title: Toast Rack (building)

abstract: The Toast Rack, formerly known as the Hollings Building, is a Modernist building in Fallowfield, Manchester, England. The building was completed in 1960 as the Domestic Trades College, became part of Manchester Polytechnic then Manchester Metropolitan University until closure of the "Hollings Campus" in 2013. It was designed by the city architect, Leonard Cecil Howitt and is known as the Toast Rack due to its distinctive form, which reflects its use as a catering college. The architecture critic Nikolaus Pevsner described the building as "a perfect piece of pop architecture". It was Grade II listed in April 1998 by English Heritage who describe the structure as, "a distinctive and memorable building which demonstrates this architect's love of structural gymnastics in a dramatic way". To others the building symbolises the ideals of the Festival of Britain and architectural positivity following the Second World War. The building's structure consists of a concrete frame with a brick infill on the bottom half of each storey. The building is seven storeys high and its hyperbolic paraboloid frame continues on the exterior, hence the toast rack comparison. Although the building's unorthodox form is playful, its tapering shape also helps to divide space into varying sizes for larger and smaller classes. A semi-circular restaurant block is attached to the west and is informally known as the "Poached Egg". Manchester Metropolitan University left their Hollings campus in 2013 as they consolidated their facilities towards the city centre. The building was then put up for sale, being bought by developers for £4 million in 2014. There are plans to redevelop the building with flats, a leisure centre and a rooftop garden. In 2023, the Toast Rack and its adjacent buildings were put on the market with planning consent for a mixed-use development.

text:
# Toast Rack (building)

The **Toast Rack**, formerly known as the **Hollings Building**, is a Modernist building in Fallowfield, Manchester, England. The building was completed in 1960 as the Domestic Trades College, became part of Manchester Polytechnic then Manchester Metropolitan University until closure of the "Hollings Campus" in 2013. It was designed by the city architect, Leonard Cecil Howitt and is known as the Toast Rack due to its distinctive form, which reflects its use as a catering college.

The architecture critic Nikolaus Pevsner described the building as "a perfect piece of pop architecture". It was Grade II listed in April 1998 by English Heritage who describe the structure as, "a distinctive and memorable building which demonstrates this architect's love of structural gymnastics in a dramatic way". To others the building symbolises the ideals of the Festival of Britain and architectural positivity following the Second World War.

The building's structure consists of a concrete frame with a brick infill on the bottom half of each storey. The building is seven storeys high and its hyperbolic paraboloid frame continues on the exterior, hence the toast rack comparison. Although the building's unorthodox form is playful, its tapering shape also helps to divide space into varying sizes for larger and smaller classes. A semi-circular restaurant block is attached to the west and is informally known as the "Poached Egg".

Manchester Metropolitan University left their Hollings campus in 2013 as they consolidated their facilities towards the city centre. The building was then put up for sale, being bought by developers for £4 million in 2014. There are plans to redevelop the building with flats, a leisure centre and a rooftop garden. In 2023, the Toast Rack and its adjacent buildings were put on the market with planning consent for a mixed-use development.

## InfoBox

| Hollings Building | |
| --- | --- |
| The "Toast Rack" and "Poached Egg" | |
| Alternative names | The Toast Rack |
| General information | |
| Type | Academic (1960–2013) |
| Architectural style | Modernist |
| Location | Fallowfield, Manchester, England |
| Coordinates | 53°26′51″N 2°13′00″W / 53.4473854°N 2.2167121°W / 53.4473854; -2.2167121 |
| Construction started | 1957 |
| Opened | 1960 |
| Renovated | 1994 |
| Owner | Estrela Properties Ltd |
| Design and construction | |
| Architect(s) | LC Howitt |
| Designations |  |
| Listed Building – Grade II | |
| Official name | Hollings Building at Manchester Metropolitan University |
| Designated | 24 April 1998 |
| Reference no. | 1119722 |
|  | |
|  | |


title: Source Serif

abstract: Source Serif is a serif typeface created by Frank Grießhammer for Adobe Systems. It is the third open-source font family from Adobe, distributed under the SIL Open Font License. The typeface is inspired by the forms of Pierre Simon Fournier and is a complementary design to the Source Sans family. It is available in six weights in upright styles and italics, and five optical sizes. It is also available as a variable font with continuous weights from 200 to 900. The first version, named "Source Serif Pro", was released in 2014. Version 2.0 was released in 2017 and introduced support for more Latin characters, Cyrillic, and Greek. In 2018, Latin italics were added in version "2.007R-ro/1.007R-it". In 2019, Greek and Cyrillic italic were added in version "3.000R". In 2021, a new release added optical sizes; the name "Pro" was dropped at this point.

text:
# Source Serif

**Source Serif**  (known as **Source Serif Pro** before 2021) is a serif typeface created by Frank Grießhammer for Adobe Systems. It is the third open-source font family from Adobe, distributed under the SIL Open Font License.

The typeface is inspired by the forms of Pierre Simon Fournier and is a complementary design to the Source Sans family. It is available in six weights in upright styles and italics, and five optical sizes. It is also available as a variable font with continuous weights from 200 to 900.

The first version, named "Source Serif Pro", was released in 2014. Version 2.0 was released in 2017 and introduced support for more Latin characters, Cyrillic, and Greek. In 2018, Latin italics were added in version "2.007R-ro/1.007R-it". In 2019, Greek and Cyrillic italic were added in version "3.000R". In 2021, a new release added optical sizes; the name "Pro" was dropped at this point.

### Adobe's open-source family

Media related to Source Serif Pro at Wikimedia Commons

## InfoBox

Source Serif
|  | |
| --- | --- |
| Category | Serif |
| Classification | Transitional serif Slab serif |
| Designer(s) | Frank Grießhammer |
| Foundry | Adobe Systems |
| Date created | 2014 |
| License | SIL Open Font License |
| Latest release version | 4.004 |
| Latest release date | January 25, 2021 (2021-01-25) |


title: Chapsa thallotrema

abstract: Chapsa thallotrema is a species of lichen in the family Graphidaceae. Found in Panama, it was described as new to science in 2011.

text:
# Chapsa thallotrema

***Chapsa thallotrema*** is a species of lichen in the family Graphidaceae. Found in Panama, it was described as new to science in 2011.

## InfoBox

| *Chapsa thallotrema* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Fungi |
| Division: | Ascomycota |
| Class: | Lecanoromycetes |
| Order: | Graphidales |
| Family: | Graphidaceae |
| Genus: | *Chapsa* |
| Species: | ***C. thallotrema*** |
| Binomial name | |
| ***Chapsa thallotrema***<br>Lücking & N.Salazar (2011) | |
|


title: Six-lined racerunner

abstract: The six-lined racerunner is a species of lizard native to the United States and Mexico.

text:
# Six-lined racerunner

The **six-lined racerunner** (***Aspidoscelis sexlineatus***) is a species of lizard native to the United States and Mexico.

## Geographic range

The six-lined racerunner is found throughout much of the southeastern and south-central portion of the United States, from Maryland to Florida in the east, across the Great Plains to southern Texas and northern Mexico. In a study conducted on A. sexlineata in Mexico, the majority of the individuals found were inhabiting areas near the seashore that were formed and influenced from maritime climate and hurricanes. The species' range also reaches north to Wisconsin and Minnesota. A small disjunct population is found in Tuscola County, Michigan.

## Description

The six-lined racerunner is typically dark green, brown, or black in color, with six yellow or green-yellow stripes that extend down the body from head to tail. Between stripes are dark-colored fields ranging from dark brown to black and pale-colored fields near ventral scales on each side. There is a distinct lemon-yellow coloration on the sides of the head both above and below the lateral stripe. There are also white mental and gular stripes. The posterior gular fold is bordered by enlarged mesoptychial scales. The postantebrachial scales on the forearms are granular-like and only slightly enlarged. The underside is usually white in color on females, but they may have some pale blue as adults. Males have a brightly blue-hued chest and abdominal stripes. Males also sometimes have a pale green-colored throat. They are slender-bodied, with a tail nearly twice the body length. It is hypothesized that its long tail may serve as a counter-balance, allowing it to flee quickly from predators.

## Behavior

Like other species of whiptail lizards, the six-lined racerunner is diurnal and insectivorous. *A. sexlineata* is most active between 9:00 am and 11:30 am on clear days between late spring and early summer when the temperature is closest to 90 °F. In a different study, they found six-lined racerunners were most active between 11:00 am and 3:00 pm. They are wary, energetic, and fast moving, with speeds of up to 18 mph (29 kmh), darting for cover if approached. Aggressive behavior is common, as the dominant will chase the subordinate and often follow up with a bite to signify dominance.

## Habitat

Due to its extensive range, *A. sexlineata* is found in a wide variety of habitats including grasslands, woodlands, open floodplains, or rocky outcroppings. Populations have also been found abundantly in areas that experience frequent fires. It prefers lower elevations, with dry loamy soils as well as open xeric environments. In the lower elevations, the six-lined racerunner can be found in human-made disturbances like under voltage towers or along highways and railroads. They lay their nests around activity burrows along secondary highways and dirt roads where it is well drained.

## Reproduction

Breeding takes place in the spring and early summer, with up to six eggs being laid in mid-summer and hatching six to eight weeks later. A second clutch of eggs may be laid several weeks after the first. Males have been seen to perform an act termed "cloacal rubbing" to show arousal during breeding. This act entails the male rubbing its cloaca and pelvic region rapidly on the ground, sometimes in a figure eight, while simultaneously moving forward. When he finds a receptive female, the male will straddle her, curve his body over hers, and bite her on the opposite side to where his cloacal region is in order to start copulation. Males will also perform an act termed "female tending" where the male will repeatedly charge at a female trying to leave its burrow until the female allows for the male to approach and begin the reproductive process.

## Prey and Predators

*A. sexlineata* are opportunistic insectivores; they target a prey that is currently abundant in their area. The principal foods of *A. sexlineata* are spiders (Araneae 16.8%), grasshoppers (orthoptera 16.8%), and leaf hoppers (Homoptera 14.1%). *A. sexlineata* also prey upon beetles and butterflies.

Red-imported fire ants are a predator of the six-lined racerunner.

