title: Point Fermin Light

abstract: Point Fermin Light is a lighthouse on Point Fermin in San Pedro, California.

text:
# Point Fermin Light

**Point Fermin Light** is a lighthouse on Point Fermin in San Pedro, California.

## History

The lighthouse was built in 1874 with lumber from California redwoods. It was designed by Paul J. Pelz who also designed Point Fermin's sister stations, East Brother Island Light in Richmond, California, Mare Island Light, in Carquinez Strait, California (demolished in the 1930s), Point Hueneme Light in California (replaced in 1940), Hereford Inlet Light in North Wildwood, New Jersey, and Point Adams Light in Washington State (burned down by the Lighthouse Service in 1912), all in essentially the same style. In 1941, the light was extinguished due to the bombing of Pearl Harbor. There was fear that the light would serve as a beacon for enemy planes and ships. The original fourth order Fresnel lens was removed in 1942. The lighthouse was saved from demolition in 1972 and added to the National Register of Historic Places. The light fell into disuse and disrepair and the lantern room and gallery were removed. The site was refurbished in 1974 including a new lantern room and gallery were built by local preservationists in 1974. A wood replica lantern was also installed.

*

The original Fresnel lens from the lighthouse, removed in the 1940s, had been missing for decades. After being found and positively identified, on November 13, 2006, the lens was relocated to a display in the restored lighthouse museum from the real estate office of Louis Busch in Malibu, California, where it had been on display.

In June 2011, the General Services Administration made the Point Fermin Light (along with 11 others) available at no cost to public organizations willing to preserve them. The restored site was open to the public as the Point Fermin Lighthouse Historic Site and Museum.

The Point Fermin lighthouse has featured as a filming location in several television series productions. From 1977 to 1978, in four television films and the television series of *Man from Atlantis*, the lighthouse was used to represent the fictional 'The Foundation for Oceanic Research' headquarters building for the TV series. In 1979, Point Fermin and the lighthouse featured in the first-season episode of the television series *Hart to Hart*, in "Hit Jennifer Hart". In 1986, the lighthouse appeared in a second-season episode of *Amazing Stories*, in "Magic Saturday". In 1988, the lighthouse was featured in the fifth-season episode of *Murder, She Wrote*, in 'Mr. Penroy's Vacation'. The lighthouse also featured in two episodes of *MacGyver*: "Flames End" and "D.O.A.: MacGyver".

In 1999, the lighthouse was featured as the Griffin residence in Duwayne Dunham's 1999 made-for-television film *The Thirteenth Year*.

In 2007, the lighthouse is featured in the Huell Howser "Visiting" television series, in the documentary episode 'Pt. Fermin Lighthouse Lens' in the interview series 'Visiting... with Huell Howser*.*

The lighthouse heavily inspired the El Gordo Lighthouse, which appears in the 2013 videogame *Grand Theft Auto V*.

## InfoBox

Point Fermin Light
| Point Fermin Light | |
| --- | --- |
|  | |
| Location | Point Fermin
San Pedro, Los Angeles
California
United States |
| Coordinates | 33°42′20″N 118°17′37″W / 33.705420°N 118.293649°W / 33.705420; -118.293649 |
| Tower | |
| Constructed | 1874 |
| Foundation | brick basement |
| Construction | wooden tower (first)
metal pole (current) |
| Height | 30 feet (9.1 m) (first) |
| Shape | square tower with balcony and lantern (first)
pole with light (current) |
| Markings | white tower, grey trim (first) |
| Operator | Los Angeles Department of Recreation and Parks |
| Heritage | National Register of Historic Places listed place |
|  | |
| Light | |
| First lit | 1874 |
| Deactivated | 1942 |
| Focal height | 120 feet (37 m) (current) |
| Lens | Fourth order Fresnel lens |
| Characteristic | Fl W 10s. (Metal pole) |
|  | |
|  | |
|  | |
| Point Fermin Lighthouse | |
| U.S. National Register of Historic Places | |
|  | |
| NRHP reference No. | 72000234 |
| Added to NRHP | June 13, 1972 |
|  | |


title: Point Ellice Bridge

abstract:
The Point Ellice Bridge, also known as the Bay Street Bridge is a major road-crossing of the Victoria Harbour in Victoria, British Columbia. Used mainly by motorists, it connects the downtown Rock Bay neighbourhood with Victoria West. It is one of few crossings toward Esquimalt, the others being the Johnson Street Bridge, the Craigflower Bridge, the Gorge Bridge, and the pedestrian Selkirk Trestle. In 1896 it was the site of the Point Ellice Bridge disaster, when the unmaintained bridge collapsed, killing 55 people. The current structure was built in 1956–57 and was subject to major upgrades in 2001–02 and 2019,
during which it was closed to traffic for 5 months. Plans to widen the bridge to better accommodate cyclists were originally developed in 2001, at an estimated price of $15,250,000.

text:
# Point Ellice Bridge

The **Point Ellice Bridge**, also known as the **Bay Street Bridge** is a major road-crossing of the Victoria Harbour in Victoria, British Columbia.

Used mainly by motorists, it connects the downtown Rock Bay neighbourhood with Victoria West.

It is one of few crossings toward Esquimalt, the others being the Johnson Street Bridge, the **Craigflower Bridge**, the **Gorge Bridge**, and the pedestrian Selkirk Trestle.

In 1896 it was the site of the Point Ellice Bridge disaster, when the unmaintained bridge collapsed, killing 55 people.

The current structure was built in 1956–57 and was subject to major upgrades in 2001–02 and 2019, during which it was closed to traffic for 5 months.

Plans to widen the bridge to better accommodate cyclists were originally developed in 2001, at an estimated price of $15,250,000.

48°26′03″N 123°22′43″W / 48.4343°N 123.3786°W / 48.4343; -123.3786

## InfoBox

| Point Ellice Bridge | |
| --- | --- |
|  | |
| Coordinates | 48°26′04″N 123°22′42″W / 48.43432°N 123.37826°W / 48.43432; -123.37826 |
| Crosses | Victoria Harbour (British Columbia) |
| Locale | Victoria, British Columbia |
| Other name(s) | Bay Street Bridge |
| History | |
| Construction start | 1956 |
| Opened | November 1957 |
| Location | |
|  | |


title: Point England

abstract: Point England is a suburb of Auckland, New Zealand. It is under the local governance of the Auckland Council.

text:
# Point England

**Point England** is a suburb of Auckland, New Zealand. It is under the local governance of the Auckland Council.

## Demographics

Point England covers 1.49 km2 (0.58 sq mi) and had an estimated population of 5,270 as of June 2023, with a population density of 3,537 people per km2.

Historical population
| Year | Pop. | ±% p.a. |
| --- | --- | --- |
| 2006 | 4,227 |  |
| 2013 | 4,305 | +0.26% |
| 2018 | 4,923 | +2.72% |
| Source: | | |

Point England had a population of 4,923 at the 2018 New Zealand census, an increase of 618 people (14.4%) since the 2013 census, and an increase of 696 people (16.5%) since the 2006 census. There were 1,323 households, comprising 2,361 males and 2,559 females, giving a sex ratio of 0.92 males per female. The median age was 29.0 years (compared with 37.4 years nationally), with 1,347 people (27.4%) aged under 15 years, 1,200 (24.4%) aged 15 to 29, 1,872 (38.0%) aged 30 to 64, and 507 (10.3%) aged 65 or older.

Ethnicities were 27.0% European/Pākehā, 26.5% Māori, 52.8% Pacific peoples, 13.2% Asian, and 2.4% other ethnicities. People may identify with more than one ethnicity.

The percentage of people born overseas was 33.7, compared with 27.1% nationally.

Although some people chose not to answer the census's question about religious affiliation, 29.6% had no religion, 53.0% were Christian, 3.3% had Māori religious beliefs, 1.1% were Hindu, 2.7% were Muslim, 2.6% were Buddhist and 1.3% had other religions.

Of those at least 15 years old, 402 (11.2%) people had a bachelor's or higher degree, and 924 (25.8%) people had no formal qualifications. The median income was $18,900, compared with $31,800 nationally. 231 people (6.5%) earned over $70,000 compared to 17.2% nationally. The employment status of those at least 15 was that 1,386 (38.8%) people were employed full-time, 426 (11.9%) were part-time, and 306 (8.6%) were unemployed.

## History

Ngāti Pāoa established a foothold along the western side of the Tamaki River and at Mokoia (present day Panmure) in around 1780. Extensive settlement and agriculture by Ngāti Pāoa in the Mokoia area was recorded by the missionaries John Butler and Samuel Marsden around 1820. Mokoia was a significant settlement in the region. Butler estimated four thousand inhabitants. When Butler climbed what was Maungarei / Mount Wellington he saw twenty villages in the valley below and "with a single glance, beheld the greatest portion of cultivated land I had ever met within one place in New Zealand." Marsden stated that "Their houses are superior to most I've met with. Their stores were full of potatoes containing some thousands of baskets and they had some very fine hogs.”

Further evidence of active settlement in the area was noted by Captain D'Urville in 1827, on his second visit to New Zealand, when he engaged with Ngāti Paoa chiefs Tawhiti and Te Rangui at the entrance to the Tāmaki River. D'Urville was led along Te Tō Waka, the canoe portage at Ōtāhuhu toward the Manukau, and noted that on the eastern side of the Tāmaki, they "saw the village of Ourouroa and a number of canoes with a great many inhabitants." On his return, he witnessed that “crowds of natives were looking for shellfish in the mud and the rocks at the entrance were covered with men fishing.”

Between 1836 and 1839, Ngāti Paoa was among five iwi negotiating transactions with a missionary for a large block in Tamaki which allowed Maori to occupy the land without conflict. In 1837, missionaries noted on the back of one of the deeds that in selling the land, iwi would retain the use of at least one third of the block, around 83,000 acres. Sixteen Ngāti Paoa rangatira signed the Treaty of Waitangi at Karaka Bay at the entrance of the Tamaki River on 4 March 1840. In 1842, the Crown granted 5,500 acres to the missionaries and retained the remainder of the land. Following protest, some of the land was returned to Māori, however, Ngāti Paoa did not receive land or compensation and were not permitted to remain on the land set aside for their use in 1837.

In the 1920s, Point England was under consideration as the site of an air base but this initiative was eventually abandoned due to the cost of the land. At the time, the land had been subdivided and the cost of a quarter acre was around £450. In 1935, a proposal to establish an airport on 244 acres at the eastern end of Point England Road was proposed as it was only eight miles from the Auckland central Post Office. At a meeting of Auckland metropolitan local authorities in May 1938, a decision was to abandon the Point England site for one at Manukau harbour.

On 20 March, 2021, the Crown and Ngāti Paoa signed a Deed of Settlement. In its settlement with Ngāti Paoa, the crown acknowledged that the iwi had contributed to the establishment and development of New Zealand and that it took land in the Tāmaki block in which Ngāti Paoa had interests without compensation.

## Education

Point England School and Ruapotaka School are coeducational full primary schools (years 1-8) with rolls of 519 and 128 students respectively as of August 2024.

## Redevelopment

Point England is included in the redevelopment area of the Tamaki Regeneration Company. The company is jointly owned by the government and Auckland Council, and was formed in 2014 with strategic objectives of social transformation, economic development and increased housing availability. The initiative aims to transform the Tamaki area over 15-20 years. The population of the area is expected to double when the existing social housing has been demolished and replaced.

## InfoBox

| Point England | |
| --- | --- |
| Suburb | |
| Point England from the Tamaki River | |
|  | |
| Country | New Zealand |
| City | Auckland |
| Local authority | Auckland Council |
| Electoral ward | Maungakiekie-Tāmaki ward |
| Local board | Maungakiekie-Tāmaki Local Board |
| Board subdivision | Tāmaki |
| Area | |
| Land | 149 ha (368 acres) |
| Population (June 2023) | |
| Total | 5,270 |


title: Pogonocherus sieversi

abstract: Pogonocherus sieversi is a species of beetle in the family Cerambycidae. It was described by Ganglbauer in 1886. It is known from Georgia, Turkey, Armenia and Ukraine.

text:
# Pogonocherus sieversi

***Pogonocherus sieversi*** is a species of beetle in the family Cerambycidae. It was described by Ganglbauer in 1886. It is known from Georgia, Turkey, Armenia and Ukraine.

