Sister Maurina O.S.F. (1926–2011), born Maurina Borges da Silveira, was a Brazilian Roman Catholic Franciscan Sister. She was the only Religious Sister to be arrested and tortured during the period of Brazil's military dictatorship (1964–1985).

Early life
Silveira was born into a humble family in Minas Gerais. She was raised in the community of Perdizinha, in the municipality of Perdizes, between Uberaba and Araxá. Perdizinha is a cluster of 50 houses built around a chapel, where there was Mass once a month and praying the rosary every Sunday. Her father, Antonio, a devout Catholic, worked as a carpenter dedicated to the construction of bullock carts. Altogether, the family consisted of 11 siblings, four of whom entered religious orders. Maurina discovered her religious inclination at age 7, after her father told her the story of Saint Francis of Assisi, an enthusiast of religious life for women. At age 14, she convinced her parents to let her join the convent in Araxá.

Arrest
In October 1969, Sister Maurina, then head of Lar Santana Orphanage in Ribeirão Preto, São Paulo, was arrested. She was leasing, without her knowledge, a room of the orphanage to members of the guerrilla group Forças Armadas de Libertação Nacional (FALN). She was arrested, along with several members of FALN by Operação Bandeirantes (OBAN) officers, and tortured for five months. Among other things, she was stripped naked, given electric shocks, and hung on the pau-de-arara torture device, in addition to being cursed, insulted, and threatened.

The arrest of Sister Maurina outraged many members of the Catholic community. Frei (Friar) Felíx Vasconcellos, O.F.M., then Archbishop of Ribeirão Preto, excommunicated two police commissioners working for the regime's repressive system. Cardinal Paulo Evaristo Arns, O.F.M., then Archbishop of São Paulo, said that it was the arrest of Sister Maurina that led him to publicly speak out against the dictatorship.

Some authors, such as Jacob Gorender, in his book Combate nas Trevas (Fighting in the Darkness), claim that Sister Maurina was raped in prison. Sister Maurina, however, denies this claim. According to her, she was a victim of "moral violence", such as when she was forced to sign a document stating that she was the mistress of a communist militant. Gordender says his claim was based on declarations made by FALN members.

On 1970, after five months of illegal detainment, Sister Maurina was released after she was exchanged for Japanese Consul Nobuo Okuchi, kidnapped by the Vanguarda Popular Revolucionária (VPR). She was forced into exile on Mexico, where she lived for 14 years. There, she worked in the State of Mexico, assisting poor rural workers.

Allegations of pregnancy
After the dictatorship, some sensationalistic newspapers published reports that Sister Maurina allegedly had obtained an abortion after getting pregnant by Commissioner Sérgio Paranhos Fleury, who had raped her. These claims, though denied by both Sister Maurina and Cardinal Arns, served as the basis for the 1977 play Milagre na Cela (), written by playwright Jorge Andrade.

The event that generated the allegation of rape was later clarified by Sister Maurina herself. According to her, a tall, blonde officer once entered her cell and started to passionately hug her, saying that he had not seen his wife for a long time. The Sister claims that she told him to back down, and then he picked up a pistol and wanted her to hold it, in order to get her fingerprints on the gun.

Final years
Until her death in 2011, Sister Maurina continued her vocation of caring for the poor in the São Paulo municipality of Catanduva. She divided her life between religious meetings and social care work to needy children in the city, where she resided since 1984. About her torture in the past, she declared the following: "I do not like to talk about it, I have already forgiven them all".

See also
Frei Betto
Frei Tito

References

1926 births
2011 deaths
20th-century Brazilian Roman Catholic nuns
Brazilian torture victims
Third Order Regular Franciscans
People from Minas Gerais
21st-century Brazilian Roman Catholic nuns


Yacht delivery is an industry organized around moving vessels: sailboats, motorboats or tall ships - from one destination to another anywhere around the world on their own hulls.  It is largely a private industry working on daily or lump sum rates, where normally the captain is paid the most or is the only person among the crew that is paid. There are tens of thousands of private yachts, which move from country to country or coastwise within a country annually.

Delivery of sailing yachts on their own hulls has a smaller carbon footprint than yacht transport on a ship. More than three percent of global carbon dioxide emissions can be attributed to ocean-going ships. Yacht delivery of a sailing yacht reduces carbon dioxide emissions by a factor of 20 to 70 compared to yacht transport on a ship and even further reduction is possible when the yacht is equipped with solar panels.

Common yacht delivery routes
 Transatlantic: One of the most common yacht delivery routes is the transatlantic crossing, often from the Caribbean to the Mediterranean or vice versa.
 Intra-Mediterranean: Within the Mediterranean Sea, there are frequent yacht deliveries between popular ports like Monaco, Barcelona, and various Greek islands.
 Pacific Crossings: Routes between the U.S. West Coast and destinations like Hawaii or even Australia are also common.
 Coastal Routes: In countries with extensive coastlines like the United States, coastal deliveries are frequent, such as from Florida to New England.
 US Routes
 Atlantic East Coast: Spanning from the Florida Keys to Maine, this route offers a wide range of coastal exploration.
 Gulf Coasts: Along the Gulf of Mexico, from the Florida Keys to the Port of Galveston in Texas, discover diverse coastal experiences.
 U.S. Rivers: Navigate iconic rivers like the Mississippi, Ohio, and Hudson for access to inland regions and historical landmarks.
 Florida: With its extensive coastline encompassing the Florida Keys, Everglades, and Gulf of Mexico, Florida provides year-round boating in a tropical climate.
 Intracoastal Waterway (ICW): Covering 3,000 miles along the Atlantic and Gulf coasts, the ICW offers a protected route to various coastal destinations.

References

Yachting
Sailing


The Academy at Swift River, also known as ASR, was a coeducational therapeutic boarding school for teenagers, located in Plainfield and Cummington, Massachusetts. Established in 1997 and closed in 2013, it was a part of the Aspen Education Group, which in turn is owned by Bain Capital's CRC health group.

The school's student population was described as "bright but underachieving kids" with a variety of behavioral problems. The majority of students use prescribed psychiatric medications.  ASR was in session year-round and offered a college preparatory curriculum for high school grades 9 to 12. Total enrollment was about 55 students.

The school was the focus of the 2005 book What It Takes To Pull Me Through: Why Teenagers Get in Trouble and How Four of Them Got Out by journalist David Marcus.

Shane Reardon, son of major league baseball pitcher Jeff Reardon, graduated from ASR with honors, but later died from a drug overdose at age 20 in the year of 2004.

In July 2013, Aspen Education Group announced that it would close the school later that summer.

References

Further reading
 David L. Marcus (2005), What It Takes To Pull Me Through: Why Teenagers Get in Trouble and How Four of Them Got Out, Houghton Mifflin,

Therapeutic community
Schools in Hampshire County, Massachusetts
Bain Capital companies
Boarding schools in Massachusetts
Therapeutic boarding schools in the United States
1997 establishments in Massachusetts
2013 disestablishments in Massachusetts
Troubled teen programs


In Tune is a 1971 studio album by The Oscar Peterson Trio and The Singers Unlimited.

Track listing
 "Sesame Street" (Bruce Hart, Joe Raposo, Jon Stone) – 2:55
 "It Never Entered My Mind" (Lorenz Hart, Richard Rodgers) – 4:03
 "Children's Game" (Billy Blanco, Antonio Carlos Jobim) – 2:43
 "The Gentle Rain" (Luiz Bonfá, Matt Dubey) – 3:24
 "A Child Is Born" (Thad Jones) – 3:44
 "The Shadow of Your Smile" (Johnny Mandel, Paul Francis Webster) – 4:32
 "Catherine" (Patrick Williams) – 3:03
 "Once Upon a Summertime" (Eddie Barclay, Michel Legrand, Eddy Marnay, Johnny Mercer) – 3:29
 "Here's That Rainy Day" (Johnny Burke, Jimmy Van Heusen) – 4:40

Personnel

Performance
 Oscar Peterson – piano
 Jiří Mráz – double bass
 Louis Hayes – drums
 The Singers Unlimited – Vocals
 Gene Puerling
 Len Dresslar
 Bonnie Herman
 Don Shelton

References

1971 albums
Oscar Peterson albums
The Singers Unlimited albums
MPS Records albums


April Palmieri is an American photographer and musician who performed with a 12-piece all-woman percussion band, Pulsallama.  During the early 1980s, the band played at such venues as the Mudd Club, the Pyramid, Danceteria, and Club 57 in New York's East Village. Palmieri's photography from this era, including of Keith Haring and John Sex, has been included in an exhibition at the Tate Liverpool and an exhibition at the  Museum of Modern Art (MoMA).

Education
Palmieri received a BFA in 1978 from the School of Visual Arts.

Pulsallama
The no wave art-punk band Pulsallama opened for The Clash's Combat Rock tour several times in 1982 as an all-woman, all-percussion band. Their music has been described as percussive-heavy, crude, and shrieking. Their album, The Devil Lives in my Husband's Body, released on London's Y Records, has been described as a "joke that gets funnier every time you hear it." The song single was described as polyrhythmic, with a narrative that describes a man who howls like a hound and barks nightly in his basement. The song has been called a "post-new wave social satire" of suburban discord. Ann Magnuson, Wendy Wild and Jean Caffeine were among the members of the band.

The band was active from 1980 to 1983; their distinctive sound has been compared to Bow Wow Wow and Bananarama. They performed in cocktail dresses with unusual props and instruments such as kitchen utensils. Jen B. Larson of BandCamp writes that for their first show, "Pulsallama recruited members from the Ladies Auxiliary of the Lower East Side, Magnuson's "twisted version" of a conservative women's civic club — plus [Jean] Caffeine, a practiced drummer from San Francisco punk band The Urge," and Palmieri recalled, "[she] did not know it was an actual band, and missed the second show." They toured Europe and the U.S. East Coast and were known for their "primal, yet glamorous absurdity" and cacophonous stage antics. Their neo-Dada music was both a refection and critique of the Reagan Era.

The band emerged during the Club 57 Downtown scene cabaret in New York City as part of the tongue-in-cheek "Ladies " at the venue. The band was spontaneously formed to perform at the 'Rites of Spring Bacchanal' event. A writer for NME magazine wrote of their shows, "“I was dancing, screaming and laughing, all at the same time.”

Palmieri was also a close personal friend of performer and downtown scene figure, John Sex, and documented his life during the 1980s. Palmieri, who was a frequent performer at Club 57, recalls that the performance art space on Saint Marks Place was: “an open house to express yourself. We were delighted to let loose and be ourselves.”

In July 2020, the band released a self-titled album of songs recorded live in New York in 1983.

Exhibitions
In addition to performing, Palmieri photographed the punk scene in New York city. Her work was included in the exhibition Club 57: Film, Performance, and Art in the East Village, 1978-1983 at the Museum of Modern Art, NYC (2017-2018). In 2019, Palmieri showed work in the Yesterday's Tomorrowland Today exhibition curated by Ann Magnuson and Alexa Hunter in Los Angeles.