## Subspecies

There are three recognized subspecies of *A. sexlineatus*:

## Conservation status

The six-lined racerunner is listed as a species of concern in the states of Michigan and Wisconsin, due to its limited population but otherwise holds no official conservation status. In Michigan, the population is found in a single public game reserve, 322 km separated from the closest known other populations in Indiana. This species has been observed to benefit from human development in some locations, with stable populations existing along road cuts and railroad tracks. Playa Bagdad in Mexico has seen a large decrease in six-lined racerunner populations due to recreational vehicle damage to sand dunes.

Data related to *Aspidoscelis* at Wikispecies  Media related to Aspidoscelis sexlineata at Wikimedia Commons

## InfoBox

| Six-lined racerunner | |
| --- | --- |
|  | |
| Male six-lined racerunner (*Aspidoscelis sexlineata*). | |
| Conservation status | |
|
Least Concern  (IUCN 3.1) | |
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Chordata |
| Class: | Reptilia |
| Order: | Squamata |
| Family: | Teiidae |
| Genus: | *Aspidoscelis* |
| Species: | ***A. sexlineatus*** |
| Binomial name | |
| ***Aspidoscelis sexlineatus***
(Linnaeus, 1766) | |
|
| Synonyms | |
|  | |


title: Chromatorida

abstract: Chromatorida is an order of pigmented intraerythrocytic parasitic alveolates erected by Jacques Euzéby in 1988. It has one suborder - Laveraniina with two families - Plasmodiidae and Haemoproteidae.

text:
# Chromatorida

**Chromatorida** is an order of pigmented intraerythrocytic parasitic alveolates erected by Jacques Euzéby in 1988.

It has one suborder - Laveraniina with two families - Plasmodiidae and Haemoproteidae.

## InfoBox

| Chromatorida | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| *Clade*: | Diaphoretickes |
| *Clade*: | SAR |
| *Clade*: | Alveolata |
| Phylum: | Apicomplexa |
| Class: | Aconoidasida |
| Order: | Chromatorida<br>Euzéby, 1988 |
|


title: Dragon Ball Z: Super Butōden

abstract: Dragon Ball Z: Super Butōden, known as Dragon Ball Z in Europe, is a 1993 fighting video game developed by Tose and published by Bandai for the Super Nintendo Entertainment System. It is based upon Akira Toriyama's Dragon Ball franchise, and was its first fighting game. Due to the popularity of Street Fighter II: The World Warrior at the time, producer Toshihiro Suzuki chose to work on a fighting game when assigned to a new project due to it being his preferred genre. Its gameplay consists of one-on-one fights, with a main six-button configuration, featuring special moves, as well as three playable modes. Dragon Ball Z: Super Butōden garnered mostly positive reception from critics; most reviewers praised the presentation and gameplay but others felt divided in regards to several design aspects. The game sold approximately 1.3 million units in its first two months of release in Japan. Super Butōden would spawn several sequels; including Dragon Ball Z: Super Butōden 2 (1993), Dragon Ball Z: Super Butōden 3 (1994), Dragon Ball Z: Buyū Retsuden (1994), Dragon Ball Z: Shin Butōden (1995), Dragon Ball Kai: Ultimate Butōden (2011), and Dragon Ball Z: Extreme Butōden (2015).

text:
# Dragon Ball Z: Super Butōden

***Dragon Ball Z: Super Butōden***, known as ***Dragon Ball Z*** in Europe, is a 1993 fighting video game developed by Tose and published by Bandai for the Super Nintendo Entertainment System. It is based upon Akira Toriyama's *Dragon Ball* franchise, and was its first fighting game.

Due to the popularity of *Street Fighter II: The World Warrior* at the time, producer Toshihiro Suzuki chose to work on a fighting game when assigned to a new project due to it being his preferred genre. Its gameplay consists of one-on-one fights, with a main six-button configuration, featuring special moves, as well as three playable modes.

*Dragon Ball Z: Super Butōden* garnered mostly positive reception from critics; most reviewers praised the presentation and gameplay but others felt divided in regards to several design aspects. The game sold approximately 1.3 million units in its first two months of release in Japan. *Super Butōden* would spawn several sequels; including *Dragon Ball Z: Super Butōden 2* (1993), *Dragon Ball Z: Super Butōden 3* (1994), *Dragon Ball Z: Buyū Retsuden* (1994), *Dragon Ball Z: Shin Butōden* (1995), *Dragon Ball Kai: Ultimate Butōden* (2011), and *Dragon Ball Z: Extreme Butōden* (2015).

## Gameplay

*Dragon Ball Z: Super Butōden* is a fighting game similar to *Street Fighter II*. Players fight against other characters in one-on-one matches and the fighter who manages to deplete the health bar of the opponent wins the bout and becomes the winner of the match. The game features three modes of play, a roster of 12 playable characters and their respective transformations with five additional characters being unlockable via cheat code. Characters available are Goku, Piccolo, Vegeta, Frieza, Android 20, Android 18, Android 16, Cell, Trunks and Gohan.

*Super Butōden* uses a customizable six-button control scheme. Special moves are present in conventional format, with most commands consisting of button combinations. Characters can also dash back and forth by pressing L and R respectively. Players can also charge their Ki gauge by holding the Y and B buttons to unleash a Ki blast attack. Unique to the game is the split-screen feature; when one of the two combatants moves far away in the playfield, the view is split to keep both fighters shown in a single screen while their positioning is kept via an on-screen radar.

## Development and release

*Dragon Ball Z: Super Butōden* served as both the first full-fledged fighting game in the *Dragon Ball* franchise and the first entry in the *Super Butōden* sub-series. Its development was helmed by producer Toshihiro Suzuki, with Akihumi Kubota and Shinsaku Shimada serving as co-directors. Kinya Takehana and Koji Shimizu co-designed the game with additional design work by Design Office D&D while artists Hirokazu Tamai, Masayuki Takahashi, Seiichiro Shiino, Shinichi Iidawere and Shōko Arai were responsible for the pixel art, in addition to Maruko Papa and "Maruko" acting as programmers. Both music and sound design were handled by Kenji Yamamoto of Hyper Entertainment and Yuki Sabakuma respectively. Other people also assisted with its development. Due to the popularity of fighting games at the time such as *Street Fighter II: The World Warrior*, Suzuki stated he chose to work on a fighting game when assigned to a new project due to it being his favorite genre.

*Dragon Ball Z: Super Butōden* was first released by Bandai in Japan on March 20, 1993 and later in Europe on November 30 of the same year. On March 27, 1993, an album was published exclusively in Japan by Columbia, featuring arranged songs co-composed by Yamamoto, Ginji Ogawa and Sueaki Harada of Hyper Monolith. In Japan, a special glitter sticker with a hidden technique written on the back for the game was also distributed as an order bonus. In 2018, the title was included as a limited pre-order bonus for the Nintendo Switch version of *Dragon Ball FighterZ*, marking its first appearance in North American regions. On October of the same year, Bandai Namco Entertainment announced that the game would be unlocked for free to Switch users in Latin America if their official newsletter reached 10,000 subscribers.

## Reception

### Sales

Upon release in Japan, *Dragon Ball Z: Super Butōden* topped the *Famitsu* sales charts in March 1993. Two months after its release in Japan, the title recorded sales of 1.3 million units. It proved to be a commercial hit, with lifetime sales between 1.41 million and, according to *Famitsu*, 1.45 million units, in Japan alone.

### Critical response

*Dragon Ball Z: Super Butōden* received mostly positive reception from critics. *Famitsu* praised the voice samples, the split-screen feature, ability to avoid special moves via button inputs and auto mode for newcomers. Fan reception was positive: readers of *Famimaga* voted to give the game a 23.08 out of 30 score, ranking at the number 46 spot in a poll, indicating a large popular following. *Famimaga* also gave it several awards for character and originality respectively.

Spirit, Laurent Defrance and François Hermellin of *Consoles +* praised the audiovisual presentation, playability and longevity. Olivier Prézeau, Grégoire Hellot and Laurent Deheppe of *Joypad* commended the digitized sounds, aerial combat, character roster and sprite animations but criticized various aspects such as the visuals for being poor and the french translation. *Super Pro*'s Ryan Butt gave positive remarks to the graphics and sound, characters and their special moves, as well as regarding the split-screen effect to be novel but noted it could become cumbersome, while criticizing the gameplay for being repetitive. *Super Action*'s Frank O'Connor gave a more negative outlook to the game, regarding it to be an "unplayable" *Street Fighter II* clone. *Super Play*'s Matt Bielby gave positive comment to the graphics, cast of characters, originality and number of special moves but noted it to be "hard to access." *Play Time*'s Klaus Martin also commended the audiovisual presentation but felt mixed in regards to the gameplay. *Super Control*'s Allison West and Paul Mallinson also felt mixed about the visuals, sound, gameplay and overall longevity. In contrast, Sylvain of *Player One* gave a very positive review of the title, giving it high remarks in multiple areas.

Spanish magazine *Nintendo Acción* gave very high remarks to the visuals, audio, gameplay and fun factor. Bruno Sol of *Superjuegos* praised its faithfulness to the original manga, graphics, sound design and number of moves for each character, regarding it as one of the best arcade-style fighting games for Super Nintendo. *Jeuxvideo.com*'s Rroyd-Y stated that "This first game in a successful trilogy is surely not the best episode of the three. Stained by a very heavy gameplay and a disconcerting difficulty, it will really only delight the unconditional fans of the time who seek at all costs to slip into the skin of Son Goku or Vegeta."