## InfoBox

| *Pogonocherus sieversi* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Coleoptera |
| Family: | Cerambycidae |
| Tribe: | Pogonocherini |
| Genus: | *Pogonocherus* |
| Species: | ***P. sieversi*** |
| Binomial name | |
| ***Pogonocherus sieversi***<br>(Ganglbauer, 1886) | |
|
| Synonyms | |
| * *Pogonochaerus sieversi* Ganglbauer, 1886 * *Pogonocherus caucasicus* Ganglbauer, 1891 * *Pogonocherus kuksha* Plavilstshikov, 1924 | |


title: Plumont

abstract: Plumont is a commune in the Jura department in Bourgogne-Franche-Comté in eastern France.

text:
# Plumont

**Plumont** (French pronunciation: \[plymɔ̃\]) is a commune in the Jura department in Bourgogne-Franche-Comté in eastern France.

## Population

Historical population
| Year | Pop. | ±% p.a. |
| --- | --- | --- |
| 1968 | 75 |  |
| 1975 | 65 | −2.02% |
| 1982 | 103 | +6.80% |
| 1990 | 128 | +2.75% |
| 1999 | 90 | −3.84% |
| 2009 | 92 | +0.22% |
| 2014 | 93 | +0.22% |
| 2020 | 105 | +2.04% |
| Source: INSEE | | |

## InfoBox

| Plumont | |
| --- | --- |
| Commune | |
| The town hall in Plumont | |
|  | |
| Location of Plumont | |
| PlumontPlumont | |
| Coordinates: 47°07′30″N 5°42′46″E / 47.125°N 5.7128°E / 47.125; 5.7128 | |
| Country | France |
| Region | Bourgogne-Franche-Comté |
| Department | Jura |
| Arrondissement | Dole |
| Canton | Mont-sous-Vaudrey |
| Government | |
| Mayor (20202026) | Christophe Perret |
| Area**1** | 12.10 km2 (4.67 sq mi) |
| Population (2021) | 105 |
| Density | 8.7/km2 (22/sq mi) |
| Time zone | UTC+01:00 (CET) |
| Summer (DST) | UTC+02:00 (CEST) |
| INSEE/Postal code | 39430 /39700 |
| Elevation | 212–268 m (696–879 ft) |
| **1** French Land Register data, which excludes lakes, ponds, glaciers \> 1 km2 (0.386 sq mi or 247 acres) and river estuaries. | |


title: Plummer v. State

abstract: Plummer v. State was an 1893 court case decided by the Indiana Supreme Court. The case overturned a manslaughter conviction, ruling that the convicted defendant had been protecting himself from the illegal use of force by a police officer. It is widely quoted on the internet, under the false belief that it gives citizens the right to resist an unlawful arrest by force, including deadly force. The full citation is Plummer v. State, 135 Ind. 308, 34 N.E. 968 (1893).

text:
# Plummer v. State

***Plummer v. State*** was an 1893 court case decided by the Indiana Supreme Court. The case overturned a manslaughter conviction, ruling that the convicted defendant had been protecting himself from the illegal use of force by a police officer. It is widely quoted on the internet, under the false belief that it gives citizens the right to resist an unlawful arrest by force, including deadly force. The full citation is *Plummer v. State*, 135 Ind. 308, 34 N.E. 968 (1893).

## Background

### Offense

On June 20, 1892, Jackson Plummer, a 60-year-old man in ill health, left his home with his handgun and went looking for members of the town board of Kentland, Indiana. The board had ordered Plummer to trim his trees and he objected. Plummer came into contact with John Keefe and a man named Elliott, and Keefe told Plummer to go home, the board was not going to cut down his trees. Plummer started walking home, but not before he had pointed the pistol at Elliott and a board member named Conklin, and had threatened the town marshal, if he were to show up. James Dorn, who was the marshal of the town, then arrived. Dorn struck Plummer with a billy club and then shot at him with a revolver without first informing Plummer of any intention to arrest him. Before Dorn struck and shot at Plummer, Plummer had not resisted or behaved violently; he had walked toward his home with a revolver in his hand and told the officer to keep away. Dorn and Plummer exchanged gunshots, each hitting the other and Dorn died from the gunshot wound.

### Lower court

A Newton County grand jury indicted Plummer for manslaughter and after a change of venue, he was tried in Benton County before Judge U.Z. Wiley. Plummer was convicted of manslaughter after Wiley gave jury instructions. Plummer was sentenced to fifteen years in prison, and appealed.

## Opinion of the court

Chief Justice James McCabe delivered the opinion of the court on October 10, 1893. McCabe noted that Dorn may or may not have held the authority to make a warrantless arrest of Plummer. The offense that Plummer committed was a misdemeanor and for Dorn to have legal authority to make that arrest, the offense must have been committed in Dorn's presence. The state cited legal authority to support that it was in his presence, and McCabe said that for the purpose of the opinion, the court would assume that Dorn had the authority to make the arrest. McCabe stated that an officer, in effecting an arrest, is allowed to use force, but only that force that is necessary. He then noted that by striking Plummer with a nightstick before telling Plummer he was under arrest, Dorn had committed a battery by the use of excessive force. Plummer was then entitled to defend himself, and when Dorn shot at Plummer, Plummer had "a clear right to defend himself, even to the taking the life of his assailant." The court held, that by not giving adequate self-defense instructions to the jury, the trial court erred and the conviction was reversed.

## Subsequent developments

### Citing cases

*Wilson v. State* discusses *Plummer*, depicting it as saying that it applies to the situation where the arresting officer is using excessive force such that unless the arrestee defends himself or flees, he is likely to suffer great bodily harm or death. The *Wilson* court was careful to note that a person may not resist an unlawful arrest where the officer does not use unlawful force. Other cases citing *Plummer* likewise noted that while a person may defend himself against an officer's unlawful use of force, they may not resist an unlawful arrest being made peaceably and without excessive force. In 1995, the Seventh Circuit Court cited *Plummer*, noting that the privilege exists "not because its use is necessary to protect him from an unlawful arrest, but because it is the only way in which he can protect himself from death or serious bodily harm."

### Internet meme

*Plummer v. State*, along with *Bad Elk v. United States*, is cited in Internet blogs and discussion groups but often misquoted. The misquote is that "citizens may resist unlawful arrest to the point of taking an arresting officer's life if necessary" although the *Plummer* quotation is a fabrication because the quoted text does not appear in the text of the *Plummer* opinion. Several other sources note that *Bad Elk* is no longer good law, what one legal commenter stated was a "bizarre, irrational or merely grossly wrong understanding of law...."

Modern sources describe *Plummer* and *Bad Elk* as applying when there is an unlawful use of force rather than when there is an unlawful arrest; under contemporary law in the majority of U.S. jurisdictions, a person may not use force to resist an unlawful arrest.

## InfoBox

| Plummer v. State | |
| --- | --- |
| Seal of the Indiana Supreme Court | |
| Court | Supreme Court of Indiana |
| Full case name | *Jackson Plummer v. State of Indiana* |
| Decided | October 10, 1893 (1893-10-10) |
| Citation | 135 Ind. 308, 34 N.E. 968 |
| Case opinions | |
| Decision by | McCabe, CJ |


title: Point Sur State Historic Park

abstract: Point Sur State Historic Park is a California State Park on the Big Sur coastline of Monterey County, California, United States, 19 miles (31 km) south of Rio Road in Carmel. The 1889 Point Sur Lighthouse is on the National Register of Historic Places.

text:
# Point Sur State Historic Park

**Point Sur State Historic Park** is a California State Park on the Big Sur coastline of Monterey County, California, United States, 19 miles (31 km) south of Rio Road in Carmel. The 1889 Point Sur Lighthouse is on the National Register of Historic Places.

## History

The point was granted as a part of Rancho El Sur in 1834 by Governor José Figueroa to Juan Bautista Alvarado.

Point Sur was a notorious hazard to navigation. The 725-ton steamer *USS Ventura* was the fastest ship in Goodall, Nelson & Perkins’ fleet; she could do thirteen knots. On Tuesday, April 20, 1875, she set sail from San Francisco with 225 passengers and 500 tons of freight. In dense fog the ship ran onto rocks just north of Point Sur. The ship's commander, Captain George John Fake, was a veteran mariner. He had navigated the route between Monterey and San Francisco for several years. But this was his first trip from Monterey to Southern California. While he was drunk that night, the absence of a light contributed to the tragedy. The sinking of the *Ventura* became the impetus for building a lightstation in the remote area.

Other ships lost in the area include the 493 tons (447 t) S.S. *Los Angeles* (originally USRC *Wayanda*), which ran aground in 1894, the *Majestic* in 1909, the *Shna-Yak* in 1916, the *Thomas L. Wand* in 1922, the *Babinda* in 1923, the *Rhine Maru*, the *Panama* and the *S. Catania* in 1930, and the *Howard Olson* in 1956.

John Bautista Henry Cooper, who owned the portion of Rancho El Sur surrounding Point Sur, sold to the United States .5 acres (0.20 ha) of land on the rocky summit of Point Sur for $5 and the right-of-way for $1,495 (or about $51,000 today) as recorded on November 9, 1889.

In 1888, Joseph Post won a government contract to build the road from the coastal road his father W.B. Post had built to Point Sur, where the lighthouse would be built.

### Lighthouse construction

Point Sur Lighthouse opened on August 1, 1889. The station was very remote and was necessarily self-sufficient, as most supplies had to be brought in by ship. Lighthouse employees and their families had their own vegetable gardens. Children stayed with local ranchers during the week to attend school, returning home on weekends, or stayed with distant relatives. In 1927, a schoolteacher was assigned to the lightstation to teach the six children who resided there. When the two-lane road from Monterey to the Big Sur Village was completed in 1927, children could attend school at a school house on Highway 1. In the 1940s, children from the lightstation were assimilated into Big Sur's larger school.

The coast off Point Sur Lighthouse was the location of the sinking of the United States Navy airship USS *Macon* (ZRS-5) in 1935. The Lighthouse Service was absorbed into the Coast Guard in 1939, and Point Sur Lighthouse became the property of the Coast Guard. The lightstation was automated in the late 1960s, and in 1974 ceased to have a light keeper. Point Sur State Historic Park was established in 1986.

In 2000, the nearby Naval Facility Point Sur, except for one building retained by the U.S. Navy, was transferred to the California State Park system. It became part of the Point Sur State Historic Park. The state park used some of the facility's housing for a period. The facility is open for guided tours on weekends.

On February 3, 2017, the California Historical Resources Commission nominated Naval Facility Point Sur for the National Register of Historic Places. It was chosen in part because Point Sur NAVFAC is one of the last remaining Sound Surveillance System (SOSUS) facilities, and the only one remaining on the West Coast.

## Etymology

The land formation later known as Point Sur is visible at sea for 10 miles (16 km) and was first mentioned in the logs of Juan Rodríguez Cabrillo in 1552. Sebastian Viscaino visited the area in the early 1600s, and his 1603 map names the promontory "Punta que Parece Isla" (meaning "Point that looks like an island"). In 1769, explorer Miguel Costansó, a member of the Portolá expedition, named the point "Morro de la Trompa" because it looked like a rock in the shape of a trumpet.

The name "El Sur" (meaning "The South") was first applied to a land grant named Rancho El Sur given by Governor José Figueroa to Juan Bautista Alvarado on July 30, 1834. The name of the rock was shortened to Moro Rock, until the U.S. Coast Survey renamed it Point Sur in 1851.

## Marine Protected Areas

Point Sur State Marine Reserve and Marine Conservation Area are marine protected areas offshore from Point Sur Lighthouse. Like underwater parks, these marine protected areas help conserve ocean wildlife and marine ecosystems.