Twenty-five of her documentary photographs of Keith Haring were included in a show at the Tate Liverpool. Her photographic work from that show was later included in the New York Scene/Unseen exhibition at the Open Eye Gallery, Liverpool, along with the work of three other photographers. Her work was included in the MASS: Group Material exhibition held at Artspace in 1986. Group Material was a collective of artists that was active in the 1980s.

Archive
An archive of her papers, videos and ephemera from 1980 to 1990 are held at the NYU Fales Library Special Collections.

See also
 Women in punk rock

References

External links
 Official website
 Videos and interview of Pulsallama

Year of birth missing (living people)
Living people
American photographers
20th-century American photographers
American women photographers
American women percussionists
20th-century American women artists
21st-century American women
Women in punk


Goodyera pubescens, the downy rattlesnake plantain, (also known as Peramium pubescens ) is one of the most common orchids native to eastern North America. It is found from Florida to Nova Scotia, west to eastern Oklahoma, Minnesota and Ontario.

Goodyera pubescens is an evergreen terrestrial herb with variegated leaves. The variegation is in the form of a densely reticulated network of veins that are a much lighter green than the rest of the leaf tissue. It is a creeping plant that divides on the ground surface and sends out short stolons. It may be terrestrial or, occasionally, epipetric, growing on rock shelves. It prefers mildly to moderately acidic soils, such as in oak-heath forests.

Description
Goodyera pubescens is a plant in the Orchidaceae (orchid) family that is commonly found in North America. The genus Goodyera are terrestrial plants with a fleshy rhizome with basal evergreen leaves in a rosette pattern - frequently having white or pale green markings. Inflorescences are in the form of a spike of small flowers, usually white with green or brown markings and have fragrant odor. Most of the plants, excluding and petals, are covered in small hairs. The primary difference between Goodyera and Spiranthes (A similar genus in the family Orchidaceae) is that Goodyera have elliptic leaves with white or pale green markings.

Goodyera pubescens flowers in mid July-early September with a small spike inflorescence of between 10 and 57 cylindric flowers. The leaves have the white-green marbling in the form of veins throughout, broadly elliptic to broadly ovate (2.1-6.2 x 1.3–3 cm), with either an acute or obtuse apex. The peduncle (stem that connects the stalk to a floret) is 11–35 cm long. Flowers: Lateral sepals 3.1 - 5.3 mm long with distinct petals of 3.6 - 5.7mm. The petals lip is scrotiform (pouch shaped) 2.5 - 4.2 x 2.2 - 3.5mm in size with the apex reflexed (bent outwards) with a slightly tuberculate (bumpy/rough) outer surface. The inner surface is smoother but has thicker veins throughout. The anthers are inflexed (bent inwards) within a cup-shaped clinandrium (an orchid structure beneath the anther). The white flowers are usually atop a leafless stalk.

There are similar species within the genus Goodyera that G. pubescens can be confused with. The Dwarf Rattlesnake plantain G. repens has smaller flowers that only have inflorescence on one side of the stalk. Both G. tesselata and G. oblongifolia are only found in Canada. Goodyera tesselata can be differentiated by its dull green leaves with much paler veins, G. oblongifolia leaves only have one primary vein compared to the more dense network of veins of G. pubescens. All of the rattlesnake plantains (Goodyera) are described as such because their venation resembles snakeskin.

Distribution and habitat
Goodyera pubescens is found through much of the eastern part of North America, ranging from Florida all the way north to Ontario, going as far west as Oklahoma. (USA: AL, AR, CT, DC, DE, FL, GA, IA, IL, IN, KY, MA, MD, ME, MI, MN, MO, MS, NC, NH, NJ, NY, OH, OK, PA, RI, SC, TN, VA, VT, WI, WV; Canada: NB, NS, ON, QC.)

Goodyera pubescens thrives in mesic to dry forests. This species prefers well drained, slightly acidic soil with a somewhat high sand content. It requires a high amount of shade from shaded canopy or shrubs, but smaller shrubs can easily overtake it. High drainage is essential since orchids can have problems with the soil being over-saturated, often leading to the death of the plant. You can find this species growing in both dry and moist conditions, with a soil mixture of a sandy loam, or loam with a high clay content. It can also be found in deciduous or coniferous forests since they provide the necessary partial shade. Goodyera pubescens also functions as a National Wetland Indicator Species.

Ecology

Compared to other orchid genera, Goodyera is fairly hardy - surviving more readily in colder conditions, being able to utilize a wider variety of nutrients, and thriving in more types of soil under more broad lighting conditions. Goodyera pubescens has a germination rate of over 90% even in very cold climates, which is why it is found in very cold climates such as the northern US and Canada. This species prefers loamy soils or humus, but it will also grow into decaying wood of Liriodendron tulipifera or Quercus alba with a preference towards woody substrates with a high amount of fungal activity. However, the rhizomes G. pubescens can not survive particularly harsh winters in the northern edge of its distribution.

Goodyera pubescens grows via a rhizome in a colonial pattern, flowering only once a year at maturity of 4–8 years of age. After flowering the root will have 1-3 offshoots which then generates new rosettes, creating its offspring after the parent plant dies. Most G. pubescens individuals do not survive long enough to reach the age of maturity. The mature rosettes flower after being triggered by a dry period in the spring (usually in May) when there is higher than average temperatures. These specific circumstances may not occur in a season and can take several years to occur, explaining the long maturity time. White-tailed deer (Odocoileus virginianus) have a preference towards eating the leaves, rosettes, and inflorescences. As deer populations have increased over the last several decades, the number of rosettes per plant has increased to counter the number that get consumed by deer.

Uses
Goodyera pubescens is largely just seen as a plant kept for visual aesthetic reasons in wildflower plantings due to its interesting leaf structure and resilience. It was once used historically as a medicinal plant by Native Americans for curing numerous ailments. The roots were made into a tea for treating lung inflammation/breathing pain and for snakebites. The leaves were used to improve appetite, cold treatment, kidney problems, joint pain reducer, or even for toothaches. The wilted leaves were used to cool burns, to deal with skin ulcers, or as a pain reliever. These are historical or cultural uses and are no longer currently recommended.

Conservation status
This is one of the more common species of orchids found throughout the U.S., and for the most part is not considered threatened or at risk. The only places it is of concern are in Florida and New York. In Florida this species is considered endangered. In New York it is considered exploitably vulnerable.

Taxonomy
The genus Goodyera is also colloquially called the rattlesnake plantain. This is because of the snake-like venation pattern that this genus has on the leaves. Goodyera pubescens was first defined in 1813 in the Hortus Kewensis 2nd edition volume 5. Goodyera pubescens is the accepted name of this species, and the only legitimate name.

Horticulture/cultivation
This orchid is of a desirable aesthetic to many gardeners, but keeping it alive in a non-wild setting is challenging. The infrequent sunlight, acidic soil, high fungal activity, and drainage required makes difficult to cultivate in gardens. It is only found in specialty nurseries since taking it from the wild is not condoned and will likely kill the specimen.

References

External links

pubescens
Orchids of North America
Plants described in 1805
Flora of Canada
Flora of the Eastern United States


Call2Recycle safely transitions communities to a battery-powered world through climate-responsible solutions.

Call2Recycle, a not-for-profit organization, is the country’s premier battery collection, logistics, and recycling program operating with a commitment to safety and environmental excellence. After almost 30 years and 150+ million pounds of batteries safely and responsibly recycled across the U.S., Call2Recycle offers effective and efficient battery management needs for rechargeable and primary consumer batteries to electric transport and electric vehicles – while ensuring compliance with state and national regulations.

See also
Electronic waste
Recycling in the United States

References

External links
 Call2Recycle
 PRBA - The Rechargeable Battery Association
 The Home Depot

Battery recycling
Recycling in the United States


Michael Sim (born 23 October 1984) is an Australian professional golfer.

Amateur career
Sim was born in Aberdeen, Scotland, and moved to Australia when he was 5 years old. He was an Australian Institute of Sport scholarship holder in 2002. He was the top ranked amateur in the world in 2005 having won four titles during the year including the Sunnehanna Amateur and the Monroe Invitational. He turned professional at the end of the year.

Professional career
Sim played on the Nationwide Tour in 2006, and qualified for the PGA Tour by virtue of a 19th-place finish on the end of season money list, aided by a win at PalmettoPride Classic. After a late start to the 2007 season, caused by a stress fracture of the spine, he finished 169th on the PGA Tour money list. He was granted a medical extension for 2008, but failed to win enough money in five events to retain his place on the PGA Tour, and he returned to the second tier Nationwide Tour. In April 2009, Sim's bid to return to the elite tour got off to a good start when he secured his second career victory at the Stonebrae Classic, finishing six strokes clear of the field. The following week he finished in second after losing in a playoff to Patrick Sheehan, and then in May he won the BMW Charity Pro-Am in a playoff over Fabián Gómez.

Sim played with Tiger Woods during the final round of the 2009 U. S. Open and finished in at tie for 18th. He was invited a month later by the PGA to play in the 2009 PGA Championship at Hazeltine National Golf Club where he finished T51.

Sim won the Christmas in October Classic to earn an automatic "battlefield promotion" to the PGA Tour. The victory was his third Nationwide Tour win of 2009 and his fourth overall. With the win he also set the Nationwide Tour single season money title, earning well over half a million dollars. He was one of the top 50 players in the Official World Golf Rankings in 2009, which earned him entry into the 2010 Masters Tournament; he later withdrew from the tournament due to injury. He also won the PGA Tour of Australasia Order of Merit in 2009.

Sim performed moderately on the PGA Tour in 2010, with the highlight of his season being a T2 at the Farmers Insurance Open. He comfortably retained his card by finishing 65th on the money list. In 2011 Sim could not follow up his PGA Tour rookie season and went back to the Web.com Tour  in 2012. A string of injuries limited Sim after the 2011 season and he played sparingly on the PGA Tour of Australasia, Korean Tour, OneAsia Tour, and Web.com Tour.

Amateur wins
2002 Western Australia Amateur Championship, Victorian Junior Masters
2004 Riversdale Cup, Southern Amateur
2005 New Zealand Amateur Stroke-Play Championship, Western Australia Amateur Matchplay Championship, Sunnehanna Amateur, Monroe Invitational

Professional wins (7)

PGA Tour of Australasia wins (2)

PGA Tour of Australasia playoff record (1–1)

Nationwide Tour wins (4)

Nationwide Tour playoff record (2–2)

Other wins (1)

Other playoff record (0–1)

Results in major championships

Note: Sim never played in the Masters Tournament.

CUT = missed the half-way cut
"T" = tied

Results in The Players Championship

CUT = missed the halfway cut

Results in World Golf Championships

QF, R16, R32, R64 = Round in which player lost in match play
"T" = Tied

Team appearances
Amateur
Nomura Cup (representing Australia): 2003 (winners), 2005 (winners)
Eisenhower Trophy (representing Australia): 2004

See also
2006 Nationwide Tour graduates
2009 Nationwide Tour graduates
List of golfers with most Web.com Tour wins

References

External links

Australian male golfers
PGA Tour of Australasia golfers
PGA Tour golfers
Korn Ferry Tour graduates
Australian Institute of Sport golfers
Scottish emigrants to Australia
Golfers from Aberdeen
Golfers from Perth, Western Australia
1984 births
Living people


Judith Amy Toll Trank (January 14, 1958 – May 2, 2002) was an American comedian, writer, and actress.

