning thirteen episodes. A third season of the anime series titled Magical Girl Lyrical Nanoha StrikerS directed by Keizō Kusakawa was broadcast in 2007 spanning twenty-six episodes. An anime film readaptation of the first season of the anime series was released in 2010. The discography for these series consist of ten soundtrack albums, three compilation albums, nine maxi singles, one studio album, and fourteen drama CDs.

The discography for the Magical Girl Lyrical Nanoha franchise was all produced by King Records. The ten soundtrack albums composed by Hiroaki Sano were released by King Records between 2005 and 2008. The eight maxi singles released by both King Records and Konami Digital Entertainment between 2004 and 2007 that each either contain a piece of theme music or an insert song featured in the many anime series. The one studio album was released by King Records in 2004 containing an insert song featured in the first season of the anime series. Three compilation albums collecting various tracks used throughout the three anime television series were released from 2007 to 2009 and fourteen drama CDs released between 2004 and 2009.

Magical Girl Lyrical Nanoha

Innocent Starter
"Innocent Starter" is a maxi single performed by Nana Mizuki first released on October 6, 2004 by King Records, bearing the catalog number KICM-1115. The lyrics, composition, and arrangement for the single are provided by Nana Mizuki, Tsutomu Ōhira, Takahiro Iida, and Chiyomaru Shikura. The single contains 6 tracks in regular and instrumental versions. The track "Innocent Starter" is featured as the opening theme in the anime television series Magical Girl Lyrical Nanoha. Its B-sides are titled "Open Your Heart" and . It peak ranked 9th on the Oricon singles chart and remained on the chart for eight weeks.

Little Wish (Lyrical Step)
 is a maxi single performed by Tamura Yukari first released on October 21, 2004 by Konami Digital Entertainment bearing the catalog number KMCM-40. The song "Little Wish (Lyrical Step)" was featured as the ending theme to the anime Magical Girl Lyrical Nanoha. The lyrics, composition, and arrangement for the single are provided by Karen Shiina, Masatomo Ota, Kanade Kotowa, and Kazuya Komatsu. The single contains three tracks. Its A-side "Little Wish (Lyrical Step)" is featured as the ending theme in the anime television series Magical Girl Lyrical Nanoha. Its B-sides are titled  and "Sweet Darlin' ". It peak ranked 32nd on the Oricon singles chart and remained on the chart for four weeks.

Alive & Kicking
Alive & Kicking is a studio album performed by Nana Mizuki first released on December 8, 2004 by King Records bearing the catalog number KICS-1125. The lyrics, composition, and arrangement for the album are provided by Yabuki Toshirō, Nana Mizuki, sutomu Ōhira, Takahiro Iida, Yūmao, Noriyasu Agematsu, Akimitsu Honma, Kenji Kitajima and Naoko. The album contains fourteen tracks and covers a duration of 65:08. It contains the track "Take a Shot" that was featured as an insert song in episode twelve of anime series Magical Girl Lyrical Nanoha. It also featured the track "Innocent Starter", which was used as the opening theme for the same series.

Magical Girl Lyrical Nanoha Original Soundtrack
The  containing all the tracks composed by Hiroaki Sano used as background music for the anime television series Magical Girl Lyrical Nanoha. It was first released on May 11, 2005 by King Records bearing the catalog number KICA-693. It contains forty-one tracks and covers a duration of 1:13:34. It features short versions of the opening and ending themes for the anime series performed Nana Mizuki and Tamura Yukari respectively as well as the two tracks containing the lines of dialogue spoken by the two intelligent devices Raising Heart and Bardiche performed by Donna Burke and Kevin J. England respectively. It peak ranked 117th on the Oricon albums chart and remained on the chart for one week.-

Magical Girl Lyrical Nanoha The Movie 1st Original Soundtrack
The original soundtrack for the Magical Girl Lyrical Nanoha The Movie 1st was composed by Hiroaki Sano and was released in two discs by King Records on January 23, 2010. It covers forty-six tracks.

Track listing

Magical Girl Lyrical Nanoha A's

Eternal Blaze
"Eternal Blaze" is a maxi single by Nana Mizuki first released on October 19, 2005 by King Records bearing the catalog number KICM-1148. The lyrics, composition, and arrangement for the single are provided by Nana Mizuki, Noriyasu Agematsu, Bee, Hitoshi Fujima, Ryōji Sonoda, and Wataru Masachi. The single contains three tracks. Its A-side "Eternal Blaze" is featured as the opening theme in the anime television series Magical Girl Lyrical Nanoha A's. Its B-sides are titled "Rush & Dash!" and "Inside of Mind". It peak-ranked 2nd on the Oricon singles chart and remained on the chart for fifteen weeks.

Spiritual Garden
"Spiritual Garden" is a maxi single by Yukari Tamura first released on October 26, 2005 by Konami Digital Entertainment bearing the catalog number GBCM-7. The lyrics, composition, and arrangement for the single are provided by Yukiko Mitsui, Masatomo Ota, Manami Fujino, Yukari Hashimoto, Ucio, and Toshimichi Tsuge. The single contains three tracks. Its A-side "Spiritual Garden" is featured as the ending theme in the anime television series Magical Girl Lyrical Nanoha A's. Its B-sides are titled "Cutie Cutie" and "Travelling with a Sheep". It peak ranked 10th on the Oricon singles chart and remained on the chart for five weeks.

Super Generation
"Super Generation" is a maxi single by Nana Mizuki first released on January 18, 2006 by King Records bearing the catalog number KICM-1156. The lyrics, composition, and arrangement for the single are provided by Nana Mizuki, Junpei Fujita, Noriyasu Agematsu, Yamato Itō, Nittoku Inōe. The single contains three tracks. Its B-side "Brave Phoenix" was featured as an insert song to episode twelve of the anime television series Magical Girl Lyrical Nanoha A's. Its A-side is titled "Super Generation" and its other B-side is titled . It peak ranked 6th on the Oricon singles chart and remained on the chart for six weeks.

Magical Girl Lyrical Nanoha A's original soundtracks
The original soundtrack for the anime television series Magical Girl Lyrical Nanoha A's was composed by Hiroaki Sano and was released across six soundtrack albums that were each bundled with its respective DVD compilation volume that was released for the series. King Records released the six CDs titled Magical Girl Lyrical Nanoha A's Original Soundtrack Plus Vol.1~6 between January 25, 2006 and June 21, 2006. In total, the six CDs contain fifty-seven tracks and cover a duration of 43:54. Each CD features tracks containing background music used during the anime series as well as the lines of dialogue that each intelligent device that the protagonists and antagonists of the anime series use performed by their respective voice actors.

Track listing

Magical Girl Lyrical Nanoha The Movie 2nd A's Original Soundtrack
The original soundtrack for Magical Girl Lyrical Nanoha The Movie 2nd A's was composed by Misa Chūjō and was released in two discs. King Records released the original soundtrack on July 14, 2012. It contains fifty-seven tracks and covers a duration of 1:55:55.