## InfoBox

| Point Sur State Historic Park | |
| --- | --- |
| Point Sur from California State Route 1 | |
|  | |
| Location | Monterey County, California, United States |
| Nearest city | Carmel, California |
| Coordinates | 36°18′23″N 121°54′6″W / 36.30639°N 121.90167°W / 36.30639; -121.90167 |
| Area | 92 acres (37 ha) |
| Established | 1986 |
| Governing body | California Department of Parks and Recreation |


title: Polina Kuznetsova

abstract: Polina Viktorovna Kuznetsova is a Russian handball player for Rostov-Don and formerly the Russian national team. She won gold medals with the Russian national team at the 2016 Rio Olympics and 2005 and 2007 world championships, and was included into the 2007 championship's All-Star Team. She retired from the national team, in August 2021. She competes internationally alongside her sister Anna Vyakhireva.

text:
# Polina Kuznetsova

**Polina Viktorovna Kuznetsova** (Russian: Полина Викторовна Кузнецова, IPA: \[pɐˈlʲinə kʊzʲnʲɪˈtsovə\], née **Vyakhireva**; born 10 June 1987) is a Russian handball player for Rostov-Don and formerly the Russian national team. She won gold medals with the Russian national team at the 2016 Rio Olympics and 2005 and 2007 world championships, and was included into the 2007 championship's All-Star Team. She retired from the national team, in August 2021.

She competes internationally alongside her sister Anna Vyakhireva.

## Individual awards

## InfoBox

| Polina Kuznetsova | | | |
| --- | --- | --- | --- |
| Kuznetsova at the 2016 Olympics | | | |
| Personal information | | | |
| Full name | Polina Viktorovna Kuznetsova | | |
| Born | (1987-06-10) 10 June 1987<br>Shopokov, Kyrgyzstan | | |
| Nationality | Russian | | |
| Height | 1.68 m (5 ft 6 in) | | |
| Playing position | Left wing | | |
| Club information | | | |
| Current club | Rostov-Don | | |
| Number | 88 | | |
| Senior clubs | | | |
| Years | **Team** | | |
| 2002–2003 | Dinamo Volgograd | | |
| 2003–2004 | Rostov-Don | | |
| 2004–2006 | Handball Club Lada | | |
| 2006–2013 | Zvezda Zvenigorod | | |
| 2013–2016 | HC Astrakhanochka | | |
| 2016–2017 | HC Kuban Krasnodar | | |
| 2017–2018 | HC Vardar | | |
| 2018– | Rostov-Don | | |
| National team | | | |
| Years | **Team** | **Apps** | **(Gls)** |
| 2005–2021 | Russia | 157 | (419) |
| Medal record      Representing  ROC  Olympic Games  2020 Tokyo Team  Representing  Russia  Olympic Games  2016 Rio de Janeiro Team  World Championship  2005 Russia Team  2007 France Team  2019 Japan Team  European Championship  2006 Sweden Team  2018 France Team  European Junior Championship  2004 Czech Republic Team  European Youth Championship  2003 Russia Team | | | |


title: Point-to-point encryption

abstract: Point-to-point encryption (P2PE) is a standard established by the PCI Security Standards Council. The objective of P2PE is to provide a payment security solution that instantaneously converts confidential payment card data and information into indecipherable code at the time the card is swiped, in order to prevent hacking and fraud. It is designed to maximize the security of payment card transactions in an increasingly complex regulatory environment. There also exist payment solutions based on end-to-end encryption, implying the highest level of confidentiality for the transferred data.

text:
# Point-to-point encryption

**Point-to-point encryption** (P2PE) is a standard established by the PCI Security Standards Council. The objective of P2PE is to provide a payment security solution that instantaneously converts confidential payment card (credit and debit card) data and information into indecipherable code at the time the card is swiped, in order to prevent hacking and fraud. It is designed to maximize the security of payment card transactions in an increasingly complex regulatory environment. There also exist payment solutions based on end-to-end encryption, implying the highest level of confidentiality for the transferred data.

## The standard

The P2PE Standard defines the requirements that a "solution" must meet in order to be accepted as a PCI-validated P2PE solution. A "solution" is a complete set of hardware, software, gateway, decryption, device handling, etc. Only "solutions" can be validated; individual pieces of hardware such as card readers cannot be validated. It is also a common mistake to refer to P2PE validated solutions as "certified"; there is no such certification.

The determination of whether or not a solution meets the P2PE standard is the responsibility of a P2PE Qualified Security Assessor (P2PE-QSA). P2PE-QSA companies are independent third-party companies who employ assessors that have met the PCI Security Standards Council's requirements for education and experience, and have passed the requisite exam. The PCI Security Standards Council does not validate solutions.

## How it works

As a payment card is swiped through a card reading device, referred to as a point of interaction (POI) device, at the merchant location or point of sale, the device immediately encrypts the card information. A device that is part of a PCI-validated P2PE solution uses an algorithmic calculation to encrypt the confidential payment card data. From the POI, the encrypted, indecipherable codes are sent to the payment gateway or processor for decryption. The keys for encryption and decryption are never available to the merchant, making card data entirely invisible to the retailer. Once the encrypted codes are within the secure data zone of the payment processor, the codes are decrypted to the original card numbers and then passed to the issuing bank for authorization. The bank either approves or rejects the transaction, depending upon the card holder's payment account status. The merchant is then notified if the payment is accepted or rejected to complete the process along with a token that the merchant can store. This token is a unique number reference to the original transaction that the merchant can use should they ever be needed to perform research or refund the customer without ever knowing the customer's card information (tokenization). There are also Qualified Integrator and Reseller (QIR) Companies, which are businesses authorized to "implement, configure, and/or support validated" PA-DSS Payment Applications, and perform qualified installations.

## Solution providers

According to the PCI Security Standards Council:

> The P2PE solution provider is a third-party entity (for example, a processor, acquirer, or payment gateway) that has overall responsibility for the design and implementation of a specific P2PE solution, and manages P2PE solutions for its merchant customers. The solution provider has overall responsibility for ensuring that all P2PE requirements are met, including any P2PE requirements performed by third-party organizations on behalf of the solution provider (for example, certification authorities and key-injection facilities).

## Benefits

### Customer benefits

P2PE significantly reduces the risk of payment card fraud by instantaneously encrypting confidential cardholder data at the moment a payment card is swiped or "dipped" if it is a chip card at the card reading device (payment terminal) or POI.

### Merchant benefits

P2PE significantly facilitates merchant responsibilities:

* With a P2PE validated solution, merchants save significant time and money as PCI requirements may be greatly reduced. Payment Card Industry Data Security Standard (PCI DSS). For organizations who use a P2PE validated solution provider, the PCI Self Assessment Questionnaire is reduced from 12 sections to 4 sections and the controls are reduced from 329 questions to just 35.
* In the event of fraud, the P2PE Solution Provider, not the merchant, is held accountable for data loss and resulting fines that may be assessed by the card brands (American Express, Visa, MasterCard, Discover, and JCB). The PCI Security Standards Council does not assess penalties on Solution Providers or Merchants.
* The payment process with P2PE is quicker than other transaction processes, thus creating simpler and faster customer–merchant transactions.

## Point-to-point encryption versus end-to-end encryption

### Point-to-point

A point-to-point connection directly links system 1 (the point of payment card acceptance) to system 2 (the point of payment processing). A true P2PE solution is determined with three main factors:

1. The solution uses a hardware-to-hardware encryption and decryption process along with a POI device that has SRED (Secure Reading and Exchange of Data) listed as a function.
2. The solution has been validated to the PCI P2PE Standard which includes specific POI device requirements such as strict controls regarding shipping, receiving, tamper-evident packaging, and installation.
3. A solution includes merchant education in the form of a P2PE Instruction Manual, which guides the merchant on POI device use, storage, return for repairs, and regular PCI reporting.

### End-to-end

End-to-end encryption as the name suggests has the advantage over P2PE that card details are not unencrypted between the two endpoints. If the endpoints are a PCI PED validated PIN pad and a POS acquirer, there is no opportunity for the card details to be intercepted. It is obviously important that the endpoints (the PED and gateway) are provided by PCI accredited organisations.

## PCI point-to-point encryption requirements

The requirements include:

1. Secure encryption of payment card data at the point of interaction (POI),
2. P2PE validated application(s) at the point of interaction,
3. Secure management of encryption and decryption devices,
4. Management of the decryption environment and all decrypted account data,
5. Use of secure encryption methodologies and cryptographic key operations, including key generation, distribution, loading/injection, administration, and usage.


title: Point of Seduction: Body Chemistry III

abstract: Point of Seduction: Body Chemistry III is a 1994 erotic thriller sequel directed by Jim Wynorski and written by Jackson Barr. It is the third film in the Body Chemistry franchise and the first not to feature Lisa Pescia as psychotic sexologist Dr. Claire Archer and is Shari Shattuck's only appearance as the character.

text:
# Point of Seduction: Body Chemistry III

***Point of Seduction: Body Chemistry III*** is a 1994 erotic thriller sequel directed by Jim Wynorski and written by Jackson Barr. It is the third film in the Body Chemistry franchise and the first not to feature Lisa Pescia as psychotic sexologist Dr. Claire Archer and is Shari Shattuck's only appearance as the character.

## Plot

Freddie Summers (Chick Vennera) pitches a film based on the life of Dr. Claire Archer to studio head Bob Sibley (Robert Forster) and Sibley assigns producer Alan Clay (Andrew Stevens) to the project. However, when Dr. Archer (Shari Shattuck) refuses to sign off on the script because of the involvement of Summers. But with his career riding on this project, Clay is determined to have Archer's approval. They begin a torrid affair behind the back of Clay's wife and proposed lead actress, Beth (Morgan Fairchild) and over the protests of Summers who has firsthand experience of just how dangerous Dr. Archer can be.

## Cast

## Production

Roger Corman greenlit the script from Jackson Barr in March 1993. The original script by Jackson Barr was heavily revised by Jim Wynorski and Karen Kelly, who would go on to write the follow-up. The film features two returning characters, Dr. Claire Archer (originally played by Lisa Pescia, now played by Shari Shattuck) and Freddie Summers (originally played by David Kagen, now played by Chick Vennera). Lisa Pescia was replaced as incoming director Wynorski wanted someone younger in the role. The film was listed for sale at MIFED in October 1994 along with the sequel Body Chemistry IV: Full Exposure.

## Release

The film was originally aimed to have a theatrical release from Overseas Filmgroup but was released direct-to-video by New Horizons Home Video instead.

TV Guide gave the film a negative review, singling out Shari Shattuck and Andrew Stevens for particular criticism, "Lisa Pescia played the triumphant villainess in earlier *Body Chemistry* outings, and her matured, haughty sensuality is sorely missed; Shari Shattuck comes across as an ingenue who looks luscious with clothes off but is hardly worth dying for, and Stevens (who has played this same fall-guy role innumerable times) can't fill in the blanks." Joe Bob Briggs was kinder when reviewing the film saying "Well, obviously, there's a little bit too much plot getting in the way of the story, but when we get down to the nitty gritty, it's a pretty decent Nekkid-Body Animal-Sex Black-Widow Breastarama. It's no *Body Chemistry Two* but it's okay." and ultimately recommending the film, "Three stars. Joe Bob says check it out!"

## Sequels

The film was followed by a direct sequel, *Body Chemistry IV: Full Exposure*, picking up minutes after the finale of this movie. Despite this, Shari Shattuck did not return for the role and was replaced by Shannon Tweed.