Career
Born in Philadelphia, Pennsylvania, Toll wrote for television programs including Sex and the City, Boy Meets World, Alright Already, and The Geena Davis Show.  A Groundling trained in sketch and improv comedy, she started in the local comedy clubs of Philadelphia, such as The Jail House in West Philadelphia and The Comedy Factory Outlet in Old City. She also acted in several TV shows including Curb Your Enthusiasm and Red Shoe Diaries. She was also known for her portrayal of "Andrea Dice Clay", a parody of shock comedian Andrew Dice Clay. She co-wrote the film Casual Sex? with fellow Groundling Wendy Goldman. The film was based on a play they wrote at The Groundlings. Sex and the City episode "Cover Girl" (Season 5, episode 4) has been dedicated to Judy Toll, as well as the pilot episode of Less than Perfect. A streaming audiobook with material she performed at Un-Cabaret, Judy Toll: Shareaholic is available.

Death
Toll died in 2002 of melanoma. Her life was the subject of a 2007 documentary, Judy Toll: The Funniest Woman You've Never Heard Of, produced by her brother.

References

External links

1958 births
2002 deaths
American film actresses
American television actresses
American television producers
American women television producers
American television writers
Deaths from melanoma
American women comedians
American women screenwriters
American women television writers
Jewish American female comedians
20th-century American comedians
20th-century American actresses
20th-century American women writers
20th-century American screenwriters
20th-century American Jews
21st-century American Jews
21st-century American women


L'Aquila earthquake may refer to:

 1461 L'Aquila earthquake
 1703 L'Aquila earthquake
 2009 L'Aquila earthquake

See also
List of earthquakes in Italy


John Kenrick (born October 3, 1959) is an American author, teacher and theatre and film historian. Kenrick is an adjunct teacher of musical theatre history at New York University, Brind School – University of the Arts (Philadelphia) and The New School, and lectures frequently on the subject elsewhere. His 2008 book Musical Theatre: A History is a comprehensive history of musical theatre from ancient times to the present. Kenrick is the curator of the extensive musical theatre and film website Musicals101.com: The Cyber Encyclopedia of Musical Theatre, TV and Film

Life and career
Kenrick was born and raised in Astoria, New York.  He attended Monsignor McClancy Memorial High School and then Cathedral College of the Immaculate Conception in Douglaston, New York, studying English and theology.

In the 1980s and 1990s, Kenrick worked first as a teacher and then in theatrical production and management.  Productions on which he worked included the 1994 Broadway revival of Grease and the original 1996 Broadway production of Rent, as well as national tours of Damn Yankees, Crazy for You, Victor/Victoria, Jekyll & Hyde, and the original 1995 touring production of Busker Alley. He wrote the lyrics for the Off-Broadway musical Bats and has written material for various cabaret and comedy acts. He served as associate producer for the Celebration '86 Gay Arts Festival.

Kenrick teaches musical theatre history at New York University's Steinhardt School, The Ira Brind School – University of the Arts (Philadelphia) and The New School, and he has also taught the subject at Marymount Manhattan College.  He is a frequent lecturer on theatre and film history. Broadway World calls him an "Internationally recognized musical theatre and film authority". He is often cited as an expert in the press. Kenrick has been interviewed about theatre and film on numerous US and UK television and radio programs and in national and foreign newspapers and magazines. He has been interviewed in documentaries concerning showtunes, Jerry Herman, Times Square, haunted theatres, and the history of American burlesque, and he appears in the DVD documentaries for The Busby Berkeley Collection and for the film musicals Three Little Words, Till the Clouds Roll By and It's Always Fair Weather. Among other lecture series, from 2005 to 2007, he gave a three-year "musical conversation" series at York Theatre Company. Kenrick has appeared in several documentaries about musicals.

Kenrick is the curator of the extensive musical theatre and film website Musicals101.com: The Cyber Encyclopedia of Musical Theatre, TV and Film. Hundreds of libraries, universities and arts sites link to Musicals101.com.

Writings
The Complete Idiot's Guide to Amateur Theatricals Alpha (2006)
Musical Theatre: A History Continuum (2008)
"Theatre in New York: A Brief History", Theatre Law: Cases and Materials (Durham, NC: Carolina Academic Press, 2004
"Funny Girl Debunked: The Truth About Fanny Brice", Barbra Streisand Archives

Documentaries
The 100 Greatest Musicals (2003) (Television)
Busby Berkeley's Kaleidoscopic Eyes (2006) (film)
Footlight Parade: Music for the Decades (2006) (V)
Hollywood Singing and Dancing: A Musical History (2008) (V)
Hollywood Singing and Dancing: A Musical Treasure (2008) (TV)
Hollywood Singing and Dancing: 1920s – The Dawn of the Hollywood Musical (2008) (V)

References

External links

Musicals101.com The Cyber Encyclopedia of Musical Theatre, TV and Film
List of recent Kenrick lecture appearances

1959 births
Living people
American non-fiction writers
New York University faculty


Ellis is an unincorporated community in the town of Sharon, Portage County, Wisconsin, United States.

History
Originally known as Poland Corners, Ellis was renamed in 1867 when the post office was established. It was named in honor of Albert G. Ellis, who was the mayor of Stevens Point, Wisconsin at the time.

Geography

Ellis is located in central Wisconsin approximately six miles northeast of Stevens Point, approximately four miles north of Custer, and approximately six miles southwest of Rosholt, where State Road 66 and Portage County Road J to the south meets with Ellis Road. Ellis is located on State Road 66 between Portage County Road K to the north and K to the south in Polonia.

Notes

External links
History of Ellis from the Portage County Historical Society

Unincorporated communities in Wisconsin
Unincorporated communities in Portage County, Wisconsin


Ray Ashby (birth unknown) is a former professional rugby league footballer who played in the 1960s. He played at representative level for Great Britain, and at club level for Liverpool City, Wigan, and Blackpool Borough, as a , or .

Playing career

Club career
Ashby started his professional career at Liverpool City. In March 1964, he was signed by Wigan for a fee of £3,500.

Ashby played  in Wigan's 20–16 victory over Hunslet in the 1965 Challenge Cup Final during the 1964–65 season at Wembley Stadium, London on Saturday 8 May 1965, in front of a crowd of 89,016. He jointly won the Lance Todd Trophy with Hunslet's Brian Gabbitas for man of the match, and was the first time two players polled the same number of votes.

He returned to Wembley with Wigan the following year in the 1966 Challenge Cup final, but this time lost 2–21 to St Helens.

During the 1966–67 season, Ashby played  in Wigan's 16–13 victory over Oldham in the 1966 Lancashire Cup Final  at Station Road, Swinton, on Saturday 29 October 1966.

International honours
Ashby was selected to play for Great Britain against France while he was at Liverpool City in 1964, and was one of only four players in the club's history to be capped for Great Britain. He won a second cap against France while at Wigan in 1965.

References

External links
Statistics at wigan.rlfans.com
(archived by web.archive.org) Statistics at wigan.rlfans.com
1965 The Day David Almost Slew Goliath – Wigan v Hunslet
(archived by web.archive.org) Kiwis open British tours…

Living people
English rugby league players
Rugby league players from St Helens, Merseyside
Blackpool Borough players
Great Britain national rugby league team players
Lancashire rugby league team players
Lance Todd Trophy winners
Liverpool City (rugby league) players
Rugby league centres
Rugby league fullbacks
Wigan Warriors players
Year of birth missing (living people)


Crime in Panama is investigated by the Panamanian police.

Crime by type

Murder

In 2012, Panama had a murder rate of 17.2 per 100,000 population. There were a total of 654 murders in Panama in 2012.

Kidnapping
Panamanian authorities conducted a study which indicates that almost 90 percent of express kidnappings are unreported due to the threat that thieves impose on the victim and relatives of the victim. The procedure of express kidnapping consist of abducting the victim and taking possession of valuables such as cellphones, watches, credit cards, cash and jewelry. Besides taking all of the victim's valuables, the kidnappers make the victim withdraw money from different ATM locations.

Once the kidnapper is satisfied, the abducted person is usually released. In other cases, the kidnappers may ask for ransom money for the release of the victim. This long process of kidnapping is slowly decreasing, since most kidnappers want a quick payoff without complicated negotiations with relatives.

Illegal drug trade

In recent decades, (1980's [15,16]) has become an important connection for shipping narcotics to the US and other countries. The International Narcotics Control Strategy has reported that traffickers have smuggled narcotics through the country's uncontrolled transportation system, such as airfields, coastlines, containerized seaports and highways.
The FARC (Revolutionary Armed Forces of Colombia) has also contributed to the increase.

Many of the FARC soldiers who seek shelter and refugee from Colombian Armed Forces cross the border between Darien and Colombia. Since the FARC arrived in Panama, drug trafficking has significantly increased. Waterways are being watched carefully by the Panamanian Naval Forces, but the FARC has adapted ways of smuggling narcotics across Panama by land.

Panama's involvement in drug trafficking began as early as the beginning of the 20th century, when opium was trafficked through the Panama Canal on its voyage from Asia to Europe. In the 1960s Panama's involvement with drug trade was its production of cannabis, but by the 1980s it became one of the transit points for the drug trafficking of cocaine from South America to the United States thanks to its shared border with Columbia.

Robbery
Robberies prevalent in Panama include armed robberies and muggings.

Domestic violence

Domestic violence in Panama is a serious problem and remains underreported.
Domestic violence, including spousal rape, psychological, physical, and economic abuse, are criminalized. Panama enacted Ley No.38 del 2001 against domestic violence. In 2013, the country enacted Law 82 - Typifying Femicide and Violence Against Women (Ley 82 - Tipifica el Femicidio y la Violencia contra las Mujeres) a comprehensive law against violence against women.

Corruption

By location
Based upon reported incidents by local police, the high-crime areas around Panama City are San Miguelito, Río Abajo, El Chorrillo, Ancón, Tocumen, Pedregal, Curundu, Veracruz Beach, Panamá Viejo, and the Madden Dam overlook.

In its 2015 report, the US State Department cited the more dangerous areas of Panama City are: Panama Viejo (the neighborhood, not the park itself), Cabo Verde, Curundu, San Miguel, Marañon, Chorillo, Barraza, Santana, Monte Oscuro, San Miguelito, Ciudad Radial, San Cristobal, San Pedro, Pedregal, San Juaquin, Mañanitas, Nuevo Tocumen, 24 de Diciembre, Sector Sur Tocumen, Felipillo, Chilibre, Caimitillo, Alcalde Diaz, and Pacora.

Crime dynamics

Street gangs
The Panamanian gangs appeared in the late 1950s after a group of local college students forcefully attempted to gain access to an American Army Post, Ft. Amador, and were shot and killed. The gangs have increased in numbers since the Panamanian Army was disbanded in 1990 due to the United States invasion of Panama. A 2009 census reported that there are about 108 street gangs.