Track listing

Magical Girl Lyrical Nanoha StrikerS

Secret Ambition
"Secret Ambition" is a maxi single by Nana Mizuki first released on April 18, 2007 by King Records bearing the catalog number KICM-1199. The lyrics, composition, and arrangement for the single are provided by Nana Mizuki, Chiyomaru Shikura, Hitoshi Fujima, Noriyasu Agematsu, Chisato Nishimura, and Shinya Saitō. The single contains six tracks in both regular and instrumental versions. Its A-side "Secret Ambition" is featured as the first opening theme in the anime television series Magical Girl Lyrical Nanoha StrikerS and is used for episodes one through seventeen. Its B-sides are titled "Heart-Shaped Chant" and "Level Hi!". It peak ranked 2nd on the Oricon singles chart and remained on the chart for nineteen weeks.

Hoshizora no Spica
 is a maxi single by Yukari Tamura first released on May 9, 2007 by King Records bearing the catalog number KICM-1210. The lyrics, composition, and arrangement for the single are provided by Karen Shiina, Noriyasu Agematsu, Mika Watanabe, Dux, and Hayato Tanaka. The single contains three tracks. Its A-side "Hoshizora no Spica" was featured as the first ending theme in the anime television series Magical Girl Lyrical Nanoha StrikerS and is used from episodes one through fourteen. Its B-sides are titled "Sensitive Venes" and "Melody". It peak ranked 7th on the Oricon singles chart and remained on the chart for nine weeks.

Massive Wonders
"Massive Wonders" is a maxi single by Nana Mizuki first released on August 22, 2007 by King Records bearing the catalog number KICM-1211. The lyrics, composition, and arrangement for the single are provided by Nana Mizuki, Toshirō Yabuki, Bee, Noriyasu Agematsu, and Hibiki. The single contains six tracks in both regular and instrumental versions. Its A-side "Massive Wonders" is featured as the second opening theme in the anime television series Magical Girl Lyrical Nanoha StrikerS and is used from episodes eighteen through twenty-six. Its B-side "Pray" is featured as an insert song in episode twenty-four of the same anime series. Its other B-side is titled "Happy Drive". It peak ranked 4th on the Oricon singles chart and remained on the chart for twelve weeks.

Beautiful Amulet
"Beautiful Amulet" is a maxi single by Tamura Yukari first released on August 1, 2007 by King Records bearing the catalog number KICM-1212. The lyrics, composition, and arrangement for the single are provided by Karen Shiina, Masatomo Ota, Yukiko Mitsui, Marhy, Dux, Miku Hazuki, Isozaki Takeshi, and Kazuya Komatsu. The single contains four tracks. Its A-side "Beautiful Amulet" is featured as the second ending theme in the anime television series Magical Girl Lyrical Nanoha StrikerS and is used from episodes fifteen to twenty-six. Its B-sides are titled  "Jelly Fish", and . It peak ranked 11th on the Oricon singles chart and remained on the chart for seven weeks.

Magical Girl Lyrical Nanoha StrikerS Original Soundtracks
The original soundtrack for the anime television series Magical Girl Lyrical Nanoha StrikerS was composed by Hiroaki Sano and was released across three soundtrack albums titled Magical Girl Lyrical Nanoha StrikerS Original Soundtrack Plus Vol.1~3. The three CDs were released between July 25, 2007 and March 26, 2008 alongside the first, fifth, and last of the nine DVD volumes that compile the anime's twenty-six episodes. In total, the three CDs contain seventy-eight tracks and cover a duration of 2:00:37. Each CD features tracks containing the background music used during the anime series.

Track listing

Drama CDs

Compilation albums

Magical Girl Lyrical Nanoha A's Sound Stage Vocal Best Collection
 is a compilation album compiling tracks composed by Hiroaki Sano for the two anime series Magical Girl Lyrical Nanoha and Magical Girl Lyrical Nanoha A's. It was sold exclusively during August 2006 at Comiket 70. It contains twelve tracks.

Magical Girl Lyrical Nanoha StrikerS Sound Stage Vocal Best Collection
 is a compilation album first released on March 4, 2009 by King Records bearing the catalog number KICA-966. The album contains twelve tracks. It compiles the "best" tracks that feature vocal performance contained within the four drama CDs released for the anime series Magical Girl Lyrical Nanoha StrikerS titled Magical Girl Lyrical Nanoha StrikerS Sound Stage 01~04. It peak ranked 40th on the Oricon albums chart and remained on the chart for four weeks.

Magical Girl Lyrical Nanoha StrikerS Original Soundtrack Plus LPIII SA

References

External links
 List of DVD and CD releases on the Japanese Nanoha Wiki

Anime soundtracks
Albums
Film and television discographies
Discographies of Japanese artists


Michael Schrom is an American racing driver from Ghent, New York.

Schrom was a full-time competitor in Porsche Carrera Cup series who also drove a Porsche 911 in the 24 Hours of Daytona in 2000, 2001, 2002, and 2003. In 2003, The Racer's Group Porsche driven by Schrom, team owner Kevin Buckler, Timo Bernhard, and Jörg Bergmeister was the surprise overall winner of the race.  In 2002, Schrom and Buckler  were honored as the two most successful private Porsche racing drivers in the world for finishing 1st and 2nd in the Porsche Carrera Cup.

Michael Schrom is also owner of Michael Schrom and Company.  He has shot over 1600 television commercials for a diverse, wide-ranging client roster which includes, but not exclusively, such prominent companies as Wendy's International, Carlson Food Group (owner of the T.G. I. Friday's restaurant chain), McDonald's, Maybelline, Stouffers, L'Oreal, and Lean Cuisine. Michael Schrom has a Bachelor of Fine Arts Degree in Film from The Tisch School of the Arts at New York University.

References

Living people
People from Ghent, New York
Tisch School of the Arts alumni
Year of birth missing (living people)
Rolex Sports Car Series drivers
24 Hours of Daytona drivers
Racing drivers from New York (state)


The Yellowface I budgerigar mutation is one of approximately 30 mutations affecting the colour of budgerigars.

Appearance
The Yellowface I Skyblue variety is the same in appearance as a normal Skyblue except that the forehead and mask, which is white in the normal Skyblue, is replaced by bright yellow, the short tail feathers show yellow instead of the normal white, and the undulations on the wings are often faint yellow.  The yellow on the mask tends to leak down onto the breast to a small degree, giving it a green tinge.  In juvenile plumage the yellow is considerably fainter and does not appear on the forehead, which is barred in the usual way, nor does it leak onto the breast to as great an extent.

The Yellowface I Cobalt and Yellowface I Mauve varieties have similar yellow markings.

The appearance of birds with other combinations of the Yellowface I mutation is discussed under Genetics below.