## InfoBox

| Point of Seduction: Body Chemistry III | |
| --- | --- |
| Directed by | Jim Wynorski |
| Screenplay by | Jackson Barr |
| Produced by | Andrew Stevens
Roger Corman
Mike Elliott |
| Starring |  |
| Cinematography | Don E. FauntLeRoy |
| Edited by | Terry J. Chiappe |
| Music by | Chuck Cirino |
| Production
company | New Horizons |
| Distributed by | New Horizons Home Video |
| Release date | * February 23, 1994 (1994-02-23) |
| Running time | 83 minutes |
| Country | United States |
| Language | English |


title: Podolobium alpestre

abstract: Podolobium alpestre, commonly known as alpine shaggy-pea, is a flowering plant in the family Fabaceae and is endemic to south-eastern Australia. It has oblong to egg-shaped leaves and yellow to orange pea-like flowers with red markings.

text:
# Podolobium alpestre

***Podolobium alpestre***, commonly known as **alpine shaggy-pea**, is a flowering plant in the family Fabaceae and is endemic to south-eastern Australia. It has oblong to egg-shaped leaves and yellow to orange pea-like flowers with red markings.

## Description

*Podolobium alpestre* is an ascending or low spreading shrub to 1.3 mm (0.051 in) high with young stems covered in soft, short hairs. The leaves are arranged in whorls of three or opposite, egg-shaped to broad-oblong, 1–5 cm (0.39–1.97 in) long and 3–14 mm (0.12–0.55 in) wide. The pea-shaped flowers are borne in terminal or axillary racemes are yellow-orange, pea-shaped, occasionally with red markings on a silky pedicel 1–3 mm (0.039–0.118 in) long. The bracts are lance shaped or narrow, tapering to a point and 1–2 mm (0.039–0.079 in) long. Flowering occurs from November to February and the fruit is an oval shaped pod 8–15 mm (0.31–0.59 in) long with numerous warty creases, tapering to a point and covered with long, soft straight hairs.

## Taxonomy and naming

*Podolobium alpestre* was first formally described 1855 by Ferdinand von Mueller and the description was published in *Definitions of rare or hitherto undescribed Australian Plants, chiefly collected within the boundaries of the colony of Victoria*. Mueller gave it the name *Oxylobium alpestre*. The species was transferred to the genus *Podolobium* in 1995.

## Distribution and habitat

Alpine shaggy-pea occurs in alpine heaths and high-altitude woodland in Victoria, New South Wales and the Australian Capital Territory.

## InfoBox

| *Podolobium alpestre* | |
| --- | --- |
|  | |
| *Podolobium alpestre*, Baw Baw National Park, Victoria | |
|
| Scientific classification | |
| Kingdom: | Plantae |
| *Clade*: | Tracheophytes |
| *Clade*: | Angiosperms |
| *Clade*: | Eudicots |
| *Clade*: | Rosids |
| Order: | Fabales |
| Family: | Fabaceae |
| Subfamily: | Faboideae |
| Genus: | *Podolobium* |
| Species: | ***P. alpestre*** |
| Binomial name | |
| ***Podolobium alpestre***<br>(F.Muell.) Crisp & P.H.Weston | |
|
| Synonyms | |
| * *Callistachys alpestris* (F.Muell.) Kuntze * *Oxylobium alpestre* F.Muell. | |


title: Pollex abovia

abstract: Pollex abovia is a moth of the family Erebidae first described by Michael Fibiger in 2007. It is known from northern Sumatra.

text:
# Pollex abovia

***Pollex abovia*** is a moth of the family Erebidae first described by Michael Fibiger in 2007. It is known from northern Sumatra.

* Fibiger, Michael (2007). "Revision of the Micronoctuidae (Lepidoptera: Noctuoidea). Part 1, Taxonomy of the Pollexinae" (PDF). *Zootaxa*. **1567**: 1–116.

## InfoBox

| *Pollex abovia* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Lepidoptera |
| Superfamily: | Noctuoidea |
| Family: | Erebidae |
| Genus: | *Pollex* |
| Species: | ***P. abovia*** |
| Binomial name | |
| ***Pollex abovia***<br>Fibiger, 2007 | |
|


title: Podolí (Žďár nad Sázavou District)

abstract: Podolí is a municipality and village in Žďár nad Sázavou District in the Vysočina Region of the Czech Republic. It has about 100 inhabitants. Podolí lies approximately 14 kilometres (9 mi) south-east of Žďár nad Sázavou, 37 km (23 mi) east of Jihlava, and 137 km (85 mi) south-east of Prague.

text:
# Podolí (Žďár nad Sázavou District)

**Podolí** is a municipality and village in Žďár nad Sázavou District in the Vysočina Region of the Czech Republic. It has about 100 inhabitants.

Podolí lies approximately 14 kilometres (9 mi) south-east of Žďár nad Sázavou, 37 km (23 mi) east of Jihlava, and 137 km (85 mi) south-east of Prague.

## Demographics

Historical population
| Year | Pop. | ±% |
| --- | --- | --- |
| 1869 | 178 |  |
| 1880 | 186 | +4.5% |
| 1890 | 163 | −12.4% |
| 1900 | 163 | +0.0% |
| 1910 | 165 | +1.2% |
| 1921 | 167 | +1.2% |
| 1930 | 166 | −0.6% |
| 1950 | 138 | −16.9% |
| 1961 | 147 | +6.5% |
| 1970 | 130 | −11.6% |
| 1980 | 115 | −11.5% |
| 1991 | 100 | −13.0% |
| 2001 | 101 | +1.0% |
| 2011 | 83 | −17.8% |
| 2021 | 88 | +6.0% |
| Source: Censuses | | |

## InfoBox

| Podolí | |
| --- | --- |
| Municipality | |
| Centre of Podolí | |
|  | |
| PodolíLocation in the Czech Republic | |
| Coordinates: 49°29′3″N 16°4′50″E / 49.48417°N 16.08056°E / 49.48417; 16.08056 | |
| Country | Czech Republic |
| Region | Vysočina |
| District | Žďár nad Sázavou |
| First mentioned | 1333 |
| Area | |
| Total | 2.51 km2 (0.97 sq mi) |
| Elevation | 532 m (1,745 ft) |
| Population (2024-01-01) | |
| Total | 95 |
| Density | 38/km2 (98/sq mi) |
| Time zone | UTC+1 (CET) |
| Summer (DST) | UTC+2 (CEST) |
| Postal code | 592 55 |
| Website | obecpodoli.net |


title: Podolí (Přerov District)

abstract: Podolí is a municipality and village in Přerov District in the Olomouc Region of the Czech Republic. It has about 200 inhabitants. Podolí lies approximately 6 kilometres (4 mi) east of Přerov, 27 km (17 mi) south-east of Olomouc, and 235 km (146 mi) east of Prague.

text:
# Podolí (Přerov District)

**Podolí** is a municipality and village in Přerov District in the Olomouc Region of the Czech Republic. It has about 200 inhabitants.

Podolí lies approximately 6 kilometres (4 mi) east of Přerov, 27 km (17 mi) south-east of Olomouc, and 235 km (146 mi) east of Prague.

## Demographics

Historical population
| Year | Pop. | ±% |
| --- | --- | --- |
| 1869 | 146 |  |
| 1880 | 164 | +12.3% |
| 1890 | 171 | +4.3% |
| 1900 | 186 | +8.8% |
| 1910 | 253 | +36.0% |
| 1921 | 253 | +0.0% |
| 1930 | 253 | +0.0% |
| 1950 | 212 | −16.2% |
| 1961 | 228 | +7.5% |
| 1970 | 230 | +0.9% |
| 1980 | 224 | −2.6% |
| 1991 | 171 | −23.7% |
| 2001 | 197 | +15.2% |
| 2011 | 214 | +8.6% |
| 2021 | 189 | −11.7% |
| Source: Censuses | | |

## InfoBox

| Podolí | |
| --- | --- |
| Municipality | |
| Chapel of Saints Cyril and Methodius | |
|  | |
| PodolíLocation in the Czech Republic | |
| Coordinates: 49°26′43″N 17°31′49″E / 49.44528°N 17.53028°E / 49.44528; 17.53028 | |
| Country | Czech Republic |
| Region | Olomouc |
| District | Přerov |
| First mentioned | 1349 |
| Area | |
| Total | 2.16 km2 (0.83 sq mi) |
| Elevation | 262 m (860 ft) |
| Population (2024-01-01) | |
| Total | 199 |
| Density | 92/km2 (240/sq mi) |
| Time zone | UTC+1 (CET) |
| Summer (DST) | UTC+2 (CEST) |
| Postal code | 751 16 |
| Website | www.podoliobec.eu |


title: Poems and Songs of Middle Earth

abstract: Poems and Songs of Middle Earth is a studio album of spoken-word poetry by the English author J. R. R. Tolkien and art songs composed by the English musician Donald Swann. On the first half of the album, Tolkien recites seven poems from or related to his fantasy novel The Lord of the Rings (1954–55). The second half is a performance of Swann's song cycle The Road Goes Ever On, which sets selections from Tolkien's verse to music. The vocalist William Elvin sings The Road Goes Ever On to Swann's piano accompaniment. Caedmon Records issued the album on 18 October 1967 in the United States, and then on 28 March 1968 in the United Kingdom. Its release coincided with the publication of The Road Goes Ever On as a book of sheet music with commentary and illustration by Tolkien. Poems and Songs of Middle Earth became the first commercially available audio recording of Tolkien's voice after the success of The Lord of the Rings, as well as the earliest album of music inspired by his fictional Middle-earth. While most of the poetry and lyrics are in English, the album also features Tolkien's constructed languages as recited by the author himself or sung by Elvin under his guidance. Its recordings of two Elvish languages—Quenya and Sindarin—provided early insight into the intended qualities of these languages when spoken aloud. The packaging of the original LP record carried a cover illustration by Pauline Baynes and liner notes written by the poet W. H. Auden. Caedmon reissued the album on cassette tape in 1972 and again in 1977 as part of a box set compilation of Tolkien's audiobooks. The album was out of print by the 21st century.

text:
# Poems and Songs of Middle Earth

***Poems and Songs of Middle Earth*** is a studio album of spoken-word poetry by the English author J. R. R. Tolkien and art songs composed by the English musician Donald Swann. On the first half of the album, Tolkien recites seven poems from or related to his fantasy novel *The Lord of the Rings* (1954–55). The second half is a performance of Swann's song cycle *The Road Goes Ever On*, which sets selections from Tolkien's verse to music. The vocalist William Elvin sings *The Road Goes Ever On* to Swann's piano accompaniment. Caedmon Records issued the album on 18 October 1967 in the United States, and then on 28 March 1968 in the United Kingdom. Its release coincided with the publication of *The Road Goes Ever On* as a book of sheet music with commentary and illustration by Tolkien.

*Poems and Songs of Middle Earth* became the first commercially available audio recording of Tolkien's voice after the success of *The Lord of the Rings*, as well as the earliest album of music inspired by his fictional Middle-earth. While most of the poetry and lyrics are in English, the album also features Tolkien's constructed languages as recited by the author himself or sung by Elvin under his guidance. Its recordings of two Elvish languages—Quenya and Sindarin—provided early insight into the intended qualities of these languages when spoken aloud. The packaging of the original LP record carried a cover illustration by Pauline Baynes and liner notes written by the poet W. H. Auden. Caedmon reissued the album on cassette tape in 1972 and again in 1977 as part of a box set compilation of Tolkien's audiobooks. The album was out of print by the 21st century.

## Background

In 1965, Donald Swann composed a song cycle titled *The Road Goes Ever On*, setting various texts by Tolkien to music. Swann requested Tolkien's permission to perform and publish the song cycle, as a derivative work based on Tolkien's copyrighted writings; Tolkien, impressed by Swann's work, approved. The author's British publisher, Allen & Unwin, reached a copyright licensing agreement with Swann in early to mid-January 1966. Allen & Unwin and Tolkien's American publisher Houghton Mifflin made plans to print *The Road Goes Ever On* as a book of sheet music, with the potential for a recording of the music to be issued simultaneously with the book. Although there was interest in producing a record of the song cycle, an early inquiry to the music publisher and record company Chappell & Co. was rejected. A representative of Chappell indicated that the song cycle would be too short to fill an entire long-playing ("LP") record, and a shorter record was deemed difficult to market in the United States. Shortly thereafter, the Allen & Unwin employee Joy Hill pitched the idea of an LP featuring Swann performing his song cycle on one side and Swann's stage partner, Michael Flanders, reading selections from Tolkien's writings on the other.