1. Doolan, Liam (September 16, 2018). "Super Butoden Will Remain Exclusive To Dragon Ball FighterZ Pre-Orders - Buy now or miss out". *Nintendo Life*. Nlife Media. Archived from the original on 2020-11-11. Retrieved 2023-07-29.
2. Carter, Chris (September 17, 2018). "Bandai Namco clarifies that they aren't releasing Super Butoden Switch outside of Dragon Ball FighterZ pre-orders - Gulp". *Destructoid*. Enthusiast Gaming. Retrieved 2023-07-29.
3. Nagaoka, Yori (September 27, 2018). "Nintendo Switch用「ドラゴンボール ファイターズ」本日発売！ - 最大6人のオフラインプレイが可能". *GAME Watch* (in Japanese). Impress Corporation. Archived from the original on 2018-09-28. Retrieved 2023-07-29.
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5. *Dragon Ball Z: Super Butōden* Mode D'Emploi (Super Nintendo Entertainment System, FRA)
6. *Dragon Ball Z (ドラゴンボールZ)〜超武闘伝〜 ファミコン奥義大全書*. Jump Comics Selection (in Japanese). Shueisha. March 1, 1993. pp. 1–96. ISBN 978-4834211467.
7. "Gran Guia: Dragon Ball Z - ¡Consigue toda su fuerza! (Super Nintendo)". *Nintendo Acción* (in Spanish). No. 15. Hobby Press. February 1994. pp. 58–65.
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10. Tose (20 March 1993). *ドラゴンボールZ 超武闘伝 (Dragon Ball Z: Super Butōden)* (Super Famicom) (in Japanese). Bandai. Level/area: Staff roll.
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13. Torishima, Kazuhiko (April 4, 1993). "「ドラゴンボールZ 超武闘伝烈戦記」". *V Jump* (in Japanese). No. 6. Shueisha. pp. 50–53.
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19. Carter, Chris (September 17, 2018). "Bandai Namco clarifies that they aren't releasing Super Butoden Switch outside of Dragon Ball FighterZ pre-orders - Gulp". *Destructoid*. Enthusiast Gaming. Retrieved 2020-12-20.
20. Nagaoka, Yori (September 27, 2018). "Nintendo Switch用「ドラゴンボール ファイターズ」本日発売！ - 最大6人のオフラインプレイが可能". *GAME Watch* (in Japanese). Impress Corporation. Archived from the original on 2018-09-28. Retrieved 2020-12-20.
21. Spirit; Defrance, Laurent; Hermellin, François (May 1993). "Super Famicom Review: Dragon Ball Z". *Consoles +* (in French). No. 20. M.E.R.7. pp. 80–84. Archived from the original on 2018-08-22. Retrieved 2020-12-20.
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25. Prézeau, Olivier; Hellot, Grégoire (May 1993). "Super Nintnedo: Combat Glacial Du Bien Contre Le Mal - Dragon Ball Z". *Joypad* (in French). No. 20. Yellow Media. pp. 68–69. Archived from the original on 2020-12-21. Retrieved 2020-12-21.
26. Deheppe, Laurent; Hellot, Grégoire (October 1993). "Méga Dossier - Dragon Ball Z; Super Nintnedo: Cha-La, Head Cha-La! - Dragon Ball Z". *Joypad* (in French). No. 24. Yellow Media. pp. 114–117, 118.
27. Sylvain (October 1993). "Jeux Testés: Super Nintendo – Dragon Ball Z". *Player One* (in French). No. 35. Média Système Édition. pp. 100–102.
28. Sol, Bruno (December 1993). "Super Nintendo: La Furia De Son Goku - Dragon Ball Z". *Superjuegos* (in Spanish). No. 20. Grupo Zeta. pp. 42–49.
29. Bielby, Matt (June 1993). "Import Review: Dragon Ball Z". *Super Play*. No. 8. Future Publishing. p. 57.
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31. O'Connor, Frank (June 1993). "Import Review: The current fashion for games based on Japanese cartoons reaches a nightmarish peak in Dragonball Z. Is this an amazing new game, or a pile of poop? - Dragon Ball Z". *Super Action*. No. 9. Europress. pp. 30–31.
32. West, Allison; Mallinson, Paul (July 1993). "Super Review: More Weird Antics From Out Japanese Cousins - Dragonball Z". *Super Control*. No. 2. Maverick Magazines. pp. 40–41.
33. Butt, Ryan (May 1993). "Review Import - Dragon Ball Z". *Super Pro*. No. 6. Paragon Publishing. pp. 30–31.
34. "90年11月から'93年6月21日発売までの323本を収録!! Super Famicom All Catalog '93 8月情報号特別付録 - ドラゴンボールＺ 超武闘伝". *Famimaga* (in Japanese). No. 16. Tokuma Shoten. August 1, 1993. pp. 22, 104–107.
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37. Torishima, Kazuhiko (September 1993). "ドラゴンボールZ外伝 -サイヤ人絶滅計画-". *V Jump* (in Japanese). No. 11. Shueisha. pp. 49–53.
38. "Game Search". *Game Data Library*. Archived from the original on 2019-04-24. Retrieved 2020-12-20.
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## InfoBox

| Dragon Ball Z: Super Butōden | |
| --- | --- |
|  | |
| Developer(s) | Tose |
| Publisher(s) | Bandai |
| Director(s) | Akihumi Kubota
Shinsaku Shimada |
| Producer(s) | Toshihiro Suzuki |
| Designer(s) | Kinya Takehana
Koji Shimizu |
| Programmer(s) | Maruko
Maruko Papa |
| Artist(s) | Hirokazu Tamai
Masayuki Takahashi
Seiichiro Shiino |
| Composer(s) | Kenji Yamamoto |
| Series | *Dragon Ball* |
| Platform(s) | Super Nintendo Entertainment System |
| Release |  |
| Genre(s) | Fighting |
| Mode(s) | Single-player, multiplayer |


title: Clontuskert Abbey

abstract: The Priory of Saint Mary, Clontuskert-Hy-Many, also called Clontuskert Abbey, is a medieval Augustinian priory and National Monument located in County Galway, Ireland.

text:
# Clontuskert Abbey

**The Priory of Saint Mary, Clontuskert-Hy-Many**, also called **Clontuskert Abbey**, is a medieval Augustinian priory and National Monument located in County Galway, Ireland.

## Location

Clontuskert Abbey is located 5 kilometres (3.1 mi) south of Ballinasloe, south of the Ballinure River (a tributary of the Suck).

## History

This was an early monastic site, founded c. AD 800 by Saint Boedan (Baedán, Baetan) and then located in the kingdom of Uí Maine. It should not be confused with Cloontuskert, located near Lanesborough and founded by Faithleach in the 6th century. Local tradition also states that Boedan's monastery was located not here, but at the ringfort at Chapelpark.

The Priory of St Mary, a priory of the Canons Regular, was founded for the Arroasian Order by the Ó Ceallaigh family c. 1180. It was built in the claustral plan in which the church and domestic buildings are arranged around a central cloister garth.

Clontuskert appears in the *Calendar of Papal Petitions* for 1379, where "Nicholas O’Quinaeych, Augustinian Canon of St. Mary’s Cluyctenagentomany \[*Clontuskert-Hy-Many*\]" was given a dispensation by Pope Urban VI to become prior of the monastery.

It burned down in 1404. It was soon rebuilt, with ten-year indulgences granted to those who paid for the reconstruction. This included the great four-order west doorway, erected 1471. The O'Kellys continued to influence appointment of the prior. In 1444, prior Breasal O'Kelly died in battle. In 1473, prior Donatus O'Kelly was accused of homicide and keeping a concubine.

Clontuskert was dissolved in 1562 and the land passed to the Burkes, although some monks remained until some time after 1637.

The east gable wall collapsed in 1918, but was rebuilt in 1972. Excavation took place in 1970–72.

## Buildings

The buildings feature nave, chancel, rood screen, transepts, cloister, chapter room, sacristy, cellars, an oven and a vaulted room in the southeast.

The great west doorway features many carvings, including Michael the Archangel with a sword and the scales for weighing souls; Saints Augustine of Hippo, Catherine of Alexandria and John the Baptist; a pelican feeding her young; a pair of griffins; and a mermaid with a mirror. The mermaid is similar to one at Clonfert Cathedral, while the doorway is similar to the one at Clonmacnoise. The inscription reads MATHEV DEI GRA EPS CLONFERTENS ET PATRE ONEACDAVAYN CANONIE ESTI DOMINE FI FECERT ANO DO MCCCCLXXI (Matthew by the Grace of God, Bishop of Clonfert, and Patrick O’Naughton, canon of this house, caused me to be made in 1471); the bishop referred to is Matthaeus Mág Raith, the only Augustinian to hold the see of Clonfert.

## In fiction

Clontuskert Abbey is mentioned in Mary Pat Kelly's novel *Galway Bay* (2011). This abbey is mentioned as well in Lina Callejon’s novel "Ien Seu: El Camino" (Editorial Círculo Rojo)

## InfoBox

The Priory Church of Saint Mary, Clontuskert
| Prióireacht Naomh Mhuire, Cluain Tuaiscirt Uí Maine | |
| --- | --- |
| nave doorway with carved saints | |
| Location within Ireland | |
| Monastery information | |
| Other names | The Old Abbey; Cluain-tuaiskirt-ua-maine; Clontuskert-Omanny |
| Order | Arroasian Order |
| Established | c. 800; 1180 |
| Disestablished | 1550s; 1630 |
| Diocese | Clonfert |
| People | |
| Founder(s) | Báedán |
| Architecture | |
| Status | ruined |
| Style | Late Gothic |
| Site | |
| Location | Abbeypark, Ballinasloe, County Galway |
| Coordinates | 53°16′58″N 8°12′57″W / 53.282663°N 8.215720°W / 53.282663; -8.215720 |
| Visible remains | abbey church, cloister |
| Public access | yes |
|  | |
| National monument of Ireland | |
| Official name | Clontuskert Abbey |
| Reference no. | 512 |
|  | |
|  | |


title: Tobias Jenkins

abstract: Tobias Jenkins was one of two Members of the Parliament of England for the constituency of York between 1694 and 1705. He again represented the city as MP in the Parliament of Great Britain between 1715–1722.

text:
# Tobias Jenkins

**Tobias Jenkins** was one of two Members of the Parliament of England for the constituency of York between 1694 and 1705. He again represented the city as MP in the Parliament of Great Britain between 1715–1722.

## Life and politics

Tobias Jenkins, born in 1660, was the son of Colonel Tobias Jenkins and his wife, Antonyna Wickham. His paternal grandfather, Sir Henry Jenkins was also MP for Boroughbridge. He was made freeman of the city of York on 2 October 1695 just prior to being returned as MP for the city.

Tobias did not stand in the first elections of 1701 as he had been elected Lord Mayor of York. He did stand in the second elections of that year and was returned after a contest. He stood down in 1705 in favour of his nephew Robert Benson. He next stood for election on 1713 after Benson had been made a peer. Tobias was defeated by Robert Fairfax, but was successful in the same contest in 1715.

Tobias was married twice. First to Lady Mary Paulet, daughter of Charles, Duke of Bolton. They had two children. Elizabeth and Mary, who married Sir Henry Goodricke, 4th Baronet of Ribston, in York Minster on 26 April 1707. He had three children by his second marriage, William, Tobias and Anthonina.

He died intestate in 1730.