Historical notes
In the UK, a yellowfaced bird was first produced in 1934–1935 by E H Stevenson of Cambridge—a yellowfaced Cobalt cock, and Mrs G Lait of Grimsby and J Long of Gorleston-on-Sea both bred them in 1935.
A contemporary report
of these latter breedings says, "Mrs Lait mated a dark green cock to a greywing mauve hen, and in their third nest was a pale greywing mauve hen with a distinct (light lemon yellow) mask and bib, with the under tail feathers yellow and with yellow on the wings in the places where the normal blue bird is white.  This hen ... was mated with a cobalt/white cock and they have produced five youngsters, all having yellow masks like their mother.  Mr Long's birds were bred from a dark green of a somewhat olive shade mated to a rather unusually coloured hen, which appears to be a green but has a turquoise suffusion on the breast, etc.  The first nest produced 3 cobalt birds with yellow masks, etc, like Mrs Lait's birds described above, and one green-blue bird like the mother.  The second nest produced exactly the same result."

By 1937 several breeders in the UK had yellowfaced birds, and Stevenson and Tucker exhibited one at the Crystal Palace in that year.  Yellowfaced birds were also being bred in Europe, as it was reported that W H Higham imported one in 1937, and in Australia.  In all, there were at least seven reports of yellowfaced birds appearing between 1934 and 1937, seemingly independently.  Some of these were very similar, others were slightly different.  It is impossible to tell now which of the yellowface mutations were involved, but as some of the reports mentioned normal-looking birds which bred 100% yellowfaced young it seems likely that these at least were the Yellowface I mutation.

Genetics

The genetics of the several Yellowface mutations and their relation to the Blue mutation are not yet fully and definitively understood.

Much confusion and misunderstanding have arisen because the popular names given to these mutations are misleading.  These mutations do not generate a yellow face, as the names might suggest.  Rather the action of all these mutations is to reduce the yellow pigmentation, either entirely or to some degree, with respect to the wild-type Light Green.  Had these mutations been named 'Yellow-less' rather than 'Blue' or 'Yellowface' their action might have been more easily understood from the outset.  But the traditional names are engrained and are retained here.

The prevailing view is that the Yellowface I mutation, together with the Yellowface II and Blue mutations, are members of an allelic series situated at the Blue locus.  Although some breeders still dissent from this view it is the one followed here.

On its own, the Yellowface I is a simple autosomal recessive with respect to the wild-type.  Visibly, its action appears to be identical to that of the Blue mutation.  The heterozygote or Light Green/yellowface I with one Yellowface I allele and one wild-type allele is visibly indistinguishable from a Light Green, and the homozygote with two Yellowface I alleles is visibly indistinguishable from a Skyblue.  Due to this similarity in the action of the Blue and Yellowface I mutations, Bergman and Onsman
have adopted the convention that these mutations be named Blue I and Blue II.

The Yellowface I Skyblue variety, described in Appearance above, is a composite of the Blue and Yellowface I mutations, having one allele of each.  When two Yellowface I Skyblues are paired together, half the progeny will be Yellowface I Skyblues and half will be normal Skyblues in appearance.  But half of these apparent Skyblues will, in fact, be double factor Yellowface I's.

The loci of the Dark budgerigar mutation and the Blue allelic series are situated on the same autosome, so the Dark mutation is linked to the Blue allelic series (see genetic linkage).  The cross-over value (COV) or recombination frequency between the Dark and Blue loci is commonly stated to be about 14%, but some experiments have found much smaller values (see Genetics in the Dark budgerigar mutation).

Notes

References

External links
 World Budgerigar Organisation (WBO)
 WBO Colour Guide

Budgerigar colour mutations


Hilbert Philip Zarky (September 19, 1912 – April 9, 1989) was a prominent tax attorney, first for the United States Department of Justice and then in the private sector; he also was a significant contributor to civil liberties litigation.

Zarky was born in Madison, Wisconsin on September 19, 1912, to Max and Gertrude Zarky (born Gertrude Sure).  He attended Central High School.  He then attended the University of Wisconsin, where he obtained a law degree in 1937, graduating Order of the Coif. In 1939, he married Norma Gertrude Goldstein.

After graduation, Zarky moved to Washington, D.C., and worked for the Treasury Department.  In 1943 he joined the Department of Justice, where he became a Special Assistant to the Attorney General, preparing and arguing tax cases on appeal in the Circuit Courts and the U.S. Supreme Court.  He appeared on behalf of the Department of Justice in over 300 cases in the Courts of Appeals and dozens of cases in the United States Supreme Court.

In 1947, Zarky co-authored the Solicitor General's amicus brief in Shelley v. Kraemer, urging the Supreme Court to strike down racially restrictive covenants.  However, his name and that of the other Jewish co-authors were stricken out of concern that it would appear that "a bunch of Jewish lawyers in the Department of Justice put this out."

In 1954, during the McCarthy Era, the Department of Justice sought to fire Zarky from his position with the Department, based primarily on his wife's brief flirtation with Communism when she was an undergraduate in the mid-1930s, along with such "crimes" as their belonging to a particular book club and knowing certain "suspect" individuals.  After they filed numerous declarations from friends and prominent individuals regarding their loyalty to the United States, he was reinstated to his position.

In 1957, Zarky moved to Los Angeles and joined the firm of Mitchell, Silberberg & Knupp, where he focused on corporate tax issues.

Zarky co-authored an amicus brief in Furman v. Georgia, in which the Supreme Court (temporarily) struck down the death penalty.  He also wrote other amicus briefs attacking the death penalty, including its imposition on juveniles or those who were juveniles at the time of their offense.

Zarky died in Los Angeles on April 9, 1989, of complications from throat cancer.

References

1912 births
1989 deaths
University of Wisconsin Law School alumni
United States Department of Justice lawyers
Deaths from esophageal cancer
20th-century American lawyers
Lawyers from Madison, Wisconsin


This is a list of all male winners in FIS Alpine Ski World Cup from 1967 to present.

The list includes all downhill, super-G, giant slalom, slalom, combined, parallel slalom and parallel giant slalom, but does not show team events.

History
In 57 World Cup seasons 1892 races (524 downhills, 238 super-G's, 447 giant slaloms, 528 slaloms, 134 combined, 2 parallel slaloms, 10 city events, 8 parallel giant slaloms and 1 K.O. slalom) for men were held. These events saw 1904 winners, because twelve races (five downhills, four super-G's, one giant slalom, and two slaloms) ended with a tie.

A total of 304 male alpine skiers from 20 nations have won at least one individual race. The first winner in 1967 was the Austrian Heinrich Messner who won the slalom in Berchtesgaden. The newest member in this list is Norwegian Alexander Steen Olsen who won the slalom in Palisades Tahoe, United States on 26 February 2023. Alpine skiers from twenty nations from three continents have won races; Yugoslavia and Slovenia are listed separately, but counted as one nation; also Germany and West Germany are shown but counted together. The first winner for his country is highlighted in blue.