More than 1,600 youths between the ages of 13 and 15 are affiliated with youth gangs. Most of the youth gangs are fueled by drugs.

Government action
Police checkpoints have become commonplace during weekends on roads in between cities. However, most are simply drivers license and plate checks.

Curfews
Panamanian authorities have adopted a curfew policy for youths under 18 years of age. Students who are attending night classes must carry a permit or identification card, provided by the school or an official certified person. Youths under 18 who are caught without them are subject to detention at a police station until they are released to their legal guardians. A fine around $50.00 is issued to the legal guardians if the youth is apprehended for the first time.

Curfews consist of special strategic checkpoints around the main streets in Panama. Each person inside a vehicle must carry an identification card or be accompanied by their legal guardians. Authorities have helped slowly decrease the amount of unattended youth loitering around the streets. Most thefts and kidnappings are carried out by minors.

See also
 Law enforcement in Panama
 Penal system of Panama

References

External links
 Panama 2013 Crime and Safety Report


The French theatre of the late 18th century functioned as a forum for political expression and debate; during this period, society and art became highly politicised. The French took great national pride in their theatres. A report commissioned by the Commune of Paris in 1789 declared Paris to be a centre for the "foremost theatres of Europe" that served as an "exemplar for foreigners." An audience's response to the play was important to its success—if a play was received poorly (claques), rather than favourably (cabales), the play would not receive royalty payments.

Theatre of the Ancien Régime
Before the creation of the National Assembly in 1789, the monarchy supported only three theatres in Paris: the Académie Royale de Musique (Paris Opera), the Comédie-Italienne, and the Comédie-Française. Royal patronage resulted in a monopoly over the theatre and safeguarded the monarch from mockery and criticism. It was not until the late 1780s that this system was criticised for preventing the success and freedom enjoyed by theatres elsewhere.

The government of the Ancien Régime attempted to silence a growing political unrest. In an attempt to rid society of the disruption caused by "honnêtes hommes," the lieutenant-general of police, Marc-Pierre de Voyer de Paulmy d'Argenson, tried to control the behaviour of spectators in theatres. This resulted in a temporary lull in politicised drama. Nearly all of the top fifty plays of the decade had nothing to do with the Revolution and were uncritical and silent about the revolutionary ideals of liberty.

The Chapelier Law of 1791
With the introduction of the Chapelier Law in 1791, the National Assembly instituted the freedom of theatres, which could now function without governmental interference or censorship. A dramatic increase in the number of theatres followed, from fourteen in Paris in 1791 to thirty-five in 1792. As a result of the law, the censor now expressed not the absolute will of the monarch but the more negotiable, democratic preferences of the nation.

The parterre
The physical space of a theatre in France during the Enlightenment allowed a large number of people to attend. With capacities of up to two thousand audience members, the theatre was an important arena for the French community. During this time, nearly fifty new theatres opened, over one thousand plays were written, and approximately twenty-four plays were performed on a daily basis. Giving the working class access to the theatre meant opening it to their demands. Ravel calls the pit the "parterre", where the working class could participate in the performance by voicing their reactions in an unmediated, sometimes aggressive way, thus anticipating in some form the coming Revolution. This group embodied the revolutionary spirit for direct democracy and subsequently became an important political actor, confounding the hierarchies of royal authority.

Pieces de circonstances

A Parisian citizen during the Enlightenment may have attended the theatre principally for two reasons: firstly, its aesthetic value as an awe-inspiring spectacle and secondly, because of its political suggestiveness. When drama lacked this latter aspect, it was criticised for distracting audiences from the pressing public political issues of the time. For example, a petition was sent to the National Assembly regarding Paisiello's flashy opera Nina, osia la pazza d'amore, because it lacked political and educational meaning. This resulted in the opera's closure in 1792 and the National Assembly banned theatre that did not incorporate the events of the Revolution.

French theatre became full of "pieces de circonstance," or "works of social circumstances," particularly where the events of the military were concerned. For example, in December 1793, a member of the Committee of Public Safety, Bertrand Barère, demanded that playwrights create work about the French capture of Toulon. Seven new plays were subsequently written about the battle, including La prise de Toulon, which made direct references to political leaders and philosophers. Aubin-Louis Millin de Grandmaison claimed that "tragedy should teach great political truths and public virtues. If they want to express a powerful idea, tragic authors are therefore obliged to torment their genius, to cloak their idea with a veil of allegory"

While French theatre was praised for its ability to engage in the political debates of its time, it was also criticised by members of the aristocracy for corrupting the public sphere. A notable proponent of this notion was Jean-Jacques Rousseau, who, in his Letter to M. D'Alembert on Spectacles, argued that theatre could not improve the morality of the audience and instead could only re-inforce their existing beliefs. He was enraged by Molière's Le Misanthrope for the way it praised the hypocritical character Philinte at the expense of Alcest, the honest character in the play.

Politics and the theatre
The worlds of politics and drama converged, since some leading playwrights of this period were also politicians. For example, tragedian Marie-Joseph Chénier belonged to the Paris Jacobins and was elected to the National Convention; Collot d'Herbois wrote both comedies and tragedies, while being an active member of the Committee for Public Safety; and interior minister François de Neufchâteau was also a popular playwright of the time.

Theatrics also played a large role in politics, in terms of the way political speeches and campaigns were carried out. Politicians of the time, such as the Marquis de Mirabeau, used the public's ability to be captivated by the theatre to arouse support for their regimes. In fact, in a production called Assemblée fédérative, citizens were allowed to pay to role-play as great speakers of the Enlightenment, re-enacting debates and speeches of propaganda. Inevitably, this situation resulted in a mockery of politics, and performances where actors played the parts of politicians were often controversial.

Along with the theatricality of politics, the role of drama in French society is reflected in the theatrical portrayal of the visions and beliefs of the National Convention regarding surveillance. The content of Revolutionary plays also reflected the beliefs of Jean Jacques Rousseau and the Age of Enlightenment. As described by Rousseau, surveillance provides the means through which the authenticity and goodness of the person can be constituted, recognized and affirmed. These ideas regarding surveillance resonated with Revolutionary culture, as there was a general push for complete visibility. The power of surveillance was thought to be shared by all citizens and was considered by many to be the single most important means to protect the Revolution from counter-revolutionary citizens and would-be usurpers.

Along with L’Époux républicain, plays such as Plus de bâtards en France, and La Veuve du républicain, ou, Le Calomniateur all reflected the Convention’s belief that surveillance in the private sphere was extremely important to the transparency of the Revolution. The Convention believed that citizens needed to police themselves and their peers, and then had a duty to report counterrevolutionaries. This was all encouraged in order to continue the safety and well-being of the Republic. Robespierre was particularly consumed with both the elimination of theatricality from the government and the elimination of the distance between the representatives and the people that they represented. Therefore, the aforementioned plays were encouraged and accepted.

L'Époux républicain was one play in particular that was enormously popular and very effective at portraying the importance of the acceptance of surveillance. The main character’s wife, Mélisse, has an affair and is also revealed to be counter-revolutionary, showing the link between immoral activity and treason. There were also characters within these plays that questioned whether or not surveillance was ethical or warranted. However, the characters that endorsed this surveillance were the ones that the plays portrayed as the moral, just, and ultimately correct citizens. Revolutionary drama depicted domestic life as inherently connected to political life, which in turn linked the practice of surveillance to the protection of the Revolution. Theater was considered a machine for propaganda to further the beliefs and ideals of the Revolution and its leaders.

Alternatively, there were plays that provided a critique of surveillance, such as La Chaste Suzanne, a play which actually caused riots because of supposed counter-revolutionary messages. La Chaste Suzanne cast an unfavorable light on two elected officials engaged in the surveillance of the main character, Suzanne, during a private moment in a bath. The officials attempt to extort sexual favors from Suzanne and when she refuses, they denounce her and allege that she was having an affair with a young man. Suzanne is brought to trial for adultery and is almost stoned to death before a sympathetic lawyer comes to her rescue and reveals the nefarious plot. This play represented a rejection of the ideas of surveillance encouraged by the government and society (embodied by the spying officials invading Suzanne’s privacy), and was thus seen as counter-revolutionary. The play was staged in a very momentous time in Revolutionary history - King Louis XVI had recently been tried and executed and the lines separating the Jacobin and Girondin values began to widen and cause animosity.

Due to the atmosphere of the Terror, and the subject matter of the play, riots began to break out condemning the performance. Even one of the actors in the play wrote a letter detailing citizens’ disgruntled reactions in the crowd upon hearing certain lines of the play they believed associated the play’s heroine, Suzanne, with Marie Antoinette. Patriots showed their discontent with the counter-revolutionary ideas in the play by storming the stage with drawn swords and threatening to turn the theatre into a hospital if they play continued. The Convention voted to ban La Chaste Suzanne after complaints that it disrupted the public order and was morally corrupt. Shortly after it was banned, on September 27, 1793, Pierre-Yves Barré, one of those responsible for the staging the performance and several actors and writers including the Radet and Desfontaines-Lavallée, were arrested for staging plays filled with "perfidious allusions".

In addressing the National Assembly in early 1791, the aforementioned Mirabeau declared that "when the time comes for us to concern ourselves with the education of the masses, in which the theatre must play its part, it will be seen that drama can be transformed into a very active, very rigorous morality."

As Mirabeau’s declaration suggests, the revolutionary governments used theatre to promote republican ideology and morality. According to F. W. J. Hemmings, in the plays produced in Paris between 1793 and 1794, over two-thirds conveyed a political message. However, the question of what constituted a drama that espoused proper political messages and appropriate republican morals ultimately fell to the government. Consequently, in its efforts to utilize the theatre for political ends, the government became repressive, much in the same way that the monarchy had been. Because the theatre was viewed as a tool of political advancement, plays that did not purify public morals or politically align with the central government became censored in some way. Plays were either outright banned, or altered to remove any references to the defunct institutions of the Ancien Régime and to better promote republican morals, as was often the case with familiar classics such as Molière’s Tartuffe. Prior to August 1793, the central government enforced such censorship through repressive means. Because of the Chapelier Law of 1791, passed under the National Assembly, abolishing the censorship of theatre, the government could only ban a particular dramatic performance that could be argued had caused a public disturbance.

This was the case with the play L’Ami des Lois. As the controversial trial of the King was taking place in early 1793, Jean-Louis Laya created the play L’Ami des Lois as an attack on perceived Jacobin extremism of the time and as an expression of his desire for moderation. In the play, Jacobins are depicted as self-interested and calculating villains, while the aristocrats are portrayed as patriotic. Resulting complaints from the public led to the Paris Commune, in part controlled by Jacobins, banning the play for public disturbance. This occurred on January 10, 1793, only eight days after its first production. Playwright Laya protested what he considered an arbitrary censorship to his play. He criticized the new censorship undertaken by the revolutionary French government as more despotic than that of the institutions of the Ancien Régime. Although a supporter of the early stages of the Revolution, Laya’s L’Ami des Lois, and subsequent criticisms of the government, resulted in his official denunciation by Jean-Marie Collot d'Herbois, a member of the Committee of Public Safety. To avoid punishment, Laya went into hiding and did not reappear until after the Reign of Terror had come to an end.