Swann met the baritone vocalist William Elvin through Hill's introduction, and the two began collaborating on live performances of Swann's *The Road Goes Ever On*. Swann felt Elvin's voice befit the material. Moreover, both he and Tolkien were struck by the coincidental aptness of the singer's surname, *Elvin*. Swann called attention to "the unbelievably suitable name", while Tolkien remarked that it was "a good omen". By May 1966, Swann prepared a demo version of his song cycle to send to prospective record companies, and he was also preparing for concert performances and an upcoming radio appearance.

At a meeting that December Tolkien and Swann worked out a finalized structure for the LP, with Tolkien to read his own writings rather than Flanders. Up to that time, Tolkien's voice had only been recorded twice for commercially released records, both times circa April 1930, more than a decade before the publication of *The Lord of the Rings*. These two records were English lessons with Arthur Lloyd James, released by the London-based company Linguaphone. Tolkien's segments on these educational records were brief, running just over six minutes total. He had also been recorded prior to 1967 on a handful of occasions in other contexts.

Austin Olney of Houghton Mifflin proposed partnering with Caedmon Records to release the envisioned album. Caedmon, a New York–based record label with offices in London at the time, specialized in spoken word records related to literature. Arriving decades before the mainstream advent of the audiobook, Caedmon "answered the question on many readers' minds", said in the words of historian Matthew Rubery: "What did authors sound like?" Since its founding in 1952, Caedmon had already pressed records by many of the preeminent authors of 20th century literature, among them Albert Camus, T. S. Eliot, William Faulkner, Langston Hughes, James Joyce, Thomas Mann, Sylvia Plath, Gertrude Stein, Wallace Stevens, and W. B. Yeats. Accordingly, the label was closely associated with esteemed literary fiction and the high-minded literary community. Given the hostile literary reception to Tolkien, the fantasy author and critic Lin Carter professed surprise when he discovered that "\[e\]ven so staid and literary a firm as Caedmon Records offers a disc whereon the good Professor \[Tolkien\] may be heard reading some of the poems from \[*The Lord of the Rings*\] in his own language!"

## Recording

In March 1967,Swann wrote to Tolkien for advice on vocal coaching for Elvin, as both performers strove to maintain faithfulness in the pronunciation of words from Tolkien's constructed languages. Tolkien provided phonetic notes tailored to Swann and Elvin's voices. In April, Rayner Unwin wrote to Tolkien to inform him that arrangements had been made to release the LP through Caedmon, as well as for Tolkien to be recorded at his home by employees of the record label. A representative from Caedmon sent Tolkien a tape recorder to keep and use for practice in May, and the author conveyed in a letter to Unwin that he had been practicing recording himself.

According to a discography at the *Donald Swann Website*, Swann and Elvin recorded the songs from *The Road Goes Ever On* on 12 June 1967. Tolkien recorded his spoken readings on 15 June 1967. Caedmon sent the producer Howard Sackler and an engineer with equipment to record at Tolkien's home on Sandfield Road in Oxford. Recording took place after 4 p.m.—later than Tolkien preferred. An earlier arrival by Caedmon's team was not possible, as their schedule required them to travel that day from London, but a Caedmon representative assured Tolkien that the process of recording at home would be unobtrusive. Afterwards, Tolkien reported to Swann that he enjoyed the recording session, and commended the "helpful and appreciative" disposition of the recording team. While recording his poem "The Sea-Bell", Tolkien spotted an error in the published text that had gone unnoticed before.

## Contents

The first side of the LP contains spoken-word recitals by Tolkien. He read six poems taken from his collection *The Adventures of Tom Bombadil* (1962) and his fantasy novel *The Lord of the Rings* (1954–55). The second half contains about 20 seconds of additional reading by Tolkien, followed by Swann's song-cycle *The Road Goes Ever On*, which sets seven of Tolkien's poems to music with vocals by Elvin and piano accompaniment played by Swann himself. Tolkien contributed the melody for one of the songs, "Namárië", in a style evocative of Gregorian chant. Swann's compositions are influenced by English folk music, complementing the traditional style of Tolkien's verse. A critic for the *English Journal* compared most of the compositions to *lieder*, while noting a resemblance between "Errantry" and the patter songs of Gilbert and Sullivan.

### Packaging and liner notes

The illustration on the LP sleeve's cover—a "triptych" view of a Middle-earth landscape designed by Pauline Baynes—had previously appeared on the slipcase of the deluxe three-volume edition of *The Lord of the Rings* published by Allen & Unwin in 1964 (but printed in 1963). Describing the album cover, Valerie Anand identifies Orodruin, or Mount Doom, "in the far distance and a dramatic castle as a landmark in the middle distance, leading the eye onwards, as it were."

The poet W. H. Auden contributed introductory liner notes for the LP sleeve's reverse side. Auden agreed to do so in August 1967, pleasing Tolkien immensely. The two writers had expressed their mutual admiration in correspondence early that year, spurred by the publication of Tolkien's poem "For W. H. A." in a special issue of the literary magazine *Shenandoah* dedicated to Auden in honor of his 60th birthday. Auden thanked Tolkien for the poem and expressed his further admiration of "The Sea-Bell", one of the poems Tolkien had recorded for the album. In his essay, Auden lauds Tolkien's verse, calling the poems' metres "as exciting as they are various", and claims the author's fantasy works

> will either totally enthrall you or leave you stone cold, and, whichever your response, nothing and nobody will ever change it. As a member of the enchanted party, I have found by experience that it is quite useless to argue with the unconverted.

Enthusiastic though Auden was for the recordings of Elvish poetry, his essay expresses disappointment that the album lacked readings from the poetry of Rohan, a kingdom of Men in *The Lord of the Rings*.

## Release history

Release history for *Poems and Songs of Middle Earth*
| Release date | Description | Region | Format | Label | Cat. no. | Ref. |
| --- | --- | --- | --- | --- | --- | --- |
| 18 October 1967 | First pressing. | US |  | Caedmon Records | TC 1231<br>(TC 91231) |  |
| 28 March 1968 | First UK pressing. | | | | UK |  |
| September 1971 | | | | | Reissue through English retailer Record Specialities and Henry Stave, Ltd.; identical to the first pressings. |  |
| 1972 | First pressing on cassette. | US/UK | | Cassette tape | CDL 51231 |  |
| 1977 | | Reissue – *The J. R. R. Tolkien Soundbook* versions. Either sold individually, or as part of the complete *Soundbook* box sets (4×LP: SBR 101 / 4×CS: SBC 101). | | Vinyl LP | TC 1231 |  |
| | | Cassette tape | | CDL 51231 |  |

1967 LP, side A
(TC 1231-A)  1972 cassette, side 1
(CDL 51231)

Caedmon Records first released *Poems and Songs of Middle Earth* on 18 October 1967 as a vinyl LP. The first press, limited to the United States, preceded the 31 October publication of *The Road Goes Ever On* in that country. The original list price was $5.95 (equivalent to $54 in 2023, adjusting for inflation). Ahead of the album's appearance in the British market, Caedmon shipped Tolkien three copies of the record from New York. The LP was released in the UK on 28 March 1968. The track listing on the LP packaging erroneously omits the sixth track on side A, "The Sea-Bell", even though that track is present on the record itself.

In late 1971 the retailer Record Specialities reissued the LP, keeping the original Caedmon catalog number. The reissued LP came as part of the first batch of the retailer's new "Caedmon series", in which it would re-release several albums from the label's back catalog each month at a discounted price of £1.99 (equivalent to £36 in 2023). The following year, Caedmon issued the album on cassette tape for the first time. As late as 1985, Caedmon continued to sell tapes of the album, which it marketed alongside audiobooks of works by Tolkien and other authors of fantasy fiction. *Poems and Songs of Middle Earth* was out of print by the year 2000, but copies remained in circulation via public libraries.

In 1977 Caedmon reissued *Poems and Songs of Middle Earth* as part of a box set compilation on LP and cassette formats, called *The J. R. R. Tolkien Soundbook*. It was part of Caedmon's primarily cassette-based "Soundbook" series featured readings of works by famous authors, with readings in the author's own voice whenever possible. The *Tolkien Soundbook* was one of the first five releases in the series, alongside other entries based on works by Joyce, Thomas, Ogden Nash and Edgar Allan Poe. Also included within the *Tolkien Soundbook* were Tolkien's readings of *The Hobbit* and *The Lord of the Rings*, and Christopher Tolkien's readings from *The Silmarillion*. Tolkien's recitals from *The Adventures of Tom Bombadil* reportedly has noticeably higher fidelity on the *Soundbook* box set than they did on the original 1967 LP.

Caedmon put Tolkien's recitals from *Poems and Songs of Middle Earth* on the *J. R. R. Tolkien Audio Collection*, but left out Swann's music. The *Audio Collection* was issued on tape in 1992 and on CD in 2001.

## Reception

Following publication of the sheet music and Swann's early concert performances, *The Road Goes Ever On* divided opinion among professional critics and Tolkien fans alike. Reception to the musical portions of *Poems and Songs of Middle Earth* was similarly mixed, while critical consensus was more united with praise for Tolkien's readings. Frederick Woods, a reviewer for classical music magazine *The Gramophone*, professed great admiration for Tolkien's fiction and readings but ambivalence as to the quality of Swann's compositions. Edmund Fuller's review of the album for *The Wall Street Journal* was more favourable, citing Elvin's singing as "excellent". Fuller reported "\[a\]lready, in England, the cycle \[*The Road Goes Ever On*\] has established itself in the concert repertory" and predicted "it is likely to become an accepted recital unit in more than one range of voice." As for Tolkien's readings, Fuller said the author deployed a "gruffly no-nonsense voice that is just right".

Several reviews of the record appeared in journals about literature and education. In *The Horn Book Magazine*, Ethel L. Hynes wrote that Elvin's vocals "reveal\[ed\] \[the songs'\] beautiful melodic line and the lyric romanticism that matches the mood of the texts." Peter Gellatly of *Library Journal* called Tolkien's readings "notable for their jewelled ornateness and for the zestful, old-country voice in which they are read" and Swann's music "slightly reminiscent of the old-fashioned art-song, \[though\] there is no denying it is strictly up to date". John R. Searles at the *English Journal* generally praised the compositions, especially "Namárië", which he said would may tend to strike many listeners as "the most appropriate and moving melody" on the collection. Searles wrote that Elvin "sings the songs beautifully", but characterised Tolkien's reading voice as "husky, sometimes growling, and not always distinct." Catheryne S. Franklin—a professor of library science at the University of Texas at Austin, reviewing the album for audiovisual education journal *Film News*—judged Tolkien's accented pronunciation sufficiently intelligible for a general American audience: "Though British speech patterns are often difficult to understand, especially if words are 'bitten off' (which is the main criticism of Basil Rathbone's readings), Mr. Tolkien's pleasant voice and delivery are less 'clipped' and 'British' than might be expected." Overall, Franklin had a mixed impression of the record and Swann's music, though she conceded it may appeal to those already interested in Tolkien's literary works: "High school English teachers who belong to or recognize the cult," Franklin suggested, "might try this record with students, as an example of poetry with rhyming and metrical tricks."

In the years following its release, educators and academics cited the album's value as pedagogical tool for teaching children and a resource for enhanced understanding of Tolkien's poetics. In a 1970 article for *High Fidelity* titled "What Records Should You Give to Children?", Eleanor Kulleseid, a librarian for Bank Street College of Education in New York City, recommended the album "for Hobbit-lovers and those who wish to brush up on their Elvish." Bibliographer Marshall Tymn listed it as a resource for teaching science fiction and fantasy in *The Science Fiction Reference Book* (1981). The album was further endorsed for its usefulness as a multimedia teaching aid by educator Don Adrian Davidson (in 1972), elementary school library specialist Mary Ann Paulin (in 1982), and children's author and librarian Sarah Ellis (in 2000). In poet Paul Edwin Zimmer's view, the album's recordings of Tolkien reading his own verse clarify the task of analysing and applying scansion to the author's poetry, full as it is of complex "metrical tricks", evident in for example "The Adventures of Tom Bombadil".