Jean-Claude Killy was the first skier to win races in two seasons (1967 and 1967/1968), while Ingemar Stenmark won races in 13 seasons and set a record for the greatest absolute number of races won in a single season winning 13 races (out of 33 total) in the 1978–79 season. He won races between 1974/1975 and 1988/1989, only failing to win in the seasons 1984/1985 and 1987/1988. Marc Girardelli, Benjamin Raich, and Aksel Lund Svindal all won races in twelve seasons. Stenmark was also able to win races in ten consecutive seasons (1974/1975 to 1983/1984). Alberto Tomba bettered this mark, when he won races in eleven consecutive seasons (1987/1988 to 1997/1998), and he is still the only skier to do so. Marcel Hirscher (2009/2010 to 2018/2019), Alexis Pinturault (2011/2012 to 2020/2021), and Dominik Paris (2012/2013 to 2021/2022) won races in ten consecutive seasons. Pirmin Zurbriggen (1981/1982 to 1989/1990), Michael Walchhofer (2002/2003 to 2010/2011), Aksel Lund Svindal (2005/2006 to 2013/2014), Ted Ligety (2007/2008 to 2015/2016), and Henrik Kristoffersen (2013/2014 to 2021/2022) all won races in nine consecutive seasons.

Patrick Russel was the first to win races in three and four seasons, Henri Duvillard was the first to win races in five seasons. Gustav Thöni was the first to win races in six, seven, and eight seasons. Ingemar Stenmark was the first to win races in nine, ten, eleven, and twelve seasons and he is the only skier to win races in 13 seasons.

Jean-Claude Killy won all his 18 races in only two seasons, achieving the unmatched feat of winning 12/17, or ~71% of races in a single season (1967), while Günther Mader won his 14 races in nine seasons. Paul Accola was only able to win races in one season (1991/1992), but won seven events in four disciplines. Rok Petrovič also won races only in one season (1985/1986) when he won five slaloms. Michael von Grünigen is the highest placed racer to win in only one discipline – 23 giant slaloms.

104 racers have won only one race. The downhill races saw 120 different winners (the 100th different winner was Canada's Manuel Osborne-Paradis in 2009), the super-G races saw 82 different winners, the giant slaloms 103 different (the 100th different winner was Norway's Lucas Braathen in 2020), the slaloms 118 different (the 100th different winner was Italy's Cristian Deville in 2012), combined events 40 different winners, parallel slalom events saw ten different winners and parallel giant slalom events saw seven different winners.

The youngest male winner is Piero Gros (born 30 October 1954) who won the giant slalom in Val-d'Isère on 8 December 1972 at the age of 18 years and 39 days. The oldest winner is Didier Cuche (born 16 August 1974) who was aged 37 years and 192 days when he won the super-G in Crans-Montana on 24 February 2012. The oldest skier to win his first race was Dave Ryding (born 5 December 1986) when he won the slalom in Kitzbühel on 22 January 2022, he was aged 35 years and 48 days.

The highest bib number with 66 to win a race was worn by Markus Foser in the downhill of Val Gardena on 17 December 1993. Only five days later the highest bib number to win a super-G was 51 used by Hannes Trinkl in Lech am Arlberg on 22 December 1993. In giant slalom the highest bib number 45 to win belonged to the youngest winner ever Piero Gros on 8 December 1972 in Val-d'Isère. The record holder for the highest bib number in slalom is Ivica Kostelić, who won in Aspen, Colorado with 64. Niels Hintermann won the Alpine combined in Wengen on 17 January 2017 with bib number 51. The third highest bib number overall to win a race was 61 worn by Josef Strobl on 16 December 1994 in the downhill in Val-d'Isère.

Disciplines were introduced in World Cup: downhill, giant slalom and slalom in 1967; Combined and parallel slalom in 1975; super-G in 1982, super-combined in 2006 and renamed to alpine combined in 2015.
Five skiers have won races in all five main disciplines: Marc Girardelli, Pirmin Zurbriggen, Bode Miller, Kjetil André Aamodt and Günther Mader. An additional two skiers, Frenchmen Jean-Claude Killy and Henri Duvillard, have won races in all three disciplines contested during their careers (super-G was first introduced as a part of the giant slalom discipline in 1983 and was only established as a separate discipline in 1986, well after the 1968 and 1973 retirements of Killy and Duvillard, respectively).

Winners

Milestones
 First to win 10 races in one event: Jean-Noël Augert (slalom)
 First to win 20 races in one event: Franz Klammer (downhill)
 First to win 30 races in one event: Ingemar Stenmark (giant slalom)
 First to win 40 races in one event: Ingemar Stenmark (giant slalom)

 First to win 10 races in two events: Ingemar Stenmark (giant slalom and slalom)
 First to win 20 races in two events: Ingemar Stenmark (giant slalom and slalom)
 First to win 30 races in two events: Ingemar Stenmark (giant slalom and slalom)
 First to win 40 races in two events: Ingemar Stenmark (giant slalom and slalom)

 First to win races in three events: Jean-Claude Killy (giant slalom, downhill and slalom)
 First to win races in four events: Gustav Thöni (giant slalom, slalom, parallel slalom and combined)
 First to win races in five events: Pirmin Zurbriggen (downhill, super-G, giant slalom, slalom and combined)
 First to win ten races in three events: Pirmin Zurbriggen (downhill, super-G, and combined)
 First to win five races in four events: Pirmin Zurbriggen (downhill, super-G, giant slalom, and combined)
 First to win five races in all five events: Bode Miller

 NA – Disciplines didn't exist yet
 Seasons are shown in which the racer won
 Ties are shown in chronological order

Statistics

See also
List of FIS Alpine Ski World Cup women's race winners

References

External links
FIS-ski.com – official results for FIS alpine World Cup events

Men's race winners
World Cup men's race winners
Lists of skiers
Lists of male skiers
FIS


Omalotheca sylvatica, synonyms including Gnaphalium sylvaticum,  is a species of plant in the family Asteraceae. It is commonly known as heath cudweed, wood cudweed, golden motherwort, chafeweed, owl's crown, and woodland arctic cudweed. It is widespread across the temperate Northern Hemisphere, throughout North America and Eurasia. The species was first formally described by Carl Linnaeus in 1753 as Gnaphalium sylvaticum.

Description
It is a perennial herb with short runners, growing to 8 to 60 cm tall. Its leaves are lanceolate in shape, pointed, 2 to 8 cm long, with a single vein. They have no hair on top, but are woolly hairy below. The upper leaves become progressively shorter and narrower. The flower heads are 6 mm long. The bracts of the flower heads have a green centre, and chaffy brown edges. The florets are pale brown. The achenes are hairy with reddish pappus hairs. It flowers from July until September.

References

External links

Online Atlas of the British and Irish flora, Gnaphalium sylvaticum (Heath Cudweed)
Gnaphalium sylvaticum - (Omalotheca sylvatica) Botanik im Bild  /  Flora von Österreich

Gnaphalieae
Plants described in 1753
Taxa named by Carl Linnaeus
Flora of Europe
Flora of Northern America
Flora of temperate Asia


George McCall Courts (February 16, 1888 – August 1, 1932) was born in the District of Columbia. He graduated from the United States Naval Academy in 1907. He received the Medal of Honor for actions at the United States occupation of Veracruz, 1914.