Censorship of the theatre only increased in the following months, paralleling the increasing division amidst the Revolution during the Reign of Terror. On August 2, 1793, the recently formed Committee of Public Safety passed a decree introducing penalties to theatres producing plays contrary to republican ideology by proclaiming that "every theatre in which plays are performed that tend to lower public morale and to revive the shameful superstition of monarchy shall be closed, and the directors arrested and punished in accordance with the full rigor of the law."  Furthermore, the following month, the Committee of Public Safety granted the Commune the task of preemptively previewing plays to ensure that they followed republican ideology and did not include any critiques of the current administration. This marked a shift from repressive censorship to that of preventive censorship, carried out in the name of the Republic. Even while undertaking preventive censorship measures, the National Convention continued to promote plays that aligned with its political and moral creed.

The play Guillaume Tell by Antoine-Marin Lemierre, which displayed popular themes of the struggle against tyranny, revolt, sacrifice and liberty, is an example of a play promoted by both the Convention and the Committee of Public Safety. Productions of Guillaume Tell were actually subsidized by the state, as it was one of several plays deemed by the government to best propagate revolutionary ideals. Following the precedent set by the earlier revolutionary governments, even the more conservative government that came to power during the Thermidorian Reaction continued to censor and support plays of its choosing.

The fourth wall in theatre and politics
Paul Friedland suggests that actors in the time of the Ancien Régime were expected to experience the emotions that they were portrayed on-stage. In 1750, however, critics such as Denis Diderot and François Riccoboni argued that the emotions presented on-stage should be illusionary. Friedland argues that by the time of the creation of the National Assembly there was a metaphorical "fourth wall" that divided an awed audience from the actors who created illusions of reality. Friedland interprets this change as resulting from the emergence of revolutionary politics. He calls pre-revolutionary France a "corpus mysticum," or a "mystical body," that was subject only to the will of the monarchy, aristocracy, and clergy. During the Revolution, he continues, power shifted to the parlementaires, who began to operate behind a political "fourth wall", still removed from the actual interests of citizens. Just as audiences in a theatre would suspend their disbelief for the spectacle of the show, so too did citizens begin to have blind faith in the National Assembly's representation of national will.

Friedland uses Marie-Joseph Chénier's play Charles IX, which expresses an anti-monarchical attitude, as an example of the controversy that the "fourth wall" created. When actors refused to participate in the play, the National Assembly and other political organizations intervened, defying the Chapelier law that outlawed government intervention in theatre.

Critics of the theatre argued that the divide between spectators and performers not only reflected, but encouraged the separation between citizens and government. The remodelling of the Théâtre Feydeau in 1789, for example, removed audience boxes on-stage so that the audience was more confined to an area separate from the stage. This change, they argued, signified the lack of transparency of the Ancien Régime. Maximilien Robespierre was an advocate for public vigilante surveillance over the government and so was against this counter-revolutionary form of theatre. Susan Maslan, utilising the theories of Michel Foucault, argues that the shift from the Ancien Régime to the post-revolutionary system signified a "shift from a regime of spectacle to a regime of surveillance."

References

Sources
 Friedland, Paul. 2002. Political Actors: Representative Bodies and Theatricality in the Age of the French Revolution. New York: Cornell UP.
 Kennedy, Emmet, Marie-Laurence Netter, James P. McGregor, and Mark V.Olsen. 1996. Theatre, Opera, and Audiences in Revolutionary Paris. Connecticut: Greenwood P.
 Maslan, Susan. 2005. Revolutionary Acts: Theatre, Democracy, and the French Revolution. Baltimore: The Johns Hopkins UP.
 McClellan, Michael E. 2004. "The Revolution on Stage: Opera and Politics in France, 1789–1800." National Library of Australia: accessed April 1, 2009.
 Ravel, Jeffrey S. 1999. The Contested Parterre: Public Theatre and French Political Culture, 1680–1791. New York: Cornell UP. .
 Hemmings, F. W. J. 1994. Theatre and State in France, 1760–1905. Cambridge, England: Cambridge UP.
 Carlson, Marvin. 1966. The Theatre of the French Revolution. Ithaca, N.Y.: Cornell UP.
 Kennedy, Emmet. 1989. A Cultural History of the French Revolution. New Haven: Yale UP.
 Israel, Johnathan. 2014. Revolutionary Ideas: An Intellectual History of the French Revolution from the Rights of Man to Robespierre. Princeton, NJ: The Princeton UP.
 McCready, Susan. 2001. Performing Time in the Revolutionary Theater. Dalhousie French Studies, 55, 26-30.

Further reading
Brown, Frederick.1980. Theater and Revolution : The Culture of the French Stage. New York: Viking Press.
Censer, Jack and Lynn Hunt.  2001. Liberty, Equality, Fraternity: Exploring the French Revolution. University Park, PA: The Pennsylvania State University Press.
Kafker, Frank et al. 2002. The French Revolution: Conflicting Interpretations, fifth edition. Malabar, FL: Krieger Publishing Company
Popkin, Jeremy D. 2002. A Short History of the French Revolution. Upper Saddle River, N.J. : Prentice Hall.
Leon, Mechele. 2009. Moliere, the French Revolution, and the Theatrical Afterlife. Iowa City, IA: University of Iowa Press..
Root-Bernstein, Michel̀e. 1984. Boulevard Theater and Revolution in Eighteenth-Century Paris. Ann Arbor, MI: UMI Research Press.
Feilla, Cecilia. 2013. The Sentimental Theatre of the French Revolution performing virtue. Burlington, VT: Ashgate.
Daniels, Barry. 1983. Revolution in the Theatre: French Romantic Theories of Drama. Westport, CT.: Greenwood Press.
Leon, Mechele. 2009. Moliere, the French Revolution, and the Theatrical Afterlife. Iowa City, IA: University of Iowa Press.

Theatre in France


Houcine Camara or just Houcine (born 19 August 1980), is a French singer.

Biography
He was born in a musical family. His family was Muslim . His father was a singer, who for 10 years had also directed "Le palais des danses africaines de Nancy". His mother was an artist designer of oriental fashion. At 6, he studied at the Nancy Conservatory where he learned to play the piano and violin. He also practiced sports, notably soccer. At 15, he composed music on the piano and at 16 formed a groove band with his brother and performed at various public occasions.

Houcine auditioned for second edition of French TV reality show Star Academy where he was a finalist.

His first single, "Être un homme comme vous" was used on the soundtrack of the movie The Jungle Book 2, and became a successful record in France, Belgium-Wallonia, and Switzerland, where it became a top ten hit. Houcine has two sons, Lenny and Noah.

Discography

Singles
 2003 : "Être un homme comme vous" – #3 in Belgium, #6 in France, #9 in Switzerland
 2003 : "Ce que tu veux de moi" – #72 in France
 2004 : "Donne-moi du temps" – #64 in France

References

1980 births
French pop singers
Living people
Musicians from Nancy, France
Star Academy (France) participants
21st-century French singers
21st-century French male singers


Houcine (variant Hocine (both derivations of Arabic Hussein, Hussayn) may refer to:

Given name
Houcine Anafal (1952–2012), Moroccan professional football player
Houcine Bennoui (born 1989), French Muay Thai kickboxer
Houcine Camara, French singer, better known by his mononym Houcine
Houcine Dimassi (born 1948), Tunisian politician
Houcine Slaoui (1918–1951), real name Houcine Ben Bouchaïb, Moroccan singer and composer
Houcine Toulali (1924–1998), Moroccan writer and singer of malhun compositions

Family name
Khaled Houcine, Tunisian sprint canoeist

See also
Hocine (disambiguation)
Hussein


Abdul Kalam (Hindi: अब्दुल कलाम, Urdu: عبدل کلام) was an Indian politician. He was the member of Uttar Pradesh legislative assembly from Varanasi.

Political life
Abdul Kalam was first elected as a member of the Uttar Pradesh Legislative Assembly in the year 1996. In the year 2002, he was again elected as a member of the Uttar Pradesh Legislative Assembly from the same seat, but Abdul died in the year 2005 due to illness.

When Abdul Kalam died due to illness in the year 2005, Samajwadi Party nominated his wife Rabiya Kalam as its candidate from Varanasi North Assembly.

References

Uttar Pradesh MLAs 1997–2002
Uttar Pradesh MLAs 2002–2007
2005 deaths
Samajwadi Party politicians from Uttar Pradesh


Toivo "Topi" Ilmo Kalevi Sukari (April 8, 1954 in Mynämäki) is a Finnish businessman. He is the founder and largest shareholder of Maskun Kalustetalo and Ideapark. Sukari also owns the shopping mall chain stores Masku Koti and Sukarin Lomarakennus. Sukari comes from a Laestadian family and he has seven siblings. His father was a small-time farmer and entrepreneur. Sukari's wife is named Eeva and they have five children.

References

External links
Helsingin Sanomat: Toivo Sukari

1954 births
Living people
People from Mynämäki
Laestadians


This is a list of the federal institutions of Tanzania.

Legislative branch
 National Assembly of Tanzania

Executive branch

President of Tanzania
 John Magufuli 2015 - 2020
 President's Office, Planning Commission
 President's Office of Public Services Management

Vice President of Tanzania
 Samia Suluhu 2015-2020

Prime Minister of Tanzania
 Kassim Majaliwa 2015 - 2020

Other
 Nyalali Commission
 State House of Tanzania

Ministry of Agriculture, Livestock and Fisheries

Ministry of Works, Transport and Communication
 Air Tanzania
 Tanzania Airports Authority
 Tanzania Civil Aviation Authority
 Tanzania Government Flight Agency
 Tanzania Meteorological Agency
 Tanzania Ports Authority
 Tanzania Railways Corporation
 Tanzania Communication Regulatory Authority (TCRA)
 Tanzania Telecommunications Company Limited (TTCL)
 Tanzania Electric Supply Company Limited (TANESCO)

Ministry of Defence and National Service
 Tanzania People's Defence Force
 Army of Tanzania
 Navy of Tanzania
 Air Force of Tanzania

Ministry of Foreign Affairs, E.A.C, Regional and International Cooperation
 Diplomatic missions of Tanzania

Ministry of Energy and Minerals
 Tanzania Petroleum Development Corporation

Ministry of Finance and Planning
 Bank of Tanzania
 Economic and Social Research Foundation (ESRF)
 Parastatal Sector Reform Commission
 Public Service Pensions Fund (PSPF)
 National Social Security Fund (NSSF)
 Tanzania Revenue Authority (TRA)

Ministry of Health, Community Development, Gender, Seniors and Children
 Medical Stores Department
 National AIDS Control Programme
 Tanzania Commission for AIDS
 Tanzania Food and Drugs Authority (TFDA)

Ministry of Education, Science and Technology and Vocational Training
 Tanzania Atomic Energy Commission
 Tanzania Commission for Science and Technology

Ministry of Home Affairs

Ministry of Industry, Trade and Investment
 Board of External Trade
 Tanzania Chamber of Commerce, Industry and Agriculture
 Tanzania Investment Centre (TIC)

Ministry of Information, Culture, Artists and Sports
 Bagamoyo Art College
 Tanzania Football Federation

Ministry of Constitutional Affairs and Justice

Ministry of Lands, Housing and Human Settlements
 National Housing Corporation

Ministry of Natural Resources and Tourism
 National parks and protected areas
 Tanzania National Parks Authority (TANAPA)
 Tanzania Tourist Board (TTB)

Ministry of Water and Irrigation
 Water Resources Management Division
 Commercial Water Supply and Sewerage Services
 Community Water Supply
 Water Laboratory Unit
 Drilling and Dam Construction Agency

Judicial branch
 Court of Appeal of Tanzania
 Chief Justice of Tanzania
 Special Constitutional Court of the United Republic of Tanzania

Regions and districts
 Please see Regions of Tanzania and Districts of Tanzania.