Responses to the album have informed the overall reception to *The Road Goes Ever On* as a musical piece, especially given its status as the only commercially released recording of the songs. "Swann's song cycle", said the Tolkien scholar David Bratman, "has never gotten quite the attention it deserves, partly because its one recording is in a reserved, fastidious style." Swann continued to stage performances of *The Road Goes Ever On* from time to time throughout the remainder of his career, and Tolkien scholars have evaluated his later performances by comparison to the 1967 recording as a benchmark. Bratman preferred Swann's later live performances for their livelier mood and more sophisticated arrangements. At least one other recording of a performance by Swann exists: a 1993 live performance, privately distributed on cassette as a bootleg, featuring Swann on lead vocals supported by a choir. William Phemister found the 1993 recording "generally faster and freer" than the 1967 album, though he said "comparison of the two recordings shows that any of these tempi work well."

## Track listing

All lyrics are written by J. R. R. Tolkien; all music is composed by Donald Swann, except "Namárië", for which Tolkien proposed a melody to Swann

Side A
| No. | Title | Textual source | Length |
| --- | --- | --- | --- |
| 1. | "The Adventures of Tom Bombadil" | *The Adventures of Tom Bombadil*, Song 1 | 4:00 |
| 2. | "The Mewlips" | *The Adventures of Tom Bombadil*, Song 9 | 1:21 |
| 3. | "The Hoard" | *The Adventures of Tom Bombadil*, Song 14 | 3:25 |
| 4. | "Perry-the-Winkle" | *The Adventures of Tom Bombadil*, Song 8 | 4:26 |
| 5. | "The Man in the Moon Came Down Too Soon" | *The Adventures of Tom Bombadil*, Song 6 | 5:16 |
| 6. | "The Sea-Bell" | *The Adventures of Tom Bombadil*, Song 15 | 5:25 |

Side B
| No. | Title | Source | Length |
| --- | --- | --- | --- |
| 1. | "A Elbereth Gilthoniel" (in Sindarin) | *The Fellowship of the Ring*, Book II, ch. 1: "Many Meetings" | 0:14 |
| 2. | "The Road Goes Ever On" | *The Fellowship of the Ring*, Book I, ch. 1: "A Long-expected Party" | 1:00 |
| 3. | "Upon the Hearth the Fire Is Red" | *The Fellowship of the Ring*, Book I, ch. 3: "Three Is Company" | 1:35 |
| 4. | "In the Willow-Meads of Tasarinan" | *The Two Towers*, Book III, ch. 4: "Treebeard" | 2:35 |
| 5. | "In Western Lands" | *The Return of the King*, Book VI, ch. 1: "The Tower of Cirith Ungol" | 2:15 |
| 6. | "Namárië" (in Quenya) | *The Fellowship of the Ring*, Book II, ch. 8: "Farewell to Lórien" | 1:25 |
| 7. | "I Sit Beside the Fire / Refrain: A Elbereth Gilthoniel" ("Refrain" in Sindarin) | *The Fellowship of the Ring*, Book II, ch. 3: "The Ring Goes South" and ch. 8: "Farewell to Lórien" / Book II, ch. 1: "Many Meetings" | 3:38 |
| 8. | "Errantry" | *The Adventures of Tom Bombadil*, Song 3 | 3:43 |
| Total length: | | | 35:18 |

## Personnel

Credits adapted from the 1967 LP record sleeve (Caedmon Records, TC 1231).

1967 LP packaging    1. Hammond & Anderson 1993, p. 384.
2. Keleny 2010.
3. Hammond & Anderson 1993, p. 313.
4. Hammond & Scull 2006a, p. 652.
5. Hammond & Scull 2006a, p. 697.
6. Hammond & Scull 2006b, pp. 366–367.
7. Hammond & Anderson 1993, p. 313; Ruud 2011, p. 509.
8. Hammond & Anderson 1993, p. 313; Hammond & Scull 2006a, p. 652; Hammond & Scull 2006b, p. 823.
9. Hammond & Scull 2006b, p. 991.
10. Hanks, Coates & McClure 2016.
11. Khuri 2021, 25:19–25:30.
12. Fuller 1967, p. 6.
13. Hammond & Scull 2006a, pp. 663–664.
14. Neubauer 2018–2019, p. 212.
15. Hammond & Scull 2006b, p. 822.
16. Neubauer 2018–2019, pp. 212–213.
17. Hammond & Scull 2006a, p. 691.
18. Rubery 2016, p. 209.
19. Rubery 2016, pp. 186–188.
20. Carter 1969, p. 3.
21. Hammond & Scull 2006a, p. 699.
22. Hammond & Scull 2006a, p. 694.
23. Hammond & Scull 2006a, p. 696.
24. Hammond & Scull 2006a, p. 698.
25. Hammond & Scull 2006b, p. 992.
26. Berger & Cochrane 2013.
27. Hammond & Scull 2006b, p. 823.
28. Phemister 1996, p. 71.
29. Searles 1968, p. 438.
30. Ruud 2011, p. 574.
31. Hammond & Anderson 1993, pp. 98, 384.
32. Anand 2001, p. 38.
33. Hammond & Scull 2006a, pp. 705, 707.
34. Hammond & Scull 2006a, p. 690.
35. Rubery 2016, pp. 210, 336 (fn. 135).
36. Thompson 1986, p. 57 (providing the exact date of the first pressing without specifying region); Hammond & Scull 2006a, p. 710 (confirming the 1st US pressing was an Autumn 1967 release).
37. Thompson 1986, p. 57 (providing the exact date of the second pressing without specifying region); Hammond & Scull 2006a, p. 724 (confirming the 1st UK pressing was a Spring 1968 release).
38. Record Specialities and Henry Stave, Ltd. & Caedmon Records 1971, p. 455; *The Gramophone* staff 1971, p. 701.
39. Thompson 1986, p. 57.
40. Hammond & Scull 2006a, p. 710.
41. Gellatly 1968, p. 530.
42. Hammond & Scull 2006a, p. 711.
43. Hammond & Scull 2015.
44. Record Specialities and Henry Stave, Ltd. 1971, p. 621.
45. *The Gramophone* staff 1971, p. 701.
46. Record Specialities and Henry Stave, Ltd. & Caedmon Records 1971, p. 455.
47. Porter 1985, p. 6.
48. Ellis 2000, p. 69.
49. Postgate 1980, p. 630.
50. Ashford 1979, p. 212.
51. Ashford 1979, p. 213.
52. Bramlett 2003, p. 240.
53. Hammond & Scull 2006b, p. 857.
54. Woods 1968, p. 607.
55. Hynes 1968, p. 189.
56. Franklin 1968, p. 32.
57. Kulleseid 1970, p. 82.
58. Tymn 1981, pp. 466–467, 478.
59. Davidson 1972, p. 51.
60. Paulin 1982, p. 317.
61. Zimmer 1993, pp. 19–20.
62. Bratman 2010, p. 157.
63. Phemister 1996, p. 75.

## Sources

## InfoBox

| Poems and Songs of Middle Earth | |
| --- | --- |
| 1967 LP sleeve cover, with "triptych" illustration by Pauline Baynes | |
| Studio album by J. R. R. Tolkien and Donald Swann | |
| Released | 18 October 1967 (1967-10-18) |
| Recorded | * 12 June 1967 (musical tracks) * 15 June 1967 (Tolkien's spoken word tracks) |
| Genre |  |
| Length | 35:18 |
| Label | Caedmon |
| Producer | Howard Sackler |


title: Poems and Problems

abstract: Poems and Problems (ISBN 0-07-045724-7) is a book by Vladimir Nabokov published in 1969. It consists of 39 poems originally written in Russian and translated by Nabokov, 14 poems written in English, and 18 chess problems. One of the 39 poems originally written in Russian, "Lilith," in 1928, can be looked at as a foreshadowing of his 1955 novel Lolita. However, in the author's notes, Nabokov states that "Intelligent readers will abstain from examining this impersonal fantasy for any links with my later fiction," and that the poem was written "...to amuse a friend."

text:
# Poems and Problems

***Poems and Problems*** (ISBN 0-07-045724-7) is a book by Vladimir Nabokov published in 1969. It consists of 39 poems originally written in Russian and translated by Nabokov, 14 poems written in English, and 18 chess problems.

One of the 39 poems originally written in Russian, "Lilith," in 1928, can be looked at as a foreshadowing of his 1955 novel *Lolita*. However, in the author's notes, Nabokov states that "Intelligent readers will abstain from examining this impersonal fantasy for any links with my later fiction," and that the poem was written "...to amuse a friend."

## Table of contents

* THIRTY-NINE RUSSIAN POEMS

|  | English | Russian |
| --- | --- | --- |
| 1. | The Rain Has Flown | *Дождь пролетел* |
| 2. | To Liberty | *К свободе* |
| 3. | I Still Keep Mute | *Еще безмолвствую и крепну я в тиши* |
| 4. | Hotel Room | *Номер в гостинице* |
| 5. | Provence | *Солнце* |
| 6. | La Bonne Lorraine |
| 7. | The Blazon | *Герб* |
| 8. | The Mother | *Мать* |
| 9. | I Like That Mountain | *Люблю я гору* |
| 10. | The Dream | *Сновидение* |
| 11. | The Snapshot | *Снимок* |
| 12. | In Paradise | *В раю* |
| 13. | The Execution | *Расстрел* |
| 14. | For Happiness the Lover Cannot Sleep | *От счастия влюбленному не спится* |
| 15. | Lilith | *Лилит* |
| 16. | The Muse | *К музе* |
| 17. | Soft Sound | *Тихий шум* |
| 18. | Snow | *Снег* |
| 19. | The Formula | *Формула* |
| 20. | An Unfinished Draft | *Неоконченный черновик* |
| 21. | Evening on a Vacant Lot | *Вечер на пустыре* |
| 22. | The Madman | *Безумец* |
| 23. | How I Love You | *Как я люблю тебя* |
| 24. | L'Inconnue de la Seine |
| 25. | At Sunset | *На закате* |
| 26. | We So Firmly Believed | *Мы с тобой так верили* |
| 27. | What Happened Overnight | *Что за ночь с памятью случилось* |
| 28. | The Poets | *Поэты* |
| 29. | To Russia | *К России* |
| 30. | Oculus | *Око* |
| 31. | Fame | *Слава* |
| 32. | The Paris Poem | *Парижская поэма* |
| 33. | No Matter How | *Каким бы полотном батальным* |
| 34. | On Rulers | *О правителях* |
| 35. | To Prince S.M. Kachurin | *К князю С.М. Качурину* |
| 36. | A Day Like Any Other | *Был день как день* |
| 37. | Irregular Iambics | *Неправильные ямбы* |
| 38. | What Is the Evil Deed | *Какое сделал я дурное дело* |
| 39. | From the Gray North | *С серого севера* |

* FOURTEEN ENGLISH POEMS

|  | English |
| --- | --- |
| 1 | A Literary Dinner |
| 2 | The Refrigerator Awakes |
| 3 | A Discovery |
| 4 | The Poem |
| 5 | An Evening of Russian Poetry |
| 6 | The Room |
| 7 | Voluptates Tactionum |
| 8 | Restoration |
| 9 | The Poplar |
| 10 | Lines Written in Oregon |
| 11 | Ode to a Model |
| 12 | On Translating Eugene Onegin |
| 13 | Rain |
| 14 | The Ballad of Longwood Glen |

## Quote

* "Chess problems demand from the composer the same virtues that characterize all worthwhile art: originality, invention, conciseness, harmony, complexity, and splendid insincerity."


title: Poems by Currer, Ellis, and Acton Bell

abstract: Poems by Currer, Ellis, and Acton Bell was a book of poetry published jointly by the three Brontë sisters, Charlotte, Emily, and Anne in 1846, and their first work in print. To evade contemporary prejudice against female writers, the Brontë sisters adopted masculine first names. All three retained the first letter of their first names: Charlotte became Currer Bell, Emily became Ellis Bell, and Anne became Acton Bell. The book was printed by Aylott and Jones, from London. The first edition failed to attract interest, with only two copies being sold. However, the sisters decided to continue writing for publication and began work on their first novels, which became commercial successes. Following the success of Charlotte's Jane Eyre in 1848, and after the deaths of Emily and Anne, the second edition of this book fared much better, with Charlotte's additions of previously unpublished poetry by her two late sisters. It is believed that there are fewer than ten copies in existence with the Aylott and Jones title-page.

text:
# Poems by Currer, Ellis, and Acton Bell

***Poems by Currer, Ellis, and Acton Bell*** was a book of poetry published jointly by the three Brontë sisters, Charlotte, Emily, and Anne in 1846 (see 1846 in poetry), and their first work in print. To evade contemporary prejudice against female writers, the Brontë sisters adopted masculine first names. All three retained the first letter of their first names: Charlotte became *Currer Bell*, Emily became *Ellis Bell*, and Anne became *Acton Bell*. The book was printed by Aylott and Jones, from London. The first edition failed to attract interest, with only two copies being sold. However, the sisters decided to continue writing for publication and began work on their first novels, which became commercial successes.