Medal of Honor citation
Rank and organization: Lieutenant, Junior Grade Organization: U.S. Navy Born:16 February 1888, Washington, D.C. Accredited to: District of Columbia Date of issue: 12/04/1915

Citation:

For distinguished conduct in battle, engagements of Vera Cruz, 21 and 22 April 1914. Under fire, Lt.(j.g.) Courts was eminent and conspicuous in the performance of his duties. He had well qualified himself by thorough study during his years of duty in Mexico to deal with the conditions of this engagement, and his services were of great value. He twice volunteered and passed in an open boat through the zone of fire to convey important orders to the Chester, then under a severe fire.

See also

List of Medal of Honor recipients (Veracruz)
List of United States Naval Academy alumni (Medal of Honor)

References

1888 births
1932 deaths
Burials at Arlington National Cemetery
United States Navy Medal of Honor recipients
United States Naval Academy alumni
Battle of Veracruz (1914) recipients of the Medal of Honor


George Templeton Strong (May 26, 1856 – June 27, 1948) was an American composer of classical music and a professional painter. His work has been described as Romantic. He moved to Vevey, Switzerland, in 1897 and lived there and in Geneva for the remainder of his life. Although his career was in Europe, he is considered an American composer.

Early life and education

George Templeton Strong was born in New York City to Ellen (Ruggles) and George Templeton Strong, an attorney. The family was musical; both parents were amateur musicians and his father, an amateur organist, was on the board of the New York Philharmonic Society. His father was active in the community and helped found the United States Sanitary Commission during the American Civil War. Since the 1930s, the senior Strong has been notable for the literary quality of his voluminous diary, which he kept most of his life.

With early musical promise, the son was given lessons and training, studying the piano, violin and oboe. He occasionally played as an oboist and English horn player with the Metropolitan Opera Orchestra. While the senior Strong hoped his son would follow him in the law, they became reconciled before the father's death.

Career
In 1879 Strong traveled to the Leipzig Conservatory in Germany, where he became a pupil of Salomon Jadassohn and Richard Hofmann together with many European musicians who became prominent in the next decades. He composed his third symphonic poem, Undine, Op. 14 in 1883. In 1886 Strong moved to Wiesbaden, where he became close friends with American composer Edward MacDowell. There he composed The Haunted Mill and completed his Symphony No.2 in G minor in 1888.

After his 1891 return to the United States, Strong taught counterpoint and composition at the New England Conservatory in Boston. He disliked the work, and his health suffered. in 1897 he moved back to Europe to Vevey, Switzerland, on Lake Geneva. For the next several years he studied watercolor painting seriously and worked as professional artist. About 1912, he moved to Geneva, where he began to compose music again. He lived in Geneva for the rest of his life and painted seriously for 30 years.

His compositions include (a selected list from the French Wikipedia):
 Undine, Op. 14, symphonic poem
 Three Symphonic Idylls for two pianos, Op. 29
 The Haunted Mill, cantata
 Symphony No. 2 "Sintram" in G minor, Op. 50. Dedicated to composer Edward MacDowell. (premiered 1893)
 La nuit, Four brief symphonic poems
 Legende, Quartet for 4 Horns in F (1915)
 Le roi Arthur, symphonic poem (1916)
 An der See, symphonic poem (lost)
 Elegy for cello and orchestra
 The Life of an Artist for violin and orchestra, dedicated to Joseph Szigeti
 Hallali for solo horn and orchestra (1923)
 Suite for cello and orchestra (1923)
 Chorale on a theme of Hans Leo Hassler (1929)
 Six pieces for cello and orchestra (1931)
 String Quartet (1935)

In 2002, three of his orchestral pieces were recorded digitally for the first time and released on the Naxos label: Symphony No. 2 in G minor, Op. 50, La nuit and Le roi Arthur.

Private life

Strong married three times. He first wed Frances Gertrude Veronica Anderson (a cousin of the theatrical costume designer and painter, Percy Anderson) in June 1883 at Samer, France, then Elizabeth Jane Myers in 1894 at Brentford, UK and finally around 1946, Lẻonie Clara Ehrat.

In 1948 Strong died aged 92 in Geneva, where he had lived for more than 30 years.

References

External links

1856 births
1948 deaths
19th-century classical composers
20th-century classical composers
American male classical composers
American Romantic composers
American expatriates in Switzerland
Musicians from New York City
American watercolorists
Painters from New York City
New England Conservatory faculty
University of Music and Theatre Leipzig alumni
Pupils of Salomon Jadassohn
19th-century American painters
19th-century American male artists
American male painters
20th-century American painters
19th-century American composers
20th-century American composers
Musicians from Geneva
Classical musicians from New York (state)
20th-century American male musicians
19th-century American male musicians
Artists from Geneva
20th-century American male artists


Dobbs Ferry Union Free School District is a grade K–12 school district based in Dobbs Ferry, New York, in the Hudson Valley, approximately 20 miles north of midtown Manhattan. It is a Union Free School District, which relates to its organizational structure and is unrelated to labor unions (teachers are members of Dobbs Ferry United Teachers ). The district is small as compared to most of the districts in Westchester County, New York, with approximately 112 students per grade in three schools: Springhurst Elementary School; Dobbs Ferry Middle School; and Dobbs Ferry High School.

The governing body of the school district is the elected board of education, which contains seven members, each serving a three-year term. The board members elect a president and vice-president for one-year terms. The board of education hires the superintendent of the school district, the current of whom being Kenneth Slentz.

Springhurst Elementary School
Springhurst Elementary School is a small coeducational public elementary school in Dobbs Ferry, New York. Grades range from Kindergarten to fifth grade.

Dobbs Ferry Middle School

Dobbs Ferry Middle School is a coeducational public middle school. Grades range from sixth to eighth. Dobbs Ferry uses the International Baccalaureate (IB) Middle Years Programme (MYP) throughout its curriculum.

Dobbs Ferry High School
Dobbs Ferry High School is a coeducational public high school and, since 1997, an IB World School.

Parent and community support of the school district
Parents in the district have founded several associated groups supporting and representing their interests in the district. These include:
 Dobbs Ferry Parent-Teacher-Student Association (PTSA): known elsewhere as the "PTA" but including high school student representatives, the PTSA is the formal body by which parents support the students.
 Dobbs Ferry Schools Foundation: raises funds through an annual gala to supplement school programs and teacher training.
 SPRING Community Partners: ensures that all children in the district have the resources they need to succeed in school and beyond.
 Dobbs Ferry Trail Guides: a support and advocacy group for children, founded by parents of children with special needs.

Geographic boundaries
The Dobbs Ferry school district's boundaries are not identical to those of the Village of Dobbs Ferry. Some residents of the Ardsley Park neighborhood of the village of Irvington fall in the Dobbs Ferry school district. All residents of the Northfield neighborhood of Dobbs Ferry, and some residents of the Knoll and Southfield neighborhoods, fall in the Ardsley school district. Residents in properties straddling borders with neighboring districts get to choose.