## InfoBox

| Tobias Jenkins | |
| --- | --- |
|  | |
| Member of the England Parliament
for York | |
| **In office**
1694–1698 | |
| Preceded by | Robert Waller
Henry Thompson (1659–1700) |
| Succeeded by | Sir William Robinson, Bt |
| **In office**
1698–1701 | |
| Preceded by | Edward Thompson |
| Succeeded by | Edward Thompson
Sir William Robinson, Bt |
| **In office**
1701–1705 | |
| Preceded by | Sir William Robinson, Bt
Edward Thompson |
| Succeeded by | Robert Benson
Robert Fairfax |
| **In office**
1715–1722 | |
| Preceded by | Sir William Robinson, Bt
Robert Fairfax |
| Succeeded by | Sir William Milner
Edward Thompson Jr |
|  | |
| Personal details | |
| Born | 1660
Grimstone, York |
| Died | 1730
Acomb, York |
| Nationality | English |
| Spouse | Lady Mary Paulet |
| Children | Elizabeth
Mary
William
Tobias
Anthonina |
|  | |


abstract: The Federal Government Commissioner for the Acceptance of Sexual and Gender Diversity is an office in the federal Government of Germany that is tasked with promoting and defending LGBTIQ+ rights and fighting anti-LGBTIQ+ hate. The office was created by the coalition government of Chancellor Olaf Scholz in 2021. The inaugural holder of the office is Sven Lehmann of the Alliance 90/The Greens, who concurrently holds the office of Parliamentary State Secretary in the Federal Ministry of Family Affairs, Senior Citizens, Women and Youth. In November 2022 the federal cabinet adopted a new strategy to promote LGBTIQ+ rights and combat anti-LGBTIQ+ hate.

text:
# Federal Government Commissioner for the Acceptance of Sexual and Gender Diversity

The **Federal Government Commissioner for the Acceptance of Sexual and Gender Diversity** (known as **Commissioner for LGBTIQ+ Equality** for short and informally nicknamed the **"Queer Commissioner"**) is an office in the federal Government of Germany that is tasked with promoting and defending LGBTIQ+ rights and fighting anti-LGBTIQ+ hate.

The office was created by the coalition government of Chancellor Olaf Scholz in 2021. The inaugural holder of the office is Sven Lehmann of the Alliance 90/The Greens, who concurrently holds the office of Parliamentary State Secretary in the Federal Ministry of Family Affairs, Senior Citizens, Women and Youth. In November 2022 the federal cabinet adopted a new strategy to promote LGBTIQ+ rights and combat anti-LGBTIQ+ hate.

## InfoBox

| Commissioner for the Acceptance of Sexual and Gender Diversity of the Government of Germany | |
| --- | --- |
|  | |
| Incumbent
Sven Lehmann
 | |
| Inaugural holder | Sven Lehmann |
| Formation | 2021 |
| Website | bmfsfj.de |


title: Champlain, New York

abstract: Champlain is a town in Clinton County, New York, United States. The population was 5,754 at the 2010 census. The town is located on the western shore of Lake Champlain, near the northern end of Lake Champlain and is on the U.S./Canadian border. The town occupies the northeastern corner of Clinton County and the state of New York. Within the town are two villages: Champlain and Rouses Point.

text:
# Champlain, New York

**Champlain** is a town in Clinton County, New York, United States. The population was 5,754 at the 2010 census. The town is located on the western shore of Lake Champlain, near the northern end of Lake Champlain and is on the U.S./Canadian border.

The town occupies the northeastern corner of Clinton County and the state of New York. Within the town are two villages: Champlain and Rouses Point.

## History

Nearby Lake Champlain was an important military and trade route during the colonial period. The lake and the town were named in honor of Samuel de Champlain, who first surveyed the area in 1609. It was part of Canada until 1763 and became part of the United States in 1783.

The town was formed in 1788, the same year the county was established. In 1799, the town was reduced by the formation of the town of Chateaugay (now in Franklin County). The founding of the towns of Chazy and Mooers, in 1804, further reduced Champlain.

Champlain is on the border with Canada and contains three border crossings: Champlain, Overton Corners, and Rouses Point. The Champlain Port of Entry on Interstate 87 is one of the four most important commercial gateways on the northern border, connecting New York City to the south with Montreal to the north, via Quebec Autoroute 15.

## Geography

Champlain is approximately 43 miles (69 km) south of Montreal. According to the 2010 United States census, the town has a total area of 58.8 square miles (152.3 km2), of which 51.2 square miles (132.7 km2) is land and 7.6 square miles (19.6 km2), or 12.90%, is water.

Lake Champlain and the Richelieu River are on the eastern edge of the town, which shares a border with Grand Isle County, Vermont. The town line to the north is the international border with Saint-Bernard-de-Lacolle, Quebec, Canada.

The 176-mile (283 km) Adirondack Northway (I-87) is a major north-south highway that begins at the Canadian border at Champlain and travels south to Albany, connecting to the New York State Thruway. US 9 parallels I-87, and U.S. Route 11 runs north-south across the town. US 2 intersects US-11 by Rouses Point. New York State Route 9B intersects US-11 in the northeast and US-9 in the southern part of Champlain, providing a highway closer to Lake Champlain. New York State Route 276 partly runs along the international border.

## Demographics

Historical population
| Census | Pop. | Note |  |
| --- | --- | --- | --- |
| 1820 | 1,618 |  |  |
| 1830 | 2,456 |  | 51.8% |
| 1840 | 3,632 |  | 47.9% |
| 1850 | 5,067 |  | 39.5% |
| 1860 | 5,857 |  | 15.6% |
| 1870 | 5,080 |  | −13.3% |
| 1880 | 5,407 |  | 6.4% |
| 1890 | 5,207 |  | −3.7% |
| 1900 | 4,748 |  | −8.8% |
| 1910 | 4,637 |  | −2.3% |
| 1920 | 4,535 |  | −2.2% |
| 1930 | 4,848 |  | 6.9% |
| 1940 | 4,938 |  | 1.9% |
| 1950 | 5,118 |  | 3.6% |
| 1960 | 5,544 |  | 8.3% |
| 1970 | 5,633 |  | 1.6% |
| 1980 | 5,889 |  | 4.5% |
| 1990 | 5,796 |  | −1.6% |
| 2000 | 5,791 |  | −0.1% |
| 2010 | 5,754 |  | −0.6% |
| 2020 | 5,745 |  | −0.2% |
| U.S. Decennial Census | | | |

As of the 2000 census, there were 5,791 people, 2,386 households, and 1,562 families residing in the town. The population density was 113.1 inhabitants per square mile (43.7/km2). There were 2,718 housing units at an average density of 53.1 per square mile (20.5/km2). The racial makeup of the town was 97.74% White, 0.52% Black or African American, 0.29% Native American, 0.36% Asian, 0.02% Pacific Islander, 0.26% from other races, and 0.81% from two or more races. Hispanic or Latino of any race were 1.00% of the population.

There were 2,386 households, out of which 31.1% had children under the age of 18 living with them, 51.0% were married couples living together, 10.7% had a female householder with no husband present, and 34.5% were non-families. 28.7% of all households were made up of individuals, and 11.9% had someone living alone who was 65 years of age or older. The average household size was 2.39 and the average family size was 2.95.

In the town, the population was spread out, with 25.0% under the age of 18, 7.1% from 18 to 24, 28.7% from 25 to 44, 24.6% from 45 to 64, and 14.6% who were 65 years of age or older. The median age was 38 years. For every 100 females, there were 95.5 males. For every 100 females age 18 and over, there were 92.8 males.

The median income for a household in the town was $37,775, and the median income for a family was $46,113. Males had a median income of $35,198 versus $26,345 for females. The per capita income for the town was $18,987. About 6.7% of families and 9.2% of the population were below the poverty line, including 9.5% of those under age 18 and 6.9% of those age 65 or over.

## Communities and locations in the town

* **Catfish Point**  A location on the shore of Lake Champlain by Kings Bay.
* **Champlain**  A village in the central part of the town near the US-9 and US-11 intersection.
* **Coopersville**  A hamlet by the Great Chazy River on NY-9B. It was also known as "Corbeau" and settled *circa* 1789.
* **Corbeau Creek**  An important tributary of the Great Chazy River.
* **Great Chazy River**  A river flowing through the town to King Bay in Lake Champlain.
* **Kings Bay**  A bay of Lake Champlain, south of Rouses Point.
* **Kings Bay Wildlife Management Area**  A state conservation area on the shore of Lake Champlain.
* **Perry Mills**  A hamlet in the northwestern part of the town on the Great Chazy River. Roxham Road here is the place where more people cross from the U.S. into Canada irregularly to seek asylum, than any other point on the Canada–United States border.
* **Point au Fer**  A peninsula in Lake Champlain south of Rouses Point, and site of Revolutionary War-era Point Au Fer Fort.
* **Rouses Point**  A village in the northeastern part of the town near Lake Champlain.
* **Scales Point**  A location on Lake Champlain by Kings Bay.
* **Twin Bridges**  A location on the western town line at the Great Chazy River.

## Notable people

## InfoBox

| Champlain, New York | |
| --- | --- |
| Town | |
| Former border station, Champlain | |
| Location in Clinton County and the state of New York. | |
| Coordinates: 44°57′54″N 73°26′3″W / 44.96500°N 73.43417°W / 44.96500; -73.43417 | |
| Country | United States |
| State | New York |
| County | Clinton |
| Named for | Samuel de Champlain |
| Government | |
| Type | Town Council |
| Area | |
| Total | 58.82 sq mi (152.33 km2) |
| Land | 51.16 sq mi (132.50 km2) |
| Water | 7.66 sq mi (19.83 km2) |
| Elevation | 152 ft (46 m) |
| Population (2020) | |
| Total | 5,745 |
| Density | 110.20/sq mi (42.55/km2) |
| Time zone | UTC-5 (Eastern (EST)) |
| Summer (DST) | UTC-4 (EDT) |
| ZIP code | 12919 |
| Area code | 518 |
| FIPS code | 36-019-13750 |
| GNIS feature ID | 978809 |
| Website | www.townofchamplain.com |


title: Six-man football

abstract: Six-man football is a variant of gridiron football played with six players per team, instead of the standard eleven or twelve. It is generally played by high schools in rural areas of the United States and Canada.

text:
# Six-man football

**Six-man football** is a variant of gridiron football played with six players per team, instead of the standard eleven or twelve. It is generally played by high schools in rural areas of the United States and Canada.