Zanzibar
 President: Ali Mohamed Shein
 House of Representatives of Zanzibar
 Revolutionary Council (Zanzibar)

References

 Please see United Republic of Tanzania, Ministries.

See also
 Government of Tanzania
 Politics of Tanzania

Government of Tanzania
Politics of Tanzania
Political organisations based in Tanzania


Valdemar's Castle (Danish: Valdemars Slot) is a manor house situated on the island of Tåsinge near Svendborg in southern Denmark.

History
Valdemar's Castle was commissioned by King Christian IV (1588–1648) and built between 1639 and 1644 under the plans designed by architect Hans van Steenwinckel d.y. (1587–1639). It was not a fortification, but rather a large manor house.
King Christian was well known for his interest in building. Tåsinge, the island where Christian planned to have Valdermar's Slot built, belonged to his mother in law Ellen Marsvin. He intended the new mansion should become the home of his son Valdemar Christian (1622–1656) whose mother was Kirstine Munk.   Valdemar Christian never occupied the manor but was killed during a battle in Poland in 1656.
In 1678, the naval hero, Admiral Niels Juel (1629–1697) was given title to the castle and the land on Tåsinge after his victory over Sweden in the Battle of Køge. The estate was transferred to him as payment for the Swedish ships captured in the battle.

Today
Caroline Fleming (born 1975 as Baroness Caroline Elizabeth Ada Iuel-Brockdorff, at Valdemar's Castle) is a Danish noble, entrepreneur, model and TV personality; she is the current owner of Valdemar's Castle since 2003. She is the 11th generation of the Juel family.

Previous Ownership
The previous owner, Baron Niels Krabbe Iuel-Brockdorff, who is 10th generation of the Juel family, took over his childhood home from his father in 1971 and lived in the castle with his wife and family until his death on January 20, 2017. Valdemar's Slot has been open to the public since 1974. The mansion is open from May to October and on public holidays. It features a large chapel, a toy museum, the Iuel-Brockdorff family's big game trophy collection and a local maritime museum. As it stands close by the shore, many visitors make the trip from Svendborg using the veteran ferry Helge.

Gallery

Panoramas

References

External links
Valdemars Slot Official homepage

Palaces in Denmark
Castles in Denmark
Castles in the Region of Southern Denmark
Museums in the Region of Southern Denmark
Historic house museums in Denmark
Hunting museums
Maritime museums in Denmark
Buildings and structures in Denmark of the Brockdorff family


Petter (Pekka) Aakula (September 2, 1866 – June 11, 1928) was a Finnish politician.

Aakula was born in Mynämäki. A teacher by profession, he was a Social Democrat and was elected to the Parliament of Finland from the Western Kuopio Province constituency. Aakula was a member of the parliament 1909–1911 and 1914–1917. He died in Karttula, aged 61.

References

1866 births
1928 deaths
People from Mynämäki
Politicians from Turku and Pori Province (Grand Duchy of Finland)
Social Democratic Party of Finland politicians
Members of the Parliament of Finland (1909–1910)
Members of the Parliament of Finland (1910–1911)
Members of the Parliament of Finland (1913–1916)
Members of the Parliament of Finland (1916–1917)


Klunkerz: A Film About Mountain Bikes is a 2006 documentary about mountain bike history during its formative period in Northern California. It examines the relationships of the Marin County hippies, athletes, and entrepreneurs who were directly responsible for popularizing off-road cycling. The film includes many interviews with those present during the embryonic stages of the sport, including Gary Fisher, Charlie Kelly, Joe Breeze, Tom Ritchey, Mike Sinyard, and Otis Guy, and covers "the treacherous old Repack races." The film was written, produced, and directed by independent California filmmaker Billy Savage and released on October 8, 2006.

Festivals and awards
Awards
"2009 Cycling Film of the Year" (Competitor Film Festival, San Diego)
"Make Your Own Legends Award" (Boulder Adventure Film Festival)
2007 "Documentary - Feature Jury Commendation" (Durango Independent Film Festival)

Festivals - Official Selection
2006 Mill Valley Film Festival
2007 Durango Independent Film Festival
2007 Newport Beach Film Festival
San Luis Obispo Film Festival
2007 Bicycle Film Festival (New York City, NY)
Competitor Film Festival (San Diego)
International Bicycling Film Festival (Sydney and Melbourne, Australia)
2008 International Cycling Video Festival (Bochum, Germany)

See also
 List of films about bicycles and cycling

References

External links

"Who Really Invented the Mountain Bike?" BikeRadar.com, Oct. 2007
 Fat Tire Flyer, a book about the first mountain bikes by Charlie Kelly

2006 films
American sports documentary films
Hippie films
Mountain biking films
Films set in the San Francisco Bay Area
Cycling in the San Francisco Bay Area
Documentary films about cycling
2006 documentary films
2000s English-language films
2000s American films


Aleksei Gennadyevich Zhdanov (; born 28 March 1982) is a Russian football coach and a former player. He is the manager of FC Rotor-2 Volgograd.

Club career
He played 3 seasons in the Russian Football National League for FC Nosta Novotroitsk and FC Luch-Energiya Vladivostok.

Honours
 Russian Second Division/Russian Professional Football League, Zone South top scorer: 2005 (15 goals), 2009 (23 goals), 2016–17 (23 goals).
 Russian Second Division, Zone South best striker: 2009.

References

External links

1982 births
People from Stary Oskol
Living people
Russian men's footballers
Men's association football forwards
FC Olimpia Volgograd players
FK Ventspils players
FC Zimbru Chișinău players
FC Luch Vladivostok players
FC Neftekhimik Nizhnekamsk players
FC Khimik Dzerzhinsk players
FC Sever Murmansk players
FC Zenit-Izhevsk players
FC Rotor Volgograd players
FC Armavir players
Latvian Higher League players
Moldovan Super Liga players
Russian expatriate men's footballers
Expatriate men's footballers in Latvia
Expatriate men's footballers in Moldova
Russian expatriate sportspeople in Latvia
Russian expatriate sportspeople in Moldova
Russian football managers
FC Nosta Novotroitsk players
Footballers from Belgorod Oblast


Aleksey Alekseevich Jdanov () (born 1 March 1976) is an Uzbekistani football player.

Jdanov was the fourth-leading goal-scorer in the Uzbek League, with 18 goals, during the 1998 season. He later played for FC Lada Togliatti, FC KAMAZ Naberezhnye Chelny and FC Fakel Voronezh in the Russian First Division. After spending 2007 with FC Spartak Tambov, Jdanov returned the Uzbek League with OTMK Olmaliq in 2008.

References

1976 births
Living people
Uzbekistani men's footballers
Uzbekistani expatriate men's footballers
FC Lada-Tolyatti players
FC KAMAZ Naberezhnye Chelny players
FC Fakel Voronezh players
FC Spartak Tambov players
Expatriate men's footballers in Russia
Uzbekistani expatriate sportspeople in Russia
Men's association football defenders


The Fairy Falls (Welsh: Rhaeadr y Tylwyth Teg) is a waterfall in the village of Trefriw, north Wales.
The falls are on the river Crafnant which has its source at Llyn Crafnant, being joined upstream by a tributary, the river Geirionydd. Below the falls the river Crafnant flows on to itself become a tributary of the river Conwy.

The main falls are about 25 feet high, the water falling down an angled rockface, and they were formed during the last ice age some 20,000 years ago.  As the main glacier passed down the Conwy Valley, it truncated the Crafnant valley, leaving a hanging valley and this series of falls.

Not all of the water from the river Crafnant passes over the falls, as a little upstream some is diverted through a pipeline to provide hydro-electric power for the woollen mill.  During drier periods this can leave the falls with little or even no water, but most of the year there is a good supply of water, as testified by the erosion of the rocks at the base of the falls.

Downstream of the main Fairy Falls are a number of further, lesser, falls, which old postcards also call the "Fairy Falls".  Along this lower section of river the water once turned a number of waterwheels which powered various mills.  The whole area of this series of falls—from the main falls through the lesser falls downstream—was known as "Fairy Glen", and was altogether more open than it is today.  In Edwardian times there was a proper path alongside the river Crafnant, and a popular stroll was to walk from the banks of the river Crafnant, up through the well-known Fairy Glen, and on beside the river Crafnant up towards Llyn Crafnant.

Regarding the name, the information board beside the waterfall states: "The Trefriw Fairy Falls were named by the Victorians who were fascinated with fairies and identified many enchanting locations as home to these diminutive, mythical creatures."  Whilst there are no documented sightings of fairies at the falls themselves, in 1880 Wirt Sikes referred to numerous local sightings of fairies in his book British Goblins—Welsh Folk-lore, Fairy Mythology, Legends and Traditions.

The Fairy Falls pub in the village takes its name from the Falls.

The Falls are easily accessible on foot from various directions, and are on the route of one of the Trefriw Trails, a series of walks around the village and adjacent areas.  Route 4, starting from the village shops, follows the riverside path through Fairy Glen and past the falls.  Route 5 also takes this route before heading on to Llyn Geirionydd and Llyn Crafnant.

References

External links
 A collection of 15 old postcards showing Fairy Falls & Fairy Glen
 A late 19th century color photochrome print
 A YouTube video of the falls, with another here
 Trefriw Trails website

Trefriw
Fairy Falls
Waterfalls of Snowdonia
Cascade waterfalls


The Henry Hazlitt Foundation was a public interest or advocacy organization founded in 1997 by Chris Whitten, who had been publishing Free-Market.com since 1995. The Foundation was named after free-market economist and writer Henry Hazlitt. In 1997 Free-Market.com became Free-Market.Net: The Freedom Network for the express purpose of making the ideas of liberty more accessible and networking with the international libertarian movement. J.D. Tuccille (the son of Jerome Tuccille) served as senior editor for Free-Market.net.