History
The first purpose-built school building in the village was on Main Street, built in 1857, roughly opposite the present town hall. That served until 1896, when a new building was completed on Broadway, just south of the present High School, on what had been the Appleton estate. That 1896 building was doubled in size in the early 20th century with an addition on the back. The addition became the high school, and the front part was the elementary school. The building was dedicated Dec 22, 1896, and the ceremony was recounted in the Dec 25, 1896, issue of the Dobbs Ferry Register, on page 1. The present high school was a WPA project, begun in 1934 and completed in 1936. The 1896 building and the 1936 building sat side by side and comprised the entire school system until Springhurst School was built on the former F. Q. Brown estate in the late 1950s. There was a long battle in the village over whether to build Springhurst. Many times, it was put to a vote and defeated, even though the old buildings were overcrowded and students in many grades were on "double session"—meaning some went from very early in the morning until mid-day and others started at mid-day and stayed until late afternoon. After Springhurst was built, the 1896 building became the middle school, housing grades 5 through 8. In the 1960s or early 70s, Springhurst was expanded and the 1896 building, which was becoming structurally unsound, was demolished.

References

External links
Dobbs Ferry Union Free School District
High School Principal's Corner
DFHS Facebook Page
DFHS Principal's Blog
The Digital Eagle, the online student newspaper

School districts in Westchester County, New York


An odontogenic tumor is a neoplasm of the cells or tissues that initiate odontogenic processes.

Examples include:

 Adenomatoid odontogenic tumor
 Ameloblastic fibroma
 Ameloblastic fibro-odontoma
 Ameloblastoma, a type of odontogenic tumor involving ameloblasts
Ameloblastic fibrosarcoma
 Calcifying cystic odontogenic tumor
 Calcifying epithelial odontogenic tumor
 Cementoblastoma
 Cementoma
Odontogenic keratocyst
 Odontogenic carcinoma
 Odontogenic myxoma
 Odontoma
 Squamous odontogenic tumour

References

External links

Anatomical pathology
Main


Lance John Edward Armstrong (17 February 1940 – 14 October 2023) was an Australian politician. Born in Perth, Western Australia, he was active in Tasmania and subsequently as a minister with the Uniting Church in Albury.

Political career
In 1989, Armstrong was elected, together with Christine Milne, Di Hollister, and incumbents Gerry Bates and Bob Brown, to the Tasmanian House of Assembly for Bass as a member of a group of independents under the leadership of Bob Brown, after a community backlash against a proposed paper pulp mill near Devonport.  They together formed an alliance called the Green Independents, and held the balance of power in the government for three years, keeping Michael Field's minority Labor Party government in power in an arrangement called the Labor–Green Accord.

The state election of 1992 saw all five sitting Greens re-elected, but with a drop in their vote of around 25% and with a majority Liberal government in power. After the election, these independents were reconstituted as the Tasmanian Greens. However, they still operated akin to independents, as the Tasmanian Greens had adopted the policy of allowing parliamentary members a "conscience vote" on all issues.

In April, Armstrong introduced a bill to restrict advertising and display of publications. This bill was aimed at the display of publications such as People and Playboy in newsagents, which Armstrong argued were degrading to women, although magazine Green Left Weekly argued that "Armstrong's censorship legislation is likely to increase the climate of repressiveness around sexuality".

At the 1996 election, four Greens were returned and the Greens achieved the balance of power with a Liberal minority government, but Armstrong lost his seat of Bass.

After politics
Armstrong served as a Uniting Church minister in Albury-Wodonga.

In 2008, he controversially distributed a flyer urging residents not to vote for Henk van de Ven in Albury's local government elections, accusing van de Ven of "forceful and belligerent behaviour" in relation to an occasional child-care centre being built on council parkland.

Death
Armstrong died at a Melbourne nursing home on 14 October 2023, at the age of 83. He was survived by his wife Ruth, three children, four grandchildren and two great-grandchildren.

Upon his death, former parliamentary colleague Bob Brown stated: "He made a remarkable contribution to Tasmanian politics and society. He seamlessly combined his Christian beliefs with his political career in his never-wavering advocacy for social justice, peace and care for the natural environment."

The Tasmanian Parliament moved a condolence motion for Armstrong on 19 October 2023.

References

1940 births
2023 deaths
Australian Greens members of the Parliament of Tasmania
Members of the Tasmanian House of Assembly
Uniting Church in Australia ministers
Politicians from Perth, Western Australia


Sharon Knight is a San Francisco-based neopagan composer, singer, and multi-instrumentalist known for writing, recording, and performing Celtic fusion music she calls Neofolk Romantique. She also records and performs harder edged music with Middle Eastern themes as the front-person of the pagan rock/folk metal group Pandemonaeon. Knight is the co-owner of Trance Jam Records.

Biography
Sharon Elizabeth Knight was born on January 8, 1966, and raised in Redwood City, California. She studied in the Feri tradition of witchcraft with Gabriel Carrillo.  Knight has also studied Thelema and Tibetan Buddhism. In 1994, she married the German musician Winter, who has been her musical collaborator since.

Career
Knight's debut album, Incantation, was released in 1996, followed by the self-titled Pandemonaeon debut (2001), Temple of Dreams-Live!  (2003), and her second solo album, Song of the Sea  (2004), featuring two duets with Shay Black of the Black Family. Two of Knight's songs from Song of the Sea, "May Morning Dew" and "Song of the Sea", also appear on Sequoia Records' Celtic Lounge I (2006) and Celtic Lounge II (2007). The latter contains a music video for "Song of the Sea. Knight collaborated with electronica artist Hands Upon Black Earth on their 2004 and 2009 albums Hands Upon Black Earth and Translucent. Other collaborations include Knight’s work with pagan author T. Thorn Coyle (Songs for the Waning Year: A Collection of Chants to Celebrate the Dark Time of the Year, 2008; Songs for the Strengthening Sun: A Collection of Chants to Celebrate the Return of the Sun, 2009). Her third Pandemonaeon album, Dangerous Beauty, was released in 2010. In 2013 Knight released her third solo album, Neofolk Romantique, another blend of original songs and Celtic traditionals.

Knight and Winter have been touring nationally since 2010.

Genre and work
Knight's work often falls under the category of Celtic new age even though there are many more cross-cultural elements involved in her music. The same is true for her rock/folk metal band, Pandemonaeon, which due to its Middle Eastern and Goth influence, she describes as "music for bellydancers in combat boots." In her Celtic work, Knight is most often compared to Loreena McKennitt and Stevie Nicks, although her early musical influences are Planxty, Steeleye Span, Pentangle, and Fairport Convention.