## History

Six-man football was developed in 1934 by Stephen Epler in Chester, Nebraska, as an alternative means for small high schools to field a football team during the Great Depression. The first game was played on Thursday, September 27, 1934, at the Hebron, Nebraska Athletic Gridiron, with a crowd of almost 1000 watching. This game was played so that coaches all over Kansas and Nebraska could see if they wanted to try this new game of six-man. The two teams playing in the game were the combined team from Hardy-Chester ("Hard-Chests") and a combined team from Belvidere-Alexandria ("Belvalex"). The two teams had two weeks to practice prior to this game; the two teams played to a 19-19 tie. After that night, rules for the game were distributed to about 60,000 coaches in the United States.

On October 5, 1940, Windham High School from Windham, Ohio, defeated Stamford Collegiate of Niagara Falls, Ontario, 39-1 in the first international six-man football game.

## Notable players

Jack Pardee (April 19, 1936 – April 1, 2013) began his football career as a teenager in Christoval, Texas, where he excelled as a member of the six-man football team.<sup>\[1\]</sup> He was an All-American linebacker at Texas A&M University and a two-time All-Pro with the Los Angeles Rams (1963) and the Washington Redskins (1971). He was one of the few six-man players to ever make it to the NFL, and his knowledge of that wide-open game served him well as a coach. Pardee was inducted into the College Football Hall of Fame as a player in 1986. Following his playing career, Pardee went on to coach, becoming the only head coach to helm a team in college football, the National Football League, the United States Football League, the World Football League, and the Canadian Football League.

Ed Sprinkle (September 3, 1923 – July 28, 2014) played six-man football at Tuscola High School in 1939, and became known to many as "The Meanest Man in Pro Football", nicknamed "the Claw". Prior to his NFL career, Sprinkle won three letters in football and two in basketball and earned All-Border Conference while at Hardin–Simmons University in the early 1940s. He earned all-Eastern honors in 1943 while attending the United States Naval Academy. He played for twelve seasons with the Chicago Bears of the National Football League and is credited with calling attention to the NFL's defensive players. At first, he played on both defense and offense. He caught 32 passes for 451 yards and seven touchdowns during his professional career. His ability to rush opposing quarterbacks, however, made him a defensive specialist, earning four Pro Bowls. He was inducted into the Pro Football Hall of Fame in 2020.

## Game play

There are two versions of six-man football, one American and one Canadian.

Six-man American football is played on an 80-yard-long (73-) by 40-yard-wide (37-m) field in most circumstances; the high school rulebook allows games to be held on a normal 100-yd (91-m) by 5313-yd (48.8-m) field used in eleven-man football if the teams and leagues so choose. Furthermore, the game specifies a 15-yard distance (14-m) from the line of scrimmage to gain a first down, instead of the normal 10 yards (9 m).

Six-man Canadian football is similar, but the length of the field can be either 100 or 110 yards long by 40 yards wide. End zones can be either 10 yards or up to 20 yards deep. Normal twelve-man Canadian fields are 110 yards long and 65 yards wide, with 20-yard end zones and ten yards to gain a first down, with the offense provided three downs to gain sufficient yardage rather than four downs as in the American game; this remains unchanged in the six-man variant.

All six players are eligible to be receivers in the American game, while in the Canadian game, the player in the centre of the offensive line is ineligible. On offense, three linemen are required on the line of scrimmage at the start of the play. The player to whom the ball is snapped cannot advance the ball past the line of scrimmage (thus eliminating such plays as the bootleg or scramble); however, if the ball is tossed to another player, that player can run or throw the ball and the player to whom the ball was snapped is still an eligible receiver. All forward passes to the player who snapped the ball (center) must travel at least 1 yard (1 m) in flight.

## Scoring

Six-man American football scoring is the same as for eleven men, except on the point after touchdown (PAT) attempt and the field goal. A point-after kick is worth two points, while a conversion made by running or passing the ball is worth one point. A field goal is worth four points instead of three. These rule changes were made because of the difficulty of successfully getting a kick off with so few blockers on the line compared to the number of defenders. Six-man Canadian football also inverts the point values of PATs and conversions, but retains the three-point field goal and, additionally, retains the one-point rouge that is unique to the Canadian game.

In both University Interscholastic League and Texas Association of Private and Parochial Schools competition, a 45-point "mercy rule" exists to prevent lopsided scoring deficits (no such rule exists in the standard Texan game). The game is ended under this rule if a team is losing by 45 or more points at halftime or at any point after. The mercy rule is alluded to in the title of the David Morse film about six-man football, *The Slaughter Rule*. In Canada, a 35-point mercy rule is used that changes the clock to be constantly running rather than ending the game immediately.

Scoring tends to be much higher in six-man games, which have exceeded 100 points several times per season.

## Modernity

As of the 2017–2018 alignments from UIL, TAPPS, TAIAO, TCAF, and T-CAL, the state of Texas has 262 six-man football teams (69 in UIL Division I, 69 in UIL Division II, 52 in TAPPS 19 in TAIAO, 18 in TCAF and 17 in T-CAL).

Texas Charter School Academic and Athletic League (TCSAAL) held its inaugural Six-Man Football Varsity State Championship on November 20, 2015, at East View High School in Georgetown, Texas, in which Inspired Vision Academy defeated West Columbia Charter School for the championship.

TCSAAL held its second annual Six-Man Football State Championship on November 14, 2016, at Warrior Stadium at South Grand Prairie High School in Grand Prairie. Inspired Vision Academy lost to UME Preparatory Academy 999-0 (the scoreboard could only display three digits) for their second consecutive TCSAAL Six-Man Varsity State Championship.

The state of Florida has 32 teams playing six-man football in the Florida Christian Association of Private and Parochial Schools. FCAPPS comprises small Christian or private schools and at least one home-school cooperative. Teams in the conference are as far south as the Florida Keys to as far north as Jacksonville.

The state of Alabama has eight teams playing as part of the Christian Football Association (www.cfafootball.org) which is a sister organization to the Alabama Christian Education Athletic Association (ACEAA).

The state of Colorado has 23 teams currently playing six-man football, with the majority of teams being from small towns located in eastern Colorado.

As of 2013, Idaho has two teams that play six-man football; they play against makeshift junior varsity teams or teams in Montana. Idaho has not sanctioned six-man football, but approved it for a pilot program. It was made particularly for schools that were small and too far removed geographically to have a reasonable co-operative program with a neighboring school. Idaho did play six-man football in the 1940s.

The sport is also played by high schools in Kansas, Montana, Nebraska, New Mexico, North Dakota, Oregon, and Wyoming, and in parts of Canada.

As of 2013, no leagues (professional, semiprofessional, or amateur) play the game past the high-school level. The last one, the San Antonio-based Texas Sixman Football League, converted to eight-man football after the 2012 season. The Central Florida-based Southeastern Christian Association of Sixman Football ceased operations in the late 2000s, and the Pennsylvania 6-Man Football League also converted to eight-man around the same time.

Currently, a women's league is playing six-(wo)man football – the Independent Women's Football League.

In 2024, The Arena League launched a professional league under the six-man format. The Arena League plays on a standard indoor American football field but without goalposts (and thus no kicking).

## Literature

In 2005, coach C.H. Underwood authored what is considered to be the definitive strategy and play book for the game, *Six Man Football*, published by Bright Sky Press. A player during the 1960s and coach of the first Texas State Six-Man Championship team in 1972, Underwood provides a thorough dissertation on the small-town sport from both analytical and historical perspectives.

Another Bright Sky Press book, published in 2003, *Grit and Glory: Six-Man Football*, is a collection of photographs that capture the spirit of the game and its players. *Grit and Glory* exclusively showcases the work of art photographer Laura Wilson, mother of actors Owen, Luke, and Andrew Wilson.

In 2009, Dee Kelly, wrote a fictional book, *A Good Man's Sin*, based on a boy moving from the city to the country and playing six-man football in Indian Gap, Texas, before making it to the NFL. It explains the rules of the game and small-town football. It portrays the mid-1970s six-man football teams in central Texas consistently to the teams of that time when Cherokee and Marathon were powerhouses.

## Film

*The Slaughter Rule*, released in 2002, used six-man football as played in Montana as the backdrop for an examination of the relationship between a fatherless renegade football player and his loner coach. The film contains a brief but adequate explanation of how the game of six-man football is played, as well as footage of actual game sequences. The title refers to a rule in which a game is called in the second half if one team gains a 45-point advantage over the other. In other states, it is referred to as the mercy rule. When invoked, one team is said to have "45ed" the other.

*Six Man, Texas*, released in 2008, is a documentary film that explores six-man football as identity in the public high schools of the 160 small towns in Texas that play it.

*The Seventh Man*, released in 2003, documents two years in the lives of the Panther Creek Panthers, one of the storied programs in Texas six-man football. It features the narration of Val Kilmer.

A Texas-6 CBS documentary looks at the 2019 Strawn, Texas Greyhounds, who had won four titles and were trying to repeat with the coach who made it all happen.


title: Chromatron

abstract: The Chromatron is a color television cathode ray tube design invented by Nobel prize-winner Ernest Lawrence and developed commercially by Paramount Pictures, Sony, Litton Industries and others. The Chromatron offered brighter images than conventional color television systems using a shadow mask, but a host of development problems kept it from being widely used in spite of years of development. Sony eventually abandoned it in favor of their famous Trinitron system using an aperture grille.

text:
# Chromatron

The **Chromatron** is a color television cathode ray tube design invented by Nobel prize-winner Ernest Lawrence and developed commercially by Paramount Pictures, Sony, Litton Industries and others. The Chromatron offered brighter images than conventional color television systems using a shadow mask, but a host of development problems kept it from being widely used in spite of years of development. Sony eventually abandoned it in favor of their famous Trinitron system using an aperture grille.

## History

### Color television

Color television had been studied even before commercial broadcasting became common, but it was only in the late 1940s that the problem was seriously considered. At the time, a number of systems were being proposed that used separate red, green and blue signals (RGB), broadcast in succession. Most systems broadcast entire frames in sequence, with a colored filter (or "Color gel|gel") that rotated in front of an otherwise conventional black and white television tube. Because they broadcast separate signals for the different colors, all of these systems were incompatible with existing black and white sets. Another problem was that the mechanical filter made them flicker unless very high refresh rates were used. In spite of these problems, the US Federal Communications Commission (FCC) selected a sequential-frame 144 frame/s standard from CBS as their color broadcast standard in 1950.