History
The Foundation ran a number of features, including book of the month, website of the week, and an offline newsletter entitled The Free-Marketeer. It was also responsible for the creation or maintenance of a number of libertarian organizations, such as ifeminists and Bureaucrash. The idea for Bureaucrash came from businessman Al Rosenberg, who partnered with the Henry Hazlitt Foundation in 2001. In December 2002, the Henry Hazlitt Foundation went out of business. Free-Market.Net became part of the International Society for Individual Liberty in December 2004 and appears in ISIL's successor's online archives several times.

Funding
Between 1998 and 2003 the Henry Hazlitt Foundation received six grants totaling $52,500.

References

Free market
Libertarian organizations based in the United States


Aakula is a Finnish surname meaning "Augie's farm". Notable people with the surname include:

 Eemeli Aakula (1879–1955), Finnish politician
 Pekka Aakula (1866–1928), Finnish politician

Finnish-language surnames


The Opaline budgerigar mutation is one of approximately 30 mutations affecting the colour or appearance of budgerigars.  It is the underlying mutation of the Opaline variety.  When combined with the Yellowface II and Clearwing mutations the Rainbow variety is produced.

Appearance

The Opaline mutation is characterised by several features which are invariably present, although many show variations in the intensity of their expression.  The most obvious effect is on the striations which extend from the top of the head down the neck to between the wings in the non-Opaline.  In the Opaline these striations are very much reduced in intensity, being almost absent in many individuals, particularly in small birds of yellow (as opposed to buff) feather.  The cap of the Opaline extends further back over the top of the head, gradually merging into an area the same colour as the body which continues down the back of the head to form a 'V' shape between the wings.  The intensity of the striations in this area is variable, but in the original mutations, particularly the Australian, the 'V' was very clear.

In the non-Opaline the wings show dark grey or black markings over a yellow or white ground, but in the Opaline the ends of the barbs of the wing coverts assume the same colour as the body, rather than the ground colour.  This suffusion of body colour in the wings produces the opalescent effect which gave the mutation its name.  The area of black pigmentation in each feather is reduced and in the original specimens the wing butts were particularly devoid of black pigment, resulting in a clear area often called the 'thumb-print'.  These thumb-prints appear to be associated with a clear 'V', but are now seen less often, since the Budgerigar Standard calls for normal wing markings in the Opaline.

The flight feathers of the budgerigar consist of 10 primaries and 10 secondaries.  These are dark grey with a clear central band across every feather from the 2nd primary to the 8th secondary.  These clear areas are not visible in the folded wing, but form a prominent continuous band running right along the wing when it is stretched out.  It is hidden from above by the coverts but is visible from beneath.  In the Opaline this clear band is present on every flight feather and is much broader.  Only the distal half of the flight feather is dark, with the clear zone extending from the midpoint to the shaft.  Because it is broader it is visible in the primaries of the folded wing of the Opaline, just beneath the secondaries and primary wing coverts, as a small clear patch.

A similar effect occurs in all the wing feathers, most noticeably in the primary and secondary wing coverts, and also in the six tail feathers, which carry a similar clear band on feathers 2 to 6 in the non-Opaline.  The first (longest) tail feather of the Opaline also carries a rather blotchy clear area of somewhat variable extent, and the suffusion of body colour present to a small degree in the non-Opaline is intensified in the Opaline.

Most Opalines show a brighter body colour than the corresponding non-Opaline, particularly in nest feather and particularly in the rump area.  This is due to a reduction in the melanin content of the barbules of the contour feathers.

The final characteristic of the Opaline (and the Cinnamon) is the colour of the down feathers of the young nestling.  These are white instead of the usual grey, and this allows Opalines to be identified at a very early age.

Historical notes

In 1933 A Brown of Kilmarnock, Scotland, bred what was described as a 'pied' Cobalt hen from a perfectly normal Skyblue cock and Mauve hen.  The parents came from a strain kept locally which had never produced anything unusual, and Mr Brown bred no more than the one mutant, even though the same pair bred many Cobalts in both 1933 and 1935.

Towards the end of 1933 Mr and Mrs Ashby of nearby Ayr purchased this 'pied' Cobalt, which they described as being "exceptionally large with a fine head and most excellent spots", although both parents were quite mediocre.  The mutant's peculiarities were that the head, neck and nape were almost pure white with slight markings in places and nearly all the flight feathers, primaries and secondaries, were edged with cobalt in place of white, making the bird almost a 'Cobalt-wing'.  The mutant was not a pied of any of the present-day types (these were not established in 1933), but an Opaline, although the variety was not to be known by that name until a few years later.

In 1934 the Ashby's paired the mutant hen to a quality Light Green split blue cock and Skyblues, Light Greens and a Dark Green of a perfectly normal appearance were bred.  In 1935 one of the Skyblue cocks was mated back to the mutant hen, and the very first nest produced two Opaline Cobalt cocks and an Opaline Skyblue hen. The Opaline mutation had been fixed.

Early in 1936 circumstances forced the Ashby's to dispose of all their Opalines, which at that time were known as 'Marbled', and the entire stock, with the exception of two pairs which went to Andy Wilson of Glasgow, went to Walter Higham of Blackburn, under the care of his aviary manager, Len Hillas.  From these two studs came the vast majority of British Opalines, most of them carrying the wide head and large spots which first caught the attention of the Ashby's.

In Australia, also around 1933 (the exact date is uncertain), Mr S E Terrill discovered a mutant budgerigar, a Light Green hen in nest feather, among thousands of wild birds caught by trappers and sent to Adelaide market.  He bought her, and described her special features as "... almost complete absence of barring on the back of the neck and mantle and its replacement by the body colour ... the mask being extended back, covering the top of the head ... the bars on the wing coverts reduced in number and intensity, their yellow margins being greatly enlarged and nuch suffused in green."

Mr Terrill, who lived near Adelaide, paired the hen to a Blue Silver (the Australian name at the time for the variety now known as Dilute Skyblue or White) and bred three cocks and a hen in 1934, all Light Green in appearance.  About November 1935 the three cocks were paired up, one to a Cinnamon Light Green, one to a Cobalt and one to his mother.  The first two pairings produced six Opalines, all hens, and the third several Opalines, both cocks and hens.  The name 'Opaline' was suggested in 1936 by R J Byfield of Hobart, Tasmania, on being particularly impressed by the vividness of colour shown by these young birds in nest feather.  Terrill adopted the name and after he suggested it in the Budgerigar Bulletin in September 1936 it rapidly gained universal acceptance throughout the world.

But maybe neither Brown nor Terrill were the first to breed an Opaline.  In 1962 J Riley of Yorkshire wrote, "In 1930 or 1931 a pair of my Light Greens produced a chick that was of good size and type with mask and spots that were a living dream; the only snag was that its wings were mismarked and grizzled, these markings extending over the bird's back."  Mr Riley kept the bird and used it to try to improve the spots of his Light Greens, but further 'mis-marked' birds appeared.  He disposed of them all soon afterwards and only a long time later did he see Opalines and realise that he had bred them first and cast them aside.

The Opaline appeared yet again in 1935, in the aviaries of L Raymaekers in Brussels.  Mr Higham imported two Opaline Mauve cocks and one Opaline Greywing Mauve hen from Mr Raymaekers in 1937 and Cyril Rogers confirmed they were the same mutation as the Scottish one, although their wing barring seemed noticeably lighter.

Genetics

The Opaline mutation is sex-linked, the locus of its gene being carried on the X chromosome.  It is recessive to wild-type.  The gene locus has the symbol op.  The wild-type allele at this locus is notated op+ and the Opaline allele is notated op.

In birds, the cock has two X chromosomes and the hen has one X and one Y chromosome.  So in hens whichever allele is present on the single X chromosome is fully expressed in the phenotype.  Hens cannot be split for Opaline (or any other sex-linked mutation).  In cocks, because Opaline is recessive, the Opaline allele must be present on both X chromosomes (homozygous) to be expressed in the phenotype.  Cocks which are heterozygous for Opaline are identical to the corresponding Normal.  Such birds are said to be split for Opaline, usually written '/opaline'.

The table on the right shows the appearance of all possible genetic combinations involving the Opaline mutation.

The Opaline gene is linked to other genes located on the X chromosome, i.e. to the genes of other sex-linked mutations.  These sex-linked mutations include the Cinnamon and Slate mutations and the two allelic mutations at the ino locus—the Ino and the Sex-linked Clearbody.  The cross-over or recombination values between Opaline and these linked genes has not been measured accurately, but results collected by C Warner and T Daniels found 41 crossovers in 113 between Cinnamon and Opaline, giving a recombination ratio of 36±6%.  Since the ino locus is known to be very close to the cin locus, the recombination ratio between Opaline and both Ino and Sex-linked Clearbody must also be around 36%.  The opinion has been expressed that there is a close link between Opaline and Slate.

Cocks split for both Cinnamon and Opaline have one Cinnamon allele and one Opaline allele together with one each of the corresponding wild-type alleles.  The linkage between the Cinnamon and Opaline genes gives rise to two types of split cinnamon-opaline cocks, both visually identical.

 Type I split cinnamon-opalines cocks are bred by mating Cinnamon-Opalines to Normals and have the two mutant alleles on the same chromatid, symbolised as cin+-op+/cin-op.  Geneticists call this 'coupling' rather than 'Type I'.  Because of the linkage, the Cinnamon and Opaline alleles from Type I cocks tend to be inherited together in their progeny.  When mated to Normal hens, Type I cocks produce predominantly Cinnamon-Opaline and Normal hens, with Cinnamon and Opaline hens resulting rarely from a cross-over.  Roughly one third of the hens will be Cinnamon-Opaline, one third Normal, one sixth Cinnamon and one sixth Opaline.
 Type II split cinnamon-opaline cocks are bred by mating Cinnamons to Opalines and have the Cinnamon and Opaline mutant alleles on opposite chromatids, symbolised as cin+-op/cin-op+.  Geneticists call this 'repulsion' rather than 'Type II'.  Because of the separation, the Cinnamon and Opaline alleles from Type II birds tend to be inherited separately in their progeny.  When mated to Normal hens, Type II cocks produce predominantly Cinnamon and Opaline hens, with Cinnamon-Opaline and Normal hens resulting rarely from cross-overs.  Roughly one third of the hens will be Cinnamon, one third Opaline, one sixth Cinnamon-Opaline and one sixth Normal.

Hens cannot be split for any sex-linked gene, so only cocks exist in Type I and Type II form.

Notes

References

External links
 World Budgerigar Organisation (WBO)
 WBO Colour Guide

Budgerigar colour mutations


The sexual abuse cases in the Roman Catholic Archdiocese of Portland in Oregon in the United States is an important chapter in the series of Catholic sex abuse cases in the United States. During its course in July 2004, the archdiocese under Archbishop John George Vlazny filed for bankruptcy.

Thomas Laughlin
In 1983, local priest Thomas Laughlin was sentenced to a year in prison for charges of sex abuse. Laughlin, who was accused of molesting several boys between 1972 and 1983, served his one-year sentence in Multnomah County prison. A lawsuit also resulted in him being removed from ministry and ordered to undergo therapy. However, he was not officially defrocked until 1988. By 2007, it was estimated that the Diocese had paid $20.7 million to 34 victims of Laughlin.