Following the success of Charlotte's *Jane Eyre* in 1848, and after the deaths of Emily and Anne, the second edition of this book (printed in 1850 by Smith & Elder) fared much better, with Charlotte's additions of previously unpublished poetry by her two late sisters. It is believed that there are fewer than ten copies in existence with the Aylott and Jones title-page.

## InfoBox

Poems by Currer, Ellis, and Acton Bell
| Title page of the first edition, 1846 | |
| --- | --- |
| Authors | Charlotte Brontë
Emily Brontë
Anne Brontë |
| Language | English |
| Publication place | United Kingdom |


title: Policzyzna

abstract: Policzyzna is a village in the administrative district of Gmina Krzczonów, within Lublin County, Lublin Voivodeship, in eastern Poland. It lies approximately 28 km (17 mi) south-east of the regional capital Lublin.

text:
# Policzyzna

**Policzyzna** \[pɔliˈt͡ʂɨzna\] is a village in the administrative district of Gmina Krzczonów, within Lublin County, Lublin Voivodeship, in eastern Poland. It lies approximately 28 km (17 mi) south-east of the regional capital Lublin.

## InfoBox

| Policzyzna | |
| --- | --- |
| Village | |
| Policzyzna | |
| Coordinates: 51°3′N 22°48′E / 51.050°N 22.800°E / 51.050; 22.800 | |
| Country | Poland |
| Voivodeship | Lublin |
| County | Lublin |
| Gmina | Krzczonów |


title: Ponte Preta Sumaré Futebol Clube

abstract: Ponte Preta Sumaré Futebol Clube, commonly known as Ponte Preta Sumaré, was a Brazilian football club based in Sumaré, São Paulo state.

text:
# Ponte Preta Sumaré Futebol Clube

**Ponte Preta Sumaré Futebol Clube**, commonly known as **Ponte Preta Sumaré**, was a Brazilian football club based in Sumaré, São Paulo state.

## History

The club was founded on April 19, 2001, as Associação Atlética Ponte Preta reserve team, after a partnership between the club and Sumaré City Hall. They finished in the second position in the 2001 Campeonato Paulista Série B3, when they lost the competition to Corinthians B. The club folded in 2002, after the partnership with Associação Atlética Ponte Preta ended.

## Stadium

Ponte Preta Sumaré Futebol Clube played their home games at Estádio Municipal José Pereira. The stadium has a maximum capacity of 5,000 people.

## InfoBox

Ponte Preta Sumaré
| Full name | Ponte Preta Sumaré Futebol Clube |
| --- | --- |
| Nickname(s) | *Macaquinha* |
| Founded | April 19, 2001 (2001-04-19) |
| Dissolved | 2002 |
| Ground | Estádio Municipal Municipal José Pereira, Sumaré, São Paulo state, Brazil |
| Capacity | 6,000 |
|  | |
|  | |
|  | |


abstract: The political history of Mysore and Coorg (1761–1799) is the political history of the contiguous historical regions of Mysore State and Coorg province on the Deccan Plateau in west-central peninsular India from the time of the rise of Haidar Ali in 1761 to that of the death of his son Tipu Sultan in 1799.

text:
# Political history of Mysore and Coorg (1761–1799)

The **political history of Mysore and Coorg (1761–1799)** is the political history of the contiguous historical regions of Mysore State and Coorg province on the Deccan Plateau in west-central peninsular India from the time of the rise of Haidar Ali in 1761 to that of the death of his son Tipu Sultan in 1799.

## Sources and historiography

There is very little contemporaneous documentation of the pre-1760 period of Mysore's history, especially the last century of that period. According to (Subrahmanyam 1989, p. 206), the 18th-century Wodeyar rulers of Mysore—in contrast to their contemporaries in Rajputana, Central India, Maratha Deccan, and Tanjavur—left little or no record of their administrations.

A Wodeyar dynasty genealogy, the *Maisüru Maharajara Vamsävali* of Tirumalarya, was composed in Kannada during the period 1710–1715, and was claimed to be based on all the then-extant inscriptions in the region. Another genealogy, *Kalale Doregala Vamsävali*, of the *Delvoys*, the near-hereditary chief ministers of Mysore, was composed around the turn of the *19th* century. However, neither manuscript provides information about administration, economy or military capability. The ruling dynasty's origins, especially as expounded in later palace genealogies, are also of doubtful accuracy; this is, in part, because the Wodeyars, who were reinstated by the British on the Mysore *gaddi* in 1799, to preside over a fragile sovereignty, "obsessively" attempted to demonstrate their "unbroken" royal lineage, to bolster their then uncertain status.

The earliest manuscript offering clues to governance and military conflict in the pre-1760 Mysore, seems to be (Dias 1725), an annual letter written in Portuguese by a Mysore-based Jesuit missionary, Joachim Dias, and addressed to his Provincial superior. After East India Company's final 1799 victory over Tipu, official Company records began to be published as well; these include (East India Company 1800), a collection of Anglo-Mysore Wars-related correspondence between the company's officials in India and Court of Directors in London, and (Wilks 1805), the first report on the new Princely State of Mysore by its first British resident, Mark Wilks. Around this time, French accounts of the Anglo-Mysore wars appeared as well, and included (Michaud 1809), a history of the wars by Joseph-François Michaud, another Jesuit priest. The first attempt at including a comprehensive history of Mysore in an English language work is (Buchanan 1807), an account of a survey of South India conducted at Lord Richard Wellesley's request, by Francis Buchanan, a Scottish physician and geographer.

The first explicit *History* of Mysore in English is (Wilks 1811), written by Mark Wilks, the British resident mentioned above. Wilks claimed to have based his history on various Kannada documents, not only the ones mentioned above, but also many that have not survived. According to (Subrahmanyam 1989, p. 206), all subsequent *classic* histories of Mysore have borrowed heavily from Wilks's book for their pre-1760 content. These include (Rice 1897), Lewis Rice's well-known *Gazetteer* and (Rao 1948), C. Hayavadana Rao's major revision of the *Gazetteer* half a century later, and many spin-offs of these two works. By the end of the period of British Commissionership of Mysore (1831–1881), many English language works had begun to appear on a variety of Mysore-related subjects. These included (Rice 1879), a book of English translations of Kannada language inscriptions, and (Digby 1878), William Digby's two-volume critique of British famine policy during the Great Famine of 1876–78, which devastated Mysore for years to come; the latter work, even referred to Mysore as a "province."

### Contemporary sources

### Classic sources


title: Premios People en Español (2013)

abstract: The Premios People en Español 2013 are organized by the magazine People en Español and will be held in November of the same year. On October 5, 2013, was announced the list of nominees.

text:
# Premios People en Español (2013)

The **Premios People en Español 2013** are organized by the magazine People en Español and will be held in November of the same year. On October 5, 2013, was announced the list of nominees.

## Awards and nominations for novela

| Telenovela | Nominations | Awards |
| --- | --- | --- |
| **Porque el amor manda** | 8 | 4 |
| *Santa Diabla* | 7 | 0 |
| *La Tempestad* | 8 | 2 |
| *El Señor de los Cielos* | 5 | 0 |
| *Amores Verdaderos* | 9 | 0 |
| *Corazón Indomable* | 5 | 0 |
| *Marido en Alquiler* | 6 | 1 |
| *Qué Bonito Amor* | 7 | 1 |
| *Dama y Obrero* | 2 | 0 |
| *La Patrona* | 7 | 0 |
|

## Telenovelas

### Teleovela of the Year

| Novela | Result |
| --- | --- |
| *Porque el amor manda* | Won |
| *Santa Diabla* | Nominated |
| *La Tempestad* | Nominated |
| *El Señor de los Cielos* | Nominated |
| *Amores Verdaderos* | Nominated |
| *Corazón Indomable* | Nominated |
| *Marido en Alquiler* | Nominated |
| *Qué Bonito Amor* | Nominated |
| *Dama y Obrero* | Nominated |
| *La Patrona* | Nominated |
|

### Best Actress

| Actress | Novela | Result |
| --- | --- | --- |
| Ana Brenda Contreras | *Corazón Indomable* | Nominated |
| Gaby Espino | *Santa Diabla* | Nominated |
| Eiza González | *Amores Verdaderos* | Nominated |
| Sonya Smith | *Marido en Alquiler* | Nominated |
| Blanca Soto | *Porque el amor manda* | Won |
| Danna García | *Qué Bonito Amor* | Nominated |
| Ximena Herrera | *El Señor de los Cielos* | Nominated |
| Aracely Arámbula | *La Patrona* | Nominated |
| Ana Layevska | *Dama y Obrero* | Nominated |
| Erika Buenfil | *Amores Verdaderos* | Nominated |
|

### Best Actor

| Actress | Novela | Result |
| --- | --- | --- |
| Daniel Arenas | *Corazón Indomable* | Nominated |
| Jorge Luis Pila | *La Patrona* | Nominated |
| William Levy | *La Tempestad* | Nominated |
| Rafael Amaya | *El Señor de los Cielos* | Nominated |
| Fernando Colunga | *Porque el amor manda* | Won |
| Jorge Salinas | *Qué Bonito Amor* | Nominated |
| Juan Soler | *Marido en Alquiler* | Nominated |
| Eduardo Yáñez | *Amores Verdaderos* | Nominated |
| Aarón Díaz | *Santa Diabla* | Nominated |
| Sebastián Rulli | *Amores Verdaderos* | Nominated |
|

### Best Female Villain

| Actress | Novela | Result |
| --- | --- | --- |
| Elizabeth Álvarez | *Corazón Indomable* | Nominated |
| Maritza Rodríguez | *Marido en Alquiler* | Won |
| Marjorie de Sousa | *Amores Verdaderos* | Nominated |
| Fernanda Castillo | *El Señor de los Cielos* | Nominated |
| Claudia Álvarez | *Porque el amor manda* | Nominated |
| Laura Carmine | *La Tempestad* | Nominated |
| Malillany Marín | *Qué Bonito Amor* | Nominated |
| Christian Bach | *La Patrona* | Nominated |
| Liz Vega | *Santa Diabla* | Nominated |
|

### Best Male Villain

| Actress | Novela | Result |
| --- | --- | --- |
| Erick Elías | *Porque el amor manda* | Nominated |
| Carlos Ponce | *Santa Diabla* | Nominated} |
| Iván Sánchez | *La Tempestad* | Nominated |
| Roberto Palazuelos | *Qué Bonito Amor* | Nominated |
| César Évora | *La Tempestad* | Won |
| Joaquín Garrido | *La Patrona* | Nominated |
|