RCA worked along different lines entirely, using the luminance-chrominance system. This system did not directly encode or transmit the RGB signals; instead, it combined these colors into one overall brightness figure, the "luminance". Luminance closely matched the black and white signal of existing broadcasts, allowing it to be displayed on existing televisions. This was a major advantage over the mechanical systems being proposed by other groups. Color information was then separately encoded and folded into the signal as a high-frequency modification to produce a composite video signal  on a black and white television this extra information would be seen as a slight randomization of the image intensity and just appear blurry, but the limited resolution of existing sets made this invisible in practice. On color sets, the signal would be extracted, decoded back into RGB, and displayed.

Although RCA's system had enormous benefits, it had not been successfully developed because it was difficult to produce suitable display tubes. Black and white TVs used a continuous signal and the tube could be coated with an even painting of phosphor. With RCA's system, the color was changing continually along the line, which was far too fast for any sort of mechanical filter to follow. Instead, the phosphor had to be broken down into a discrete pattern of colored spots. Focusing the right signal on each of these tiny spots was beyond the capability of electron guns of the era. RCA's early experiments used three-tube projectors, or mirror-based systems known as "Triniscope".

### Shadow masks

RCA eventually solved the problem of displaying the color images with their introduction of the shadow mask. The shadow mask consists of a thin sheet of aluminum with tiny holes photo etched into it, placed just behind the front surface of the picture tube. Three guns, arranged in a triangle, were all aimed at the holes. Stray electrons at the edge of the beam were cut off by the mask, creating a sharply focused spot that was small enough to hit a single colored phosphor on the screen. Since each of the guns aimed at the hole from a slightly different angle, the spots of phosphor on the tube could be separated slightly to prevent overlap.

The disadvantage of this approach was that for any given amount of gun power, the shadow mask filtered out the majority of the signal. To ensure there was no overlap of the signal on the screen, the dots had to be separated and covered perhaps 25% of its surface. This led to very dim images, requiring much greater power in order to provide a useful picture. Moreover, the system was highly dependent on the relative angles of the beams between the three guns, which required constant adjustment by the user to ensure the guns hit the correct colors. In spite of this, the technical superiority of the RCA system was overwhelming compared to the CBS system, and was selected as the new NTSC standard in 1953. The first broadcast using the new standard occurred on New Year's Day in 1954, when NBC broadcast the Tournament of Roses Parade.

In spite of this early start, only a few years after regularly scheduled television broadcasting had begun, consumer uptake of color televisions was very slow to start. The dim images, constant adjustments and high costs had kept them in a niche of their own. Low consumer acceptance led to a lack of color programming, further reducing the demand for the sets in a chicken or the egg situation. In the United States in 1960, only 1 color set was sold for every 50 sets sold in total.

### Chromatron

In 1951 Ernest Lawrence, a 1939 Nobel Prize winner and professor at University of California, Berkeley best known as the father of the cyclotron, patented a new solution to the color decoding problem. This system, the "Chromatron" or simply "Lawrence Tube", used an electronic focusing system in place of RCA's mechanical solution. The system consisted of a series of thin metal wires or plates placed about 12-inch behind the phosphor screen. The wires were used to electrically focus the beams and bend them onto the correct phosphors, which were arranged in vertical stripes. The phosphor covered over 50% of the screen's area, whereas the contemporary shadow masks covered about 25%. This led to much brighter images using the same amount of power.

Each focusing element consisted of a pair of wires, and a conductive aluminum coating on the back of the phosphors. The screen was normally charged with a potential of 3000 to 4500 V between the wires and the aluminum, resulting in a curved electric field between the grid and the screen. When the electron beam from the gun entered the region between the grid and the screen it was accelerated and focused down to a tiny spot, normally impinging on the green phosphor. By varying the relative voltage between the two wires in each pair, the beam would be bent one direction or the other, allowing control over the color. Unlike a shadow mask, all of the signal eventually reached the screen, further reducing power requirements.

If the chrominance signal was missing, or deliberately ignored, the focusing system was disconnected and its power added to the gun. This produced a slightly stronger and unfocused beam, which hit all three colored strips and produced a B&W image. The spaces between the stripes meant the overall image would be about as bright as a conventional B&W set. A shadow mask set required all three guns to be powered to produce a B&W image, and since the color spots were small, their power had to be very high.

Yet another advantage of the near-screen focusing was that the electron beam was bent to hit the phosphors on the tube's faceplate at right angles no matter what the angle of the beam was behind the focuser. This allowed the tubes to be built with much higher deflection angles than conventional tubes  72 degrees as opposed to a more typical 45. Chromatron tubes thus had much less depth for any given horizontal size.

The Chromatron also had several disadvantages. One was that there was a fundamental ratio between the acceleration provided by the grid and the electron gun at the back of the tube; in order to ensure that the grid could successfully control the beam, it had to have a significant proportion of the overall power. Unfortunately the mechanical layout of the grid limited it to voltages of about 5000 V or less, which in turn limited the electron gun to relatively low voltages around 8000 V. Thus the overall power in the Chromatron was less than in conventional tubes, offsetting its natural brightness to some degree.

The more pressing concern was the mechanical layout of the grid. Getting the fine wires to stay aligned with the strips of color on the screen proved to be the design's Achilles heel.

### Commercial developments

The University of California, Berkeley set up "Chromatic Television Laboratories" to commercially develop the system, in partnership with Paramount Pictures who provided development funding. They started producing the PDF 22-4 22-inch prototype tubes in 1952 and 1953, with a display area of 14 by 11 inches.

In practice the design proved to have serious problems. Since the focusing system had to quickly move the beam to generate the correct colors, very high voltages and powers had to be used, leading to arcing problems and radio frequency (RF) noise. Around 50 watts of RF power had to be applied to the wires to deflect the electron beam, directing it to the right colored stripe. The latter was particularly annoying when used as the basis of a television, as the noise interfered with the radio receivers that picked up the broadcasts. The University eventually abandoned their interest in Chromatron, but Paramount continued development as a system for displaying film during editing, which meant that the RF noise did not present a problem. Development was still continuing in the early 1960s when their work was bought by Sony.

In spite of these problems, the promise of the Chromatron system was so great that a number of companies continued development of the system throughout the 1950s. The radiation problem was solved by placing the wires further back from the phosphor stripes which reduced the capacitance and significantly reduced the driving power requirements. Later the wire diameters were reduced to accommodate the increased phosphor pitch. In addition, the output of the three video amplifiers switched the color information to hit each RGB stripe at the precise moments required. In other words, a keyed operation of the three color stages. Later, the General Colornetron adopted this approach. Successor Chromatron tubes experimented with different color phosphors to obtain the correct combination of brightness and persistence. Finally a rather large copper box or cage was mounted externally to the bell to reduce the remaining radiation from the grid coil. No interference was observed and the pictures produced were described as fairly decent and viewable with no visible streaking or striping. The Chromatron design was also licensed for a variety of other uses; Litton Industries used the Chromatron with a two-color display (blue-red) as the basis for an Identification Friend or Foe system.

### Sony's attempt

By 1961 Sony was a major Japanese manufacturer of black and white sets, but had no color television technology at all. Sony dealers were asking when they could expect a color set, and the sales division started putting pressure on engineering to simply license a shadow mask design from another maker and start production. Masaru Ibuka refused, apparently displaying an intense personal feeling that the shadow mask design was fundamentally flawed.

In March 1961 Ibuka, Akio Morita and Nobutoshi Kihara attended the IEEE trade show at the New York Coliseum. This was Kihara's first visit to the U.S., and he spent considerable time wandering the show floor. At the small Autometric booth he saw the Chromatron being displayed, and hurried to find Morita and Ibuka to show them. When Morita saw the display he immediately started negotiating a meeting for the next morning to visit the Chromatic labs in Manhattan. By the end of the meeting the next day, Morita had secured a license to produce "a Chromatron tube and color television receiver utilizing it."

In early 1963 Senri Miyaoka was sent to the Chromatic labs to arrange the transfer of the technology to Sony, which would lead to the closing of Chromatic. He was unimpressed with the labs, describing the windowless basement as "squalor". The American team was quick to point out the flaws in the Chromatron design, telling Miyaoka that the design was hopeless. By September 1964, a 17 inch prototype had been built in Japan, but mass-production test runs were demonstrating serious problems.

Ibuka remained a staunch supporter of the technology and pressed ahead with the construction of a new factory to produce them near Ōsaki Station in Tokyo. This proved unwise; in early runs only 1 to 3 tubes would be usable out of every 1,000 produced. The rest suffered from alignment problems, with the colors fading from one to another across the screen, impossible to fix after the tube was sealed. Usable tubes were quickly rushed to Sony showrooms in spite of the low yields, and Ibuka make the product Sony's top sales priority. This too proved unwise; the low yields meant that the production cost was about 400,000 yen, but Sony was forced to sell them at 198,000 yen ($500) in order to be competitive.

The production problems were never solved, and led to increasing tension between Ibuka and Morita. In November 1966 Kazuo Iwama told Susumu Yoshida that the company was close to ruin, and that the team had to improve the yields by the end of the year, or the product would have to be cancelled. Meanwhile, RCA was making great progress improving their shadow mask technology, and new entrants like General Electric's "Porta-Color" offered other advantages. Sony was clearly falling behind the rest of the market by following the Chromatron approach.

Ibuka finally announced that he would personally lead the search for an alternative system. His team of 30 engineers and physicists explored a wide variety of approaches in the search for a uniquely Sony system. After reading several of the reports, Ibuka called 29-year-old physicist Miyaoka into his office along with Yoshida, and asked him if his single-gun approach could be made to work. Miyaoka was attempting to leave work for a cello rehearsal, and rashly stated that it would work. The result was the famed Trinitron system, which went on sale in 1968 to wide acclaim.

### Limited sales

Prior to sale of the first Trinitron televisions in the United States, a limited number of 7-inch Chromatrons were built and offered for sale in the United States starting in April 1968 as the KV 7010U. These were replaced about three months later by the KV 7010UA Trinitron tube. \[1\]

The Sony KV 7010U CRT used the newly invented Trinitron gun combined with the Chromatron PDA wire grid instead of a shadow mask or aperture grill.

## Description

The basic concept that defined the Chromatron was the near-screen focusing system, which provided the beam resolution needed to accurately hit the individual colored phosphor strips. The grid both focused the signal as well as guided it to the correct colors.