Bankruptcy and settlements
In October 2000, the archdiocese was presented with another lawsuit, this time amounting to $44 million, by men who stated they had been molested by archdiocese priest Maurice Grammond between 1950 and 1974.

The archdiocese of Portland filed for Chapter 11 reorganization on July 6, 2004. Portland became the first Catholic diocese to file for bankruptcy.

The archdiocese had settled more than one hundred previous claims for a sum of over $53 million prior to the filing seeks to protect parish assets, school money and trust funds from plaintiffs: the archdiocese's contention is that parish assets are not the archdiocese's assets. Plaintiffs in the cases against the archdiocese have argued that the Catholic Church is a single entity, and that the Vatican should be liable for any damages awarded in judgment of pending sexual abuse cases.

After the filing, an April 29, 2005 deadline was set by the bankruptcy court to allow other people to file complaints.  According to an October 2005 archbishop's column in the Catholic Sentinel, nearly 200 more claims of all kinds were filed as a result.  That column also noted that the archdiocese has filed suit against insurance companies to compel them to contribute financially to the settlement expected to arise out of the reorganization.

A press release issued by the Archdiocese of Portland on April 17, 2007, announced a settlement plan had been reached and a bankruptcy court had approved a financial plan of reorganization. In 2018, Portland Archbishop Alexander King Sample acknowledged the history of sex abuse in the Archdiocese of Portland, which he described as an "institutional and spiritual" failure, and issued an apology. At the same time, it was reported that more than 100 sex abuse lawsuits were settled prior to the 2004 bankruptcy.

Society of Jesus bankruptcy
In 2009, the Oregon Province of the Society of Jesus filed for bankruptcy as well. As part of the bankruptcy agreement, the Oregon Province, which later merged with the California Province in 2017 to form the USA West Province, had to publicly disclose its list of Jesuit clergy with credible accusations of sex abuse. This list was published in 2009, and was added to the West Province list which was made public in December 2018. In 2011, the Oregon Jesuit Province agreed to pay $166.1 million in damages to nearly 500 sex abuse victims.

Criticisms of Levada
Some have criticized how William Levada is alleged to have dealt with priests who had committed sexual abuse in Portland and in San Francisco. Levada, who became Archbishop of Portland in 1986, earned criticism for protecting Orso-Manzonetta, who died in 1996 without ever facing trial, as well.

Relationship with the Fairbanks diocesan scandal

The lawsuits in the Fairbanks diocese have also affected the Jesuit chapter in the diocese of Portland, given that the Western Province of the American Jesuits is located in the State of Oregon.

2019 Settlement
In August 2019, the Archdiocese of Portland agreed to pay nearly $4 million to eight men who claimed they were sexually abused by Rev. Pius Brazaukus in the 1970s and the 1980s.

See also

Abuse
Charter for the Protection of Children and Young People
Child abuse
Child sexual abuse
Essential Norms
National Review Board
Pontifical Commission for the Protection of Minors
Religious abuse
Roman Catholic Church in the United States
Sexual abuse
Sexual misconduct
Spiritual abuse

References

External links
Audits, Child And Youth Protection; US Conference of Catholic Bishops
Charter For The Protection Of Children And Young People; US Conference of Catholic Bishops
Child And Youth Protection; US Conference of Catholic Bishops
National Review Board,  Child And Youth Protection; US Conference of Catholic Bishops
Safe Environment, Child And Youth Protection; US Conference of Catholic Bishops
Victim Assistance, Child And Youth Protection; US Conference of Catholic Bishops

Child sexual abuse in the United States
Incidents of violence against boys
Catholic Church sexual abuse scandals in the United States
Roman Catholic Ecclesiastical Province of Portland


Darren Hawkins (born April 15, 1966) is an American professor and the current chair of the department of Political Science at Brigham Young University. Hawkins has studied international conventions and international law. He has written many articles in this field.

Hawkins received his bachelor's degree from the University of Utah. He has an M.A. and a Ph.D. in political science, both from the University of Wisconsin–Madison.

Prior to joining the BYU faculty Hawkins was a professor at Tulane University.

Among works by Hawkins is the book International Human Rights and Authoritarian Rule in Chile. He was also an editor of the book Delegation and Agency in International Organization. Hawkins also wrote, with Jay Goodliffe, the article "Explaining Commitment: States and the Convention against Torture" in the journal Politics.

Sources

BYU profile
listing of many publications by Hawkins
Amazon.com listing
Harvard Human Rights Journal review of International Human Rights and Authoritarian Rule in Chile
Europebook review of Hawkins work
Country Book Shop entry

American political scientists
Brigham Young University faculty
1966 births
Living people
Tulane University faculty
University of Utah alumni
University of Wisconsin–Madison College of Letters and Science alumni


Andy Vallario is a jingle writer, musician, producer and president and chief creative officer of Media Results, Inc., a full-service Greater Boston advertising agency.

Early life
Andy's father taught him his first chords on an acoustic guitar when he was in the fifth grade.  A year later his mother bought him his first electric guitar, and Vallario began writing songs that were heavily influenced by "hooky" melodies from his early idols, The Beatles.

Vallario spent his high school and college days in several rock bands, writing, recording and performing his own music.

Although Vallario never stopped writing, he accepted a full time position as a high school English teacher.

Career

Handy Productions
In the mid Eighties, Vallario left his tenured teaching job to start his own music jingle company, Handy Productions, which he named after blues pioneer W.C. Handy.

Vallario began writing jingles for Greater Boston clients, but soon started producing music for regional and national advertisers like McDonald's, Burger King, Goodyear, Gulf Gasoline, Honda, Toyota, Fila and Dial-A-Mattress.

In New England, Vallario is known for creating the 1-800-54-GIANT jingle for Giant Glass.  According to an article in Boston Magazine, it's "the most recognizable jingle in the history of New England media." It was also used as a recurring theme in Steve King's #1 bestseller, "The Girl Who Loved Tom Gordon".

Vallario has also written and produced popular New England jingles like We're There When You Need Us for East West Mortgage, Come On Down for Boch Automotive and It's What Makes A Subaru a Subaru for the Subaru Dealers of New England.

Media Results
By 2002, Handy Productions had morphed into a full-service marketing firm, and changed its name to Media Results.

Vallario was not just producing jingles anymore. He was creating ad concepts, writing copy and overseeing the agency's media buying department.

By mid-decade, Media Results began specializing in automotive marketing.

Leveraging their success with Boch Honda, the number one Honda dealer in the world, and New England Subaru, the number one Subaru region in America, Media Results began winning new automotive accounts all across the country.

Songwriting
Vallario continues to write and produce his own music, which he describes as contemporary pop/rock, but he says he just never got into writing for labels.  He recently told a radio talk show host, "My jingles pay my bills."  Stealing a line from Paul McCartney he added, "I tell my wife, I'm going to the studio to write a swimming pool."

References

External links
 Media Results, Inc. — Official website

Living people
American male songwriters
Jingle writers
Year of birth missing (living people)


Rhine Castle trail - Rheinburgenweg (previously: Rheinburgen-Wanderweg), follows the left side of the Rhine from Bingen to Remagen-Rolandseck and the right side takes the route of the Rheinsteig from Rüdesheim am Rhein to Koblenz.

Route and sights of interest
Rüdesheim am Rhein
Boosenburg
Brömserburg
Ehrenfels Castle (Hesse)
Assmannshausen
Lorch am Rhein
Nollig Castle
Pfalzgrafenstein Castle
Gutenfels Castle
Lorelei
Katz Castle
Maus Castle
Marksburg
Lahneck Castle
Ehrenbreitstein Fortress
Koblenz
Kurfürstliche Residenz
Stolzenfels Castle
Königsstuhl von Rhens
Klostergut Jokobsberg
Burg Boppard
Rheinfels Castle
Schönburg (Rhine)
Stahleck Castle
Fürstenberg Castle (Rheindiebach)
Heimburg in Niederheimbach
Sooneck Castle
Reichenstein Castle (Trechtingshausen)
Rheinstein Castle
Mouse Tower
Klopp Castle
Bingen am Rhein

External links

official website
loreley-info
Rheinburgenweg from Remagen to Bingen in winter (de)

Hiking trails in Rhineland-Palatinate
Middle Rhine


Lyman Woodard (March 3, 1942 – February 25, 2009) was a Detroit-based jazz organist known for fusing his music with Latin and Afro-Cuban-inspired rhythms. From the late 1960s, Woodard recorded with Motown acts, and served as musical director for Martha and the Vandellas. But releases – such as his 1975 Saturday Night Special – and his namesake outfit, the Lyman Woodard Organization, were in the jazz-funk idiom.

Before establishing the Lyman Woodard Organization, he comprised a jazz trio with drummer Melvin Davis and guitarist Dennis Coffey; the ensemble performed numerous shows at a nightclub called Cobb's Corner. In 1968, Woodard and Melvin Davis recorded the album Hair And Thangs with Dennis Coffey. Although the album was released as a solo project by Dennis Coffey in 1969, a single containing "It's Your Thing" ("It's Your Thang" on the LP) and "River Rouge" was released with the artist(s) as "Dennis Coffey and the Lyman Woodard Trio". In 1979, Woodard returned to Cobb's Corner with the Organization to record Don't Stop the Groove, for the Corridor label. The 1987 recording, Dedicacion, featured violinist Regina Carter.

In March 2009, Wax Poetics Records reissued a limited pressing of Saturday Night Special as a double LP on 180-gram vinyl.

Discography
Live at J.J's lounge - 1974Saturday Night Special (Strata Records, 1975)Don't Stop the Groove (Corridor, 1979)Dedicacion (Corridor, 1987)74/93 Live At Last ! (Uuquipleu, 1993)Live at the 1996 Ford Montreux Detroit Jazz Festival (Corridor, 1996)with Robert Tye Virtues of the Well'' (Corridor, 1998)

References

1942 births
2009 deaths
American jazz organists
American male organists
American jazz pianists
American male pianists
Jazz-funk organists
Jazz-blues organists
20th-century American pianists
20th-century organists
20th-century American male musicians
American male jazz musicians


Retardant may refer to:
Fire retardant
Flame retardant


Dmitry Sergeyevich Golubov (, born 14 June 1985) is a Russian former professional footballer.

Career
Golubov made his debut in the Russian Premier League in 2005 for FC Moscow.

Golubov signed for FC Aktobe in June 2016, leaving the club a couple of months later.

References

1985 births
Footballers from Stavropol
Russian men's footballers
Russia men's youth international footballers
Russia men's under-21 international footballers
FC Tekstilshchik Kamyshin players
FC Moscow players
FC Torpedo Moscow players
FC Baltika Kaliningrad players
Living people
Russian Premier League players
FC Spartak Vladikavkaz players
FC Ufa players
FC Tom Tomsk players
FC Aktobe players
Russian expatriate men's footballers
Expatriate men's footballers in Kazakhstan
Men's association football forwards
FC Elista players
FC Dynamo Bryansk players
PFC Dynamo Stavropol players
FC Volga Ulyanovsk players