Discography
Flowinglass Music - First of May, For Earth and Her People (1986)
Morrigan Records - Various Artists, Fire & Stone: Pagan Rock Volume 1 (1999)
Trance Jam Records
Sharon Knight, Incantation (1996)
Pandemonaeon, Pandemonaeon (2001)
Pandemonaeon, Temple of Dreams - Live! (2003)
Sharon Knight, Siren Songs (2004)
Sharon Knight, Song of the Sea (2004)
Sharon Knight & T. Thorn Coyle, Songs for the Waning Year: A Collection of Chants to Celebrate the Dark Time of the Year, (2008)
Sharon Knight & T. Thorn Coyle, Songs for the Strengthening Sun: A Collection of Chants to Celebrate the Return of the Sun, (2009)
Pandemonaeon, Dangerous Beauty (2010)
Sharon Knight, Neofolk Romantique (2013)
Sharon Knight, Portals (2016)
Seqouia Records
Various Artists, Celtic Lounge I (2006)
Various Artists, Celtic Lounge II (2007)
Cyberset Music - Hands Upon Black Earth, Hands Upon Black Earth (2004)
Hrair Tanielian - Raven, 345-S (2008)
Asizazoon Music - Hands Upon Black Earth, Translucent (2009)
Banshee Records - Various Artists, The Best of Pagan Folk 2 (2012)

Videos
Song of the Sea (El Mundo Bueno Studios, 2007)
Stretched on Your Grave (El Mundo Bueno Studios, 2009)

Other
Cry For the Forest (Earthfilms, 1998, a short film about Julia Butterfly's Luna tree-sit, soundtrack use)
Dark Imaginations (Anaar, 2008, bellydance instructional DVD, soundtrack contribution)
Beatific Vision (Sountru, 2008, feature film, DVD, soundtrack contribution)
The Commune (Elisabeth Fies, 2009, feature film, DVD, soundtrack contribution)

References

External links
 Official website
 Pandemonaeon.net

American modern pagans
1966 births
Living people
American women composers
Feri Tradition
21st-century American composers
American women singers
Performers of modern pagan music
21st-century American women musicians
21st-century women composers


Lee Sung-gang (born October 25, 1962) is a South Korean film director and screenwriter. He is recognized for the lyricism in his animated films, the best known of which are My Beautiful Girl, Mari (2002) and Yobi, the Five Tailed Fox (2007).

Career
Lee Sung-gang entered Yonsei university in 1981 and graduated with a Psychology degree from Yonsei University in 1991.Lee originally joined a Minjung art collective called "Ganeunpae(가는패)" in the 1980s. He started his career initially as an animator in 1995 under the korean animation group "Dal" by directing numerous animated short films such as Soul, Lovers, Umbrella, and Ashes in the Thicket. He debuted as a feature-length animation director with My Beautiful Girl, Mari in 2002. For his sophomore effort, he directed the live-action feature film Texture of Skin in 2005 (which received a theater release in 2007). He returned to animation in 2007, with Yobi, the Five Tailed Fox.

Lee was awarded the 26th Annecy International Animated Film Festival (Grand Prix, Best Feature Film) in 2002, Animafest Zagreb (Special Award) in 2004, and Chicago International Children's Film Festival (Certificate of Excellence Prize) in 2005.

Filmography
Princess Aya(프린세스 아야)(2019)
Kai(카이: 거울 호수의 전설) (2016)
 Aksim(악심) (2014) (director)
 A Monster in the Reservoir(저수지의 괴물) (2012) (director, writer, cinematographer, editor, producer)
  (2010) (producer)
 A Day of Water Giant (2008) (director)
 Yobi, the Five Tailed Fox (2007) (director, writer)
 If You Were Me: Anima Vision "Bicycle Trip" (2005) (director, writer, editor)
 Texture of Skin(살결) (2005) (director, writer)
 O-nu-ri (2004) (director, writer)
 My Beautiful Girl, Mari (2002) (director, writer)
 Room of Sound  (2000)
 Record of April 23  (2000) (director, writer)
 Ashes in the Thicket(덤불 속의 재) (1999) (director, writer)
 Ocean (1998) (director, editor, sound)
 Umbrella(우산) (1997) (director, writer, sound)
 낫 (1997) (director)
 Thief  (1997) (director)
 Lovers(연인) (1996) (director, writer, sound)
 Soul(넋) (1995) (director, writer)
 Torso (1995) (director)
 Du Gaeui Bang (Room for Two) (1995) (director, writer)

References

External links

lee sung kang's youtube channel

1962 births
Living people
South Korean screenwriters
South Korean film directors
South Korean animators
South Korean animated film directors
Yonsei University alumni


This Is Ray Brown is a 1958 studio album by American jazz double bass player Ray Brown.

Track listing
 "Bric-A-Brac" (Ray Brown) – 5:33
 "Upstairs Blues" (Brown) – 6:40
 "(Back Home Again in) Indiana" (James F. Hanley, Ballard MacDonald) – 4:38
 "The Nearness of You" (Hoagy Carmichael, Ned Washington) – 6:16
 "Take the "A" Train" (Billy Strayhorn) – 8:06
 "Cool Walk" (Brown) – 6:31
 "Jim" (Caesar Petrillo, Milton Samuels, Nelson Shawn) – 9:00

Personnel

Performance
Ray Brown – double bass
Jerome Richardson – flute
Oscar Peterson – organ, piano
Herb Ellis – guitar
Osie Johnson – drums

References

1958 albums
Ray Brown (musician) albums
Albums produced by Norman Granz
Verve Records albums


Percy Adams (12 July 1914 – 1984) was an English footballer who played for Port Vale in the 1930s.

Career
Adams joined Port Vale as an amateur in August 1936, signing as a professional in October of that year. He played one Third Division North match but was unable to gain a regular first team place at The Old Recreation Ground and was instead released in April 1937.

Career statistics
Source:

References

1914 births
1984 deaths
Footballers from Stoke-on-Trent
English men's footballers
Men's association football midfielders
Port Vale F.C. players
English Football League players


Karatausuchus is an extinct genus of atoposaurid crocodylomorph.  It is known from a single specimen discovered in the Late Jurassic (Oxfordian - Kimmeridgian) Karabastau Svita from the vicinity of Mikhailovka in the Karatau Mountains of southern Kazakhstan.  The type specimen is PIN 25858/1, a complete but poorly preserved juvenile skeleton with some possible soft tissue preservation.  It is notable for having over 90 teeth, but its other anatomical details are difficult to discern.  The length of this individual is estimated at .  Karatausuchus was described in 1976 by Mikhail Efimov, and the type species is K. sharovi.

References

Late Jurassic reptiles of Asia
Late Jurassic crocodylomorphs
Prehistoric pseudosuchian genera


Out Cry is a play by Tennessee Williams, his rewrite of The Two-Character Play which he had written in 1966 and which was staged in 1967 and published by New Directions Publications in 1969. Williams began rewriting the play after its publication, and Out Cry premiered at the Ivanhoe Theatre in Chicago on July 8, 1971, with Eileen Herlie as Clare and Donald Madden as Felice. It debuted on Broadway at the Lyceum Theatre with a preview on February 28, 1973 and ran from March 1 to 10; the production was directed by Peter Glenville and starred Cara Duff-MacCormick as Clare and Michael York as Felice. Out Cry was published by New Directions in 1973 – by which time Williams had already rewritten the play into a third version, again titled The Two-Character Play, which New Directions published in 1975. In a 1971 interview Williams said of the first version of The Two-Character Play, "I wrote it when I was approaching a mental breakdown and rewrote it after my alleged recovery. I was thoroughly freaked out."

References

External links

1971 plays
Plays by Tennessee Williams
New Directions Publishing books


Ida Lilliard Reed (November 30, 1865 – July 8, 1951) was an American religious writer and music composer from West Virginia.