The phosphors were silk screened onto the back of the tube in strips 2 mils wide with 2 mil wide gaps between them, and then coated in aluminum to make the screen conductive. Since the grid had to be charged to relatively high voltages, the aluminum coating was fairly thick, which dimmed the image to some extent.

The phosphors were patterned in an RGB-BGR-RGB pattern. The focusing grid was aligned so the beam would normally focus down onto the green strips in the middle of each pair of wires. To produce different colors, say blue, the beam would have to be pulled to the right for one pixel, and then to the left for the next. Since the adjacent stripes of phosphors shared one of the wires, this meant that a single voltage setting would produce the blue color on two adjacent pixels. Since a single frame of color television does not consist of a single color, the deflection system had to be continually varied as the beam moved across the screen.

### Citations

1. Ed Reitan, "CBS Field Sequential Color System" Archived 2010-01-05 at the Wayback Machine, 24 August 1997
2. Ed Reitan, "RCA Dot Sequential Color System" Archived 2010-01-07 at the Wayback Machine, 28 August 1997
3. Jack Gould, "Television in Review: NBC Color", *The New York Times*, 4 January 1954
4. *Sony*, p. 42.
5. *Cathode Ray* patent.
6. *Summary*.
7. *History*
8. "Chromatron CRT".
9. *Sony* refers to Chromatic Television by the name "Autometric Laboratories", although no other reference mentions this name.
10. *Sony*, p. 43
11. *Sony*, p. 44.
12. *Sony*, p. 45
13. *Sony*, p. 48

### Bibliography

* John Nathan, "Sony: The Private Life", Houghton Mifflin Harcourt, 2001, ISBN 0-618-12694-5
* Sergey Shewchuck, "Summary of Research Progress Meeting of September 27, 1951", *UCRL-1563*, Radiation Laboratory, University of California, 14 November 1951, pp. 2–4
* Milton Kaufman and Harry Thomas, "Introduction to Color TV", Taylor & Francis
* Edward W. Herold, "History and development of the color picture tube", *Proceedings of the Society of Information Display*, Volume 15 Issue 4 (August 1974), pp. 141–149

### Patents

* U.S. patent 2,692,532 Cathode Ray Focusing Apparatus", Ernst O. Lawrence,
University of California/Chromatic Television Laboratories (original Chromatron patent)
* U.S. patent 2,866,094 "Symmetrical to Asymmetrical Signal Conversion Circuit", Hoffman Electronics
* U.S. patent 3,368,105 "High Voltage Power Supply System for Cathode Ray Tubes Employing Protective Time Delay Means", Sony

### Further reading

* "This is Color TV: A Look at the Record To See What's Ahead", *TV Guide*, June 26 to July 2, 1953, pp. 5–7
* Mark Heyer and Al Pinsky, "Interview with Harold B. Law", IEEE History Center, 15 July 1975


title: Jungle Hell

abstract: Jungle Hell is a 1955 American film written and directed by Norman A. Cerf. The film was made from several episodes of an unsold television pilot starring Sabu entitled Jungle Boy. Sabu fought to not release the film. Additional footage of a flying saucer was added to the film in the 1960s with narration.

text:
# Jungle Hell

***Jungle Hell*** is a 1955 American film written and directed by Norman A. Cerf. The film was made from several episodes of an unsold television pilot starring Sabu entitled *Jungle Boy*. Sabu fought to not release the film. Additional footage of a flying saucer was added to the film in the 1960s with narration.

## Plot

Dr. Morrison has been sent into the jungles of India to investigate reports about a strange set of burning rocks, which have left many natives with radiation burns. With Jungle Boy (Sabu) as his assistant, Morrison gives the natives medical treatment, angering the local holy man (or "witch doctor"), who perceives Morrison as a threat to his power and influence over the natives. In the course of uncovering the mystery, the Doctor, Jungle Boy and other explorers encounter what appear to be flying saucers, the sources of the radiation.

## Cast


title: The Story of Jacob and Joseph

abstract: The Story of Jacob and Joseph is a 1974 American Biblical drama television film directed by Michael Cacoyannis, based on the Biblical Book of Genesis with a screenplay written by Ernest Kinoy. It stars Keith Michell as Jacob, Tony Lo Bianco as Joseph, Colleen Dewhurst as Rebekah, Herschel Bernardi as Laban, Harry Andrews as Isaac, and Julian Glover as Esau. Filmed on location in Israel, The Story of Jacob and Joseph originally aired in the United States on the American Broadcasting Company on April 7, 1974. It was the fifth-highest viewed prime time program for the week. The Biblical narrative was continued two years later with The Story of David (1976), also produced for ABC-TV and involving many of the same cast and crew.

text:
# The Story of Jacob and Joseph

***The Story of Jacob and Joseph*** is a 1974 American Biblical drama television film directed by Michael Cacoyannis, based on the Biblical *Book of Genesis* with a screenplay written by Ernest Kinoy. It stars Keith Michell as Jacob, Tony Lo Bianco as Joseph, Colleen Dewhurst as Rebekah, Herschel Bernardi as Laban, Harry Andrews as Isaac, and Julian Glover as Esau.

Filmed on location in Israel, *The Story of Jacob and Joseph* originally aired in the United States on the American Broadcasting Company on April 7, 1974. It was the fifth-highest viewed prime time program for the week. The Biblical narrative was continued two years later with *The Story of David* (1976), also produced for ABC-TV and involving many of the same cast and crew.

## Plot summary

This film is the narrative of two Biblical patriarchs: Jacob (Israel) and the favorite among Jacob's 12 sons, Joseph. **Part I**, ***The Story of Jacob***, details the story of Jacob fleeing his tribe after cheating his brother Esau out of his birthright, getting cheated himself in his exile years, and learning of the need to make amends. **Part II**, ***The Story of Joseph and his Brothers***, is the story of Jacob's favourite son, Joseph. Betrayed and sold into slavery by his brothers, he meets and overcomes adversity to become the prime minister of Egypt, closest official to the Pharaoh himself.

## Cast

## InfoBox

| *The Story of Jacob and Joseph* | |
| --- | --- |
|  | |
| Genre | Biblical Fiction |
| Based on | Book of Genesis |
| Written by | Ernest Kinoy |
| Directed by | Michael Cacoyannis |
| Starring | Keith Michell
Tony Lo Bianco
Colleen Dewhurst
Herschel Bernardi
Harry Andrews
Julian Glover |
| Narrated by | Alan Bates |
| Theme music composer | Mikis Theodorakis |
| Country of origin | United States |
| Original languages | English
Greek |
| Production | |
| Producers | Mildred Freed Alberg
Rony Yacov |
| Cinematography | Ted Moore
Austin Dempster |
| Editor | Kevin Connor |
| Running time | 110 minutes |
| Production companies | Mildred Theatrical Productions
Screen Gems |
| Original release | |
| Network | ABC |
| Release | April 7, 1974 (1974-04-07) |


title: Clontytallon

abstract: Clontytallon is a rural townland in County Westmeath, Ireland. The townland is located in the civil parish of Castlelost. The townland is bordered by the townlands of Fearmore, Whitewell, Castlelost and Derry to the east, Castlelost West to the west and Kilbride to the north. The town of Rochfortbridge is to the south, with Tyrrellspass to the south-west. The townland is accessed by roads connecting from the R440 and R446 regional roads.

text:
# Clontytallon

**Clontytallon** is a rural townland in County Westmeath, Ireland. The townland is located in the civil parish of Castlelost. The townland is bordered by the townlands of Fearmore, Whitewell, Castlelost and Derry to the east, Castlelost West to the west and Kilbride to the north. The town of Rochfortbridge is to the south, with Tyrrellspass to the south-west.

The townland is accessed by roads connecting from the R440 and R446 regional roads.

## History

The townland is recorded on the Griffith Valuation in 1868, showing 3 tenants living in the area at that time.


title: Tokio (given name)

abstract: Tokio Fukuda Tokio is a masculine Japanese given name.

text:
# Tokio (given name)

**Tokio** is a masculine Japanese given name.

## Possible writings

**Tokio** can be written using different combinations of kanji characters. Some examples:

* 時雄, "hour, masculine"
* 時男, "hour, man"
* 時夫, "hour, husband"
* 刻雄, "engrave, masculine"
* 刻男, "engrave, man"
* 刻夫, "engrave, husband"
* 晨雄, "morning, masculine"
* 期雄, "period, masculine"
* 登喜夫, "climb up, rejoice, husband"
* 登紀夫, "climb up, chronicle, husband"

The name can also be written in hiragana ときお or katakana トキオ.

## Notable people with the name

* Tokio Fukuda (福田 時雄, 1915–2001), Japanese hurdler
* Tokio Hatamoto (畑本 時央, born 1992), Japanese footballer
* Tokio Kano (加納 時男, 1935–2017), Japanese politician
* Tokio Sato (佐藤 常貴雄, born 1942), Japanese cross-country skier
* Tokio Seki (関 時男, born 1944), Japanese actor and voice actor
* Tokio Takeuchi (竹内 時男, 1894–1944), Japanese physicist
* Tokio Tasaka (田阪 登紀夫, born 1947), Japanese table tennis player

## InfoBox

Tokio
| Tokio Kano (1935–2017), Japanese politician | |
| --- | --- |
| Pronunciation | tokʲio (IPA) |
| Gender | Male |
| Origin | |
| Word/name | Japanese |
| Meaning | Different meanings depending on the kanji used |


title: Façade discography

abstract: Façade – an entertainment comprising poems by Edith Sitwell read to instrumental accompaniments composed by William Walton – was first recorded, by its creators, in 1929. Over the next two decades Sitwell and Walton added numbers to the entertainment and removed others. A definitive edition was published in 1951. In 1977, after Sitwell's death, Walton released a set of eight poems and accompaniments not included in the 1951 score, titling it Façade Revived. After further revision the second work was published as Façade 2 in 1979. Most recorded sets of Façade made since then have included the 1970s additions, and some have also included a selection of Sitwell's poems for which no music is known to exist.

text:
# Façade discography

***Façade*** – an entertainment comprising poems by Edith Sitwell read to instrumental accompaniments composed by William Walton – was first recorded, by its creators, in 1929. Over the next two decades Sitwell and Walton added numbers to the entertainment and removed others. A definitive edition was published in 1951. In 1977, after Sitwell's death, Walton released a set of eight poems and accompaniments not included in the 1951 score, titling it *Façade Revived*. After further revision the second work was published as *Façade 2* in 1979. Most recorded sets of *Façade* made since then have included the 1970s additions, and some have also included a selection of Sitwell's poems for which no music is known to exist.