### Best Supporting Actress

| Actress | Novela | Result |
| --- | --- | --- |
| María Elisa Camargo | *Porque el amor manda* | Nominated |
| Carmen Villalobos | *El Señor de los Cielos* | Nominated} |
| Daniela Romo | *La Tempestad* | Nominated |
| Sherlyn | *Amores Verdaderos* | Nominated |
| Angélica María | *Qué Bonito Amor* | Won |
| Erika de la Rosa | *La Patrona* | Nominated |
| Virna Flores | *Santa Diabla* | Nominated |
| Kimberly Dos Ramos | *Marido en Alquiler* | Nominated |
|

### Couple of the Year

| Actress | Novela | Result |
| --- | --- | --- |
| Ana Brenda Contreras & Daniel Arenas | *Corazón Indomable* | Nominated |
| Gaby Espino & Aarón Díaz | *Santa Diabla* | Nominated |
| Blanca Soto & Fernando Colunga | *Porque el amor manda* | Won |
| Ximena Navarrete & William Levy | *La Tempestad* | Nominated |
| Erika Buenfil & Eduardo Yáñez | *Amores Verdaderos* | Nominated |
| Danna García y Jorge Salinas | *Qué Bonito Amor* | Nominated |
| Eiza González & Sebastián Rulli | *Amores Verdaderos* | Nominated |
| Aracely Arámbula & Jorge Luis Pila | *La Patrona* | Nominated |
| Rafael Amaya & Ximena Herrera | *El Señor de los Cielos* | Nominated |
|

### Best New Talent of the Year

| Actress | Novela | Result |
| --- | --- | --- |
| Ximena Navarrete | *La Tempestad* | Won |
| Gabriel Coronel | *Marido en Alquiler* | Nominated |
| Kimberly Dos Ramos | *Marido en Alquiler* | Nominated |
| Sofía Castro | *Cachito de Cielo* | Nominated |
| Martín Barba | *La Patrona* | Nominated |
| Jeimy Osorio | *Porque el amor manda* | Nominated |
|

## Televisión

### Entertainment Program of the Year

| Program | Result |
| --- | --- |
| *Hoy* | Nominated |
| *Un nuevo día* | Nominated |
| *Showbiz* | Nominated |
| *Ventaneando* | Nominated |
| *Despierta América* | Won |
| *Sábado Gigante* | Nominated |
| *Sal y Pimienta* | Nominated |
|

### Presenter of the Year

| Presenter | Result |
| --- | --- |
| *Daisy Fuentes* | Nominated |
| *Charytín Goyco* | Nominated |
| *Adamari López* | Nominated |
| *Karla Martínez* | Won |
| *Lourdes Stephen* | Nominated |
| *Lili Estefan* | Nominated |
| *Giselle Blondet* | Nominated |
| *Chiquinquirá Delgado* | Nominated |
|

### Program of the Year Competition

| Program | Result |
| --- | --- |
| *X Factor* | Won |
| *La Voz Kids* | Nominated |
| *Mira quién baila* | Nominated |
| *Nuestra Belleza Latina* | Nominated |
| *Parodiando* | Nominated |
| *Minuto para ganar* | Nominated |
|


title: Patrick Walshe

abstract: Patrick John Walshe is an Irish painter.

text:
# Patrick Walshe

**Patrick John Walshe** (born November 1952) is an Irish painter.

## Life

Walshe was born in Ennis in the West of Ireland, Walshe was educated at the Benedictine Abbey of Glenstal from 1964 to 1970. He then attended Trinity College, Dublin, 1970-74 where he studied for an Honours degree in business. He was president of the Art Soc from 1971 to 1974. He had his first exhibition at the Tom Caldwell Gallery on Baggot Street, Dublin with fellow artist Tim Booth, late of Dr. Strangely Strange in 1976. In 1982 he moved to New York and lived in a loft in Brooklyn and while working as a chef at the Water Club he was part of the East Village art scene of the time, exhibiting at the Beuhlahland Gallery, on Avenue A, owned by Susan Hannaford-Rose, in 1984. From there Walshe moved to Los Angeles in 1986, again working as a chef to support his painting. He exhibited widely, with Renata Beuhler in North Wells Street in Chicago 91989 and 1990)and numerous Los Angeles galleries (John Thomas, Wilshire Tower Gallery and Fullerton County Museum). In 1992 Walshe left the U.S. and spent two years travelling and painting across Asia and Africa before settling back in Ireland with his family. He now lives and paints in County Wicklow and exhibits regularly in both Britain and Ireland. He is in many collections throughout the world, but because of his early restlessness he remains somewhat of an outsider in the art world.

## Recent work

Since 2004, Walshe has developed a technique of painting on canvas overlaid with silver leaf in order to give a three-dimensional quality to his images. He has exhibited these paintings in Russborough House, courtesy of the Sir Alfred Beit Foundation in 2009 and 2010, The Orangery, Holland Park, London 2010 and most importantly in Christ Church Cathedral, Dublin in April 2012. Exhibition at Art Hub, Abu Dhabi, June 2010. www.arthub.ae

* Gallery and Studio, New York. August 2007, author Marie Pagano.
* *Image Magazine* (Ireland) April 2012. author Melanie Morris (editor)
* *The Sunday Business Post* (Ireland) 22 April 2012. Tony O'Shea.
* *New York Arts Magazine*, ArtMine.com Spring 2007. author Angela Di Bello.
* *Chicago Sun Times*, October 1990, author Gordon Ligock.
* *The Irish Times*, "A Moveable Feast of Art" 28 April 2012. author James Gibbons.


title: Shadows of Blue

abstract: Shadows of Blue is the 26th studio album by Scottish singer songwriter Donovan, released in 2013. It was recorded in Nashville.

text:
# Shadows of Blue

***Shadows of Blue*** is the 26th studio album by Scottish singer songwriter Donovan, released in 2013. It was recorded in Nashville.

## Track listing

1. "Blue Jean Angel" – 3:05
2. "Resurrect Your Love" – 4:06
3. "To Love You" – 3:52
4. "River of Ruin" – 3:51
5. "Shadows of Blue" – 3:42
6. "Rock & Roll Gypsy" – 3:16
7. "The Loving of You" – 3:03
8. "The Blame Game" – 4:21
9. "The Harmonica Girl" – 4:22
10. "The Bungalow" – 3:06

## InfoBox

| Shadows of Blue | |
| --- | --- |
|  | |
| Studio album by Donovan | |
| Released | 2013 |
| Recorded | September 2012 & January/February 2013 |
| Genre | Country, folk |
| Label | Treasure Isle Studios |
| Producer | Donovan Leitch |
| Donovan chronology | |
| *The Sensual Donovan*
(2012) ***Shadows of Blue***
(2013) *Eco-Song*
(2019) | |


title: Doxa Pentalofos M.A.S.

abstract: Doxa Pentalofos M.A.S. is a Greek football club, based in Pentalofos, Thessaloniki. The club was founded in 1973. They played in Football League 2 for the season 2013-14.

text:
# Doxa Pentalofos M.A.S.

**Doxa Pentalofos M.A.S.** is a Greek football club, based in Pentalofos, Thessaloniki.

The club was founded in 1973. They played in Football League 2 for the season 2013-14.

* "ΔΟΞΑ ΠΕΝΤΑΛΟΦΟΥ Μ.Α.Σ." *Doxapentalofoumas.blogspot.gr*. Retrieved 25 October 2018.

## InfoBox

Doxa Pentalofos M.A.S.
|  | |
| --- | --- |
| Full name | Morfotikos Athlitikos Syllogos Doxa Pentalofos |
| Founded | 1973 |
| Ground | Municipal Stadium Pentalofos <br>Pentalofos, Thessaloniki, Greece |
| Capacity | 500 |
| Chairman | Athanasios Katsaounis |
| Manager | Ilias Sapanis |
| League | Football League 2 (Group 2) |
| 2013-14 | Football League 2 (Group 2) **9th**(Relegated) |
| Website | Club website |


title: Podlesie, Gmina Bogoria

abstract: Podlesie is a village in the administrative district of Gmina Bogoria, within Staszów County, Świętokrzyskie Voivodeship, in south-central Poland. It lies approximately 3 kilometres (2 mi) south-east of Bogoria, 13 km (8 mi) north-east of Staszów, and 55 km (34 mi) south-east of the regional capital Kielce.

text:
# Podlesie, Gmina Bogoria

**Podlesie** \[pɔdˈlɛɕɛ\] is a village in the administrative district of Gmina Bogoria, within Staszów County, Świętokrzyskie Voivodeship, in south-central Poland. It lies approximately 3 kilometres (2 mi) south-east of Bogoria, 13 km (8 mi) north-east of Staszów, and 55 km (34 mi) south-east of the regional capital Kielce.

## Demography

According to the 2002 Poland census, there were 129 people residing in Podlesie village, of whom 51.2% were male and 48.8% were female. In the village, the population was spread out, with 29.5% under the age of 18, 38.8% from 18 to 44, 17.1% from 45 to 64, and 14.7% who were 65 years of age or older.

> Table 1. Population level of village in 2002 — by age group
> | SPECIFICATION | | | | | Measure
unit | POPULATION
(by age group in 2002) | | | | | | | | | |
> | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
> | | TOTAL | 0-9 | 10-19 | 20-29 | | 30-39 | 40-49 | 50-59 | 60-69 | 70-79 | 80 + |
> | I. | TOTAL | | | | person | 129 | 18 | 26 | 20 | 15 | 23 | 8 | 3 | 12 | 4 |
> | |  | of which in | | | % | 100 | 14 | 20.2 | 15.5 | 11.6 | 17.8 | 6.2 | 2.3 | 9.3 | 3.1 |
> | | 1. | BY SEX | | | | | | | | | | | | | |
> | | A. | Males | | person | 66 | 7 | 15 | 13 | 7 | 16 | 5 | 1 | 2 |  |
> | |  | of which in | % | 51.2 | 5.4 | 11.6 | 10.1 | 5.4 | 12.4 | 3.9 | 0.8 | 1.6 |  |
> | | B. | Females | | person | 63 | 11 | 11 | 7 | 8 | 7 | 3 | 2 | 10 | 4 |
> | |  | of which in | % | 48.8 | 8.5 | 8.5 | 5.4 | 6.2 | 5.4 | 2.3 | 1.6 | 7.8 | 3.1 |
>
> **Figure 1. Population pyramid of village in 2002 — by age group and sex**
>
> Table 2. Population level of village in 2002 — by sex
> | SPECIFICATION | | | | | | Measure
unit | POPULATION
(by sex in 2002) | | |
> | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
> | | TOTAL | Males | Females ||
> | I. | TOTAL | | | | | person | 129 | 66 | 63 |
> | |  | of which in | | | | % | 100 | 51.2 | 48.8 |
> | | 1. | BY AGE GROUP | | | | | | | | | | | | | | | | | | |
> | | A. | At pre-working age | | | person | 38 | 20 | 18 |
> | |  | of which in | | % | 29.5 | 15.5 | 14 |
> | | B. | At working age. grand total | | | person | 72 | 43 | 29 |
> | |  | of which in | | % | 55.8 | 33.3 | 22.5 |
> | | a. | at mobile working age | | person | 50 | 28 | 22 |
> | |  | of which in | % | 38.8 | 21.7 | 17.1 |
> | | b. | at non-mobile working age | | person | 22 | 15 | 7 |
> | |  | of which in | % | 17.1 | 11.6 | 5.5 |
> | | C. | At post-working age | | | person | 19 | 3 | 16 |
> | |  | of which in | | % | 14.7 | 2.3 | 12.4 |

## InfoBox

| Podlesie | |
| --- | --- |
| Village | |
| Podlesie | |
| Coordinates: 50°38′26″N 21°17′38″E / 50.64056°N 21.29389°E / 50.64056; 21.29389 | |
| Country | Poland |
| Voivodeship | Świętokrzyskie |
| County | Staszów |
| Gmina | Bogoria |
| Sołectwo | Podlesie |
| Elevation | 251.1 m (823.8 ft) |
| Population (31 December 2009 at Census) | |
| Total | 139 |
| Time zone | UTC+1 (CET) |
| Summer (DST) | UTC+2 (CEST) |
| Postal code | 28-210 |
| Area code | +48 15 |
| Car plates | TSZ |