Early life
Ida L. Reed was born to James and Nancy J. (née Lelliardt) Reed on Rock Camp Run, near Philippi, WV, in Barbour County. Her family was of Scotch, English, and German heritage and originally settled in Virginia. One of eight children, Reed's childhood was fraught with illness, death, and poverty. She believed God divinely inspired her to write hymns.

Career
Reed composed cantatas, poems, and hymns, totaling over 2,000 works. Reed's works were taken up by several different Protestant denominations and translated into several languages. Her most popular hymn was "I Belong to the King" which was estimated by publishers Hall, Mack & Co. to have a circulation of four million copies. Hymns were regularly sold for $1 during her time, yet Reed received "top price of $2" for some of her work. In 1940, the American Society of Composers, Authors and Publishers recognized Reed’s "substantial contribution to American music" by awarding her a weekly "bonus.”

In addition to hymns and songs, she also wrote poems, children's stories, and books. Her autobiography My Life Story was published in 1912.

Death and legacy
Reed died at the age of 85 in 1951. She is buried at Ebenezer Methodist Church at Arden. Reed’s family homestead near Arden, West Virginia was listed on the National Register of Historic Places until it was destroyed by fire in 1991.

Notable hymns
"I Belong to the King" (1896)
"I Cannot Drift Beyond Thy Love" (1906)
"Lift Thy Face to the Light!"
"Somebody’s Praying for You"
"Steady, Brother, Steady" (c. 1913)

Publications
 My Life Story (1912)
 The Story of a Song: What It Means to Belong to the King
 Songs of the Hills (1940)

References

Additional sources
Songs of the Hills (1940), Boston: Meador Publishing Company (an anthology of Reed's works)

1865 births
1951 deaths
Methodists from West Virginia
American women poets
American religious writers
Women religious writers
American Methodist hymnwriters
People from Barbour County, West Virginia
Songwriters from West Virginia
Writers from West Virginia
19th-century American writers
19th-century American women writers
American women hymnwriters
American women non-fiction writers


Tony Crunk is an American poet whose first volume of poetry, Living in the Resurrection, won the Yale Series of Younger Poets Competition.

Biography
Crunk was born in Hopkinsville, Kentucky. He received his B.A. at Centre College, an M.A. in philosophy at University of Kentucky, and an M.A. in literature and M.F.A. in creative writing from the University of Virginia.

Crunk has taught at the University of Virginia, James Madison University, Murray State University (Kentucky), the University of Montana, Samford University, and University of Alabama Birmingham, where he administers the Alabama Writers' Forum. In 1997, he was awarded one of eight Writer's Community Residence Awards. In 2008, Crunk was chosen to represent Kentucky at the Library of Congress Poetry at Noon series.

Work
TIn 1994, his first collection of poetry, Living in the Resurrection, published in 1995, won that year's Yale Series of Younger Poets Competition. In the foreword, James Dickey noted that these poems spoke of a "quest" for a spiritual home, which Dickey located in the American South, the art being that of "Southern gospel music and homiletics." The theme of an odyssey is echoed by critic Steve Harris. In a lengthy review of Crunk's work, critic Vincent King states that Dickey's conception of Crunk's art is a misreading (perhaps caused by Dickey's failing health in 1994), and that rather the tension between Crunk's Christian heritage and his rejection of his Southern Baptism is the key to the interpretation of the poems.

Crunk's 2010 New Covenant Bound is a collection of poems inspired by the displacement between 1935 and 1969 of some 20,000 inhabitants in order to create the Land Between the Lakes (then known as Land Between the Rivers) between the Cumberland and Tennessee rivers in western Kentucky and Tennessee. The collection centers around how the US federal government's seizure of this land affected the narrator's family.

Works

Poetry

Children's books

Criticism
 Reuben; The Legend of Caty Sage, Alabama Writers' Forum

References

External references
Celebrating Kentucky Poets, Library of Congress webcasts, 18 November 2008

Living people
American male poets
Centre College alumni
James Madison University faculty
Murray State University faculty
Writers from Montgomery, Alabama
University of Kentucky alumni
University of Virginia alumni
University of Virginia faculty
University of Montana faculty
Yale Younger Poets winners
20th-century American poets
21st-century American poets
Poets from Kentucky
Poets from Alabama
20th-century American male writers
21st-century American male writers
Year of birth missing (living people)


Dejan Tofčević (Serbian Cyrillic: Дејан Тофчевић; born on 10 June 1971 in Užice, Serbia, but spent his childhood in Bajina Bašta, Serbia) is a writer of satirical short forms such as aphorisms, short stories and poetry. He works as an air traffic controller at Podgorica airport.

Bibliography
His first book, aphorisms In Black and White (Crno na belo, 2002) was followed by Anthology of Montenegrin Aphorisms – Infreqent Particles  (Antologija crnogorskog aforizma - Rijetke čestice, 2006) together with Savo Martinović and Veljko Rajković, and Prediction of The Past (Predskazanje prošlosti, 2009)

Tofčević's aphorisms have already been translated into Bulgarian, Macedonian, English and Finnish.

Awards
Dejan Tofčević has won the international "Golden Helmet Award", the "Rade Brka Award", the "Žikišon Award" and the "Čivijada Award"; as well as various other awards: "The Best Aphorism Writer" and "The Best Satirist" at the Montenegrin Festival of Humour and Satire in Danilovgrad and the "Prosvjetni rad" award for short stories. Tofčević has been nominated for Politika’s award for satire "Vlada Bulatović-Vib" two times.

References

Serbian male short story writers
Serbian male poets
Living people
1971 births
Air traffic controllers


"This Everyday Love" is a song written by Gene Nelson and Danny Wells, and recorded by American country music group Rascal Flatts. It was released in August 2000 as the second single from the band’s self-titled debut album. The song peaked at number 9 on the U.S. Billboard Hot Country Tracks and Singles chart.

Content
The song shows how a man feels as he goes through his day and that he can never get too much of the love he gets every day.

Joe Don Rooney says of the song: "'Everyday Love' is a kind of second version of 'Prayin' for Daylight'. Actually it's just an uptempo song with lots of vocals all over the place.  It's kind of a different groove though.  I think those two songs from the get-go showcase all of our influences which, i.e. all three have almost exactly the same influences.  I grew up in Oklahoma and they grew up in Ohio, yet we lived kind of the same lives."

Music video
The music video was directed by Trey Fanjoy. It features the group in a bowling alley. It was the first number one video on the first episode of CMT's Top 20 Countdown in 2001.

Chart performance
"This Everyday Love" debuted at number 72 on the U.S. Billboard Hot Country Singles & Tracks for the chart week of August 12, 2000.

Year-end charts

Notes

References

2000 singles
2000 songs
Rascal Flatts songs
Songs written by Danny Wells (songwriter)
Music videos directed by Trey Fanjoy
Song recordings produced by Mark Bright (record producer)
Lyric Street Records singles
Songs written by Gene Nelson (songwriter)