| Reciters | Players | Conductor | Label | Released | OCLC No | Notes |
| --- | --- | --- | --- | --- | --- | --- |
| Edith Sitwell,
Constant Lambert | instrumental ensemble | William Walton | Decca | 1929 | 800336494 |  |
| Edith Sitwell,
David Horner | instrumental ensemble | Frederik Prausnitz | Columbia | 1949 | 48076333 |  |
| Edith Sitwell,
Peter Pears | English Opera Group Ensemble | Anthony Collins | Decca | 1954 | 10193372 |  |
| Vera Zorina | Philadelphia Orchestra | Eugene Ormandy | Columbia | 1961 | 36977103 |  |
| Hermione Gingold,
Russell Oberlin | instrumental ensemble | Thomas Dunn | Decca | 1964 | 624435318 |  |
| Cleo Laine,
Annie Ross | instrumental ensemble | John Dankworth | Fontana | 1967 | 9308920 |  |
| Fenella Fielding,
Michael Flanders | Academy of St. Martin-in-the-Fields | Neville Marriner | EMI | 1972 | 8531185 |  |
| Peggy Ashcroft,
Paul Scofield | London Sinfonietta | Sir William Walton | Decca | 1972 | 527843 |  |
| Tony Randall | Columbia Chamber Ensemble | Arthur Fiedler | Columbia | 1976 | 3133078 |  |
| Cathy Berberian,
Robert Tear | instrumental ensemble | Steuart Bedford | Oxford University Press | 1980 | 6803647 | Including premiere recording of *Façade 2* |
| Nancie Kennedy | instrumental ensemble | David Zinman | Rochester Chamber Music Society | 1982 | 85265137 |  |
| Prunella Scales,
Timothy West | London Mozart Players | Jane Glover | ASV | 1989 | 552191508 | Includes 15 Sitwell poems without music |
| Peggy Ashcroft,
Jeremy Irons | London Sinfonietta | Riccardo Chailly | Decca | 1989 | 748713715 | Including *Façade 2* |
| Susana Walton,
Richard Baker | City of London Sinfonia | Richard Hickox | Chandos | 1990 | 259591306 | Including *Façade 2* |
| Pamela Hunter | Melologos Ensemble | Silveer van den Broeck | Discover | 1993 | 32516631 | 42 numbers including nine without music |
| Lynn Redgrave | Chamber Music Society of Lincoln Center | Joseph Silverstein | Arabesque | 1997 | 38740330 | Including *Façade 2* and also 11 Sitwell poems without music |
| Eleanor Bron,
Richard Stilgoe | Nash Ensemble | David Lloyd-Jones | Hyperion | 2001 | 673092949 | The complete extant numbers |


title: Christchurch Borough Council elections

text:
# Christchurch Borough Council elections

Christchurch Borough Council in Dorset, England, existed from 1974 to 2019, when it was abolished and subsumed into Bournemouth, Christchurch and Poole Council.

## Political control

The first elections to the council were held in 1973, initially operating as a shadow authority prior to the district coming into effect the following year. From 1973 until its abolition in 2019 political control of the council was held by the following parties:

| Party in control | | Years |
| --- | --- | --- |
|  | Conservative | 1973–1995 |
|  | No overall control | 1995–1999 |
|  | Conservative | 1999–2019 |

### Leadership

The role of mayor was largely ceremonial at Christchurch Borough Council. Political leadership was instead provided by the leader of the council. The leaders from 2003 until the council's abolition in 2019 were:

| Councillor | Party | | From | To |
| --- | --- | --- | --- | --- |
| Harold Cooper |  | Conservative |  | 2003 |
| Alan Griffiths |  | Conservative | 2003 | 2010 |
| Ray Nottage |  | Conservative | 2011 | 20 Feb 2017 |
| David Flagg |  | Conservative | 20 Feb 2017 | 31 Mar 2019 |

## Council elections

Summary of the council composition after each election; click on the year for full details of each election. Boundary changes took place for the 2003 election, reducing the number of seats by one.

| Year | Conservative | Independent | UK Independence Party | Liberal Democrats | Notes |
| --- | --- | --- | --- | --- | --- |
| | |  |  |  |  |
| 1995 | 8 | 7 | 0 | 10 | Borough boundary changes took place but the number of seats remained the same |
| 1999 | 17 | 3 | 0 | 5 |  |
| 2003 | 14 | 2 | 0 | 8 | New ward boundaries |
| 2007 | 17 | 3 | 0 | 4 |  |
| 2011 | 21 | 2 | 0 | 1 |  |
| 2015 | 21 | 2 | 1 | 0 |  |
|  |  |  |  |  |  |

## Borough result maps

## By-election results

By-elections occur when seats become vacant between council elections. Below is a summary of recent by-elections; full by-election results can be found by clicking on the by-election name.

| By-election | Date | Incumbent party | | Winning party | |
| --- | --- | --- | --- | --- | --- |
| Burton | 1 May 1997 |  | Liberal Democrats |  | Liberal Democrats |
| Jumpers by-election | 7 June 2001 |  | Liberal Democrats |  | Liberal Democrats |
| Jumpers by-election | 5 May 2005 |  | Independent |  | Liberal Democrats |
| Portfield by-election | 5 May 2005 |  | Conservative |  | Liberal Democrats |
| Purewell and Stanpit by-election | 5 May 2005 |  | Liberal Democrats |  | Liberal Democrats |
| Portfield by-election | 16 July 2009 |  | Liberal Democrats |  | Liberal Democrats |
| Mudeford and Friars Cliff by-election | 2 March 2017 |  | Conservative |  | Conservative |
|


title: Simons Ministry

abstract: The Simons Ministry was in office in Luxembourg from 23 September 1853 to 26 September 1860. Initially it just consisted of three members of the government, to which two more were added on 23 September 1854. It was reshuffled on 24 June 1856, and again on 2 June 1857, when Paul de Scherff was placed in charge of railways, and Guillaume-Mathias Augustin took over his portfolio of Public Works. On 29 November 1857 there was a third reshuffle, and a fourth on 12 November 1858. From 23 June to 15 July 1859 Mathias Simons and Jean Ulveling were the only members of the government, after which Édouard Thilges was added again.

text:
# Simons Ministry

The **Simons Ministry** was in office in Luxembourg from 23 September 1853 to 26 September 1860. Initially it just consisted of three members of the government, to which two more were added on 23 September 1854.

It was reshuffled on 24 June 1856, and again on 2 June 1857, when Paul de Scherff was placed in charge of railways, and Guillaume-Mathias Augustin took over his portfolio of Public Works.

On 29 November 1857 there was a third reshuffle, and a fourth on 12 November 1858. From 23 June to 15 July 1859 Mathias Simons and Jean Ulveling were the only members of the government, after which Édouard Thilges was added again.

## Transition

The preceding Willmar government seemed to enjoy the favour of the Lieutenant-Governor Prince Henry, who dismissed it only reluctantly. During a conversation at Walferdange Castle, the Prince confided in the minister Édouard Thilges "that he had been very happy with the preceding Willmar-Metz cabinet, and that it was only by order of the king that the cabinet was dismissed and the Simons cabinet had been installed in its place". To signal his disapproval, he waited three weeks before accepting the candidates proposed by Charles-Mathias Simons. The latter had been charged with forming a new government after Wurth-Paquet, president of the Court, had refused this task.

## Composition

From 23 September 1854 additionally:

### 24 June 1856 to 2 June 1857

### 2 June to 29 November 1857

### 29 November 1857 to 12 November 1858

### 12 November 1858 to 23 June 1859

### 23 June 1859 to 15 July 1859

* Mathias Simons: President of the government council, Director-General for Foreign Affairs, provisionally also for Justice and Public Works
* Jean Ulveling: Director-General for the Interior, provisionally also for Finance

### 15 July 1859 to 26 September 1860

## Foreign policy

The first task of the Simons government was to re-establish good relations with the governments of the Netherlands and Prussia. The treaty with the German customs union (Zollverein) was renewed shortly before its expiration on 26 December 1853. Charles-Mathias Simons restarted the negotiations on the Grand Duchy's participation in reimbursing the debts of the Kingdom of the Netherlands. In return, the Dutch crown guaranteed diplomatic protection for Luxembourgish subjects abroad.

## Domestic policy

The resignation of the Willmar cabinet and its replacement with a reactionary government paved the way for a revision of the liberal Constitution of 1848. The restoration of royal power that the German Confederation imposed on its member states offered a good pretext. Complying with the wishes of William III, the new government was tasked with preparing a text to put an end to parliamentary dominance, and to strengthen the sovereign's powers. In October 1856, the Simons government published its constitutional revision. However, the Chamber of Deputies refused to debate it and passed a vote of no confidence in the government. The King reacted by proclaiming the closure of the parliamentary session and promulgating the revised version of the Constitution. The authoritarian measure of William III resembled a real "coup d'État" intended to restore his power. (see Luxembourg Coup of 1856)

The Constitution of 1856 unequivocally re-established royal sovereignty. "Sovereign power resides in the person of the King-Grand Duke \[…\]." The Chamber of Deputies again assumed its old name of an "Assembly of Estates". It lost its power over the annual budget and taxes, the right to elect its president, the right to meet beyond a brief period when summoned, as well as the right to respond to speeches from the throne with an address. The members of the government were no longer responsible to the parliament. The Constitution of 1856 strongly reinforced executive power, and weakened the national elected representatives. In order to counterbalance the drawbacks of unicameralism, William III created the Council of State, whose members were appointed by the King and which shared legislative power with the Assembly of Estates. The revision of 1856 also subordinated national law to federal law. The members of the Constituent Assembly of 1848, conscious of the danger of being absorbed by the German unification movement, had confined themselves to stating that Luxembourg "is part of the Confederation, in line with existing treaties". The text of 1856 declared that "the Grand Duchy \[…\] is part of the Germanic Confederation and participates in the rights and duties of the federal Constitution". This meant that the restrictive laws on the press and associations in force in Germany were applicable in Luxembourg. For a short while, after the revision of the Constitution, the government worked without the legislature, ruling by decree. It enacted around forty decrees on the press, the electoral system, the pay and status of civil servants, the internal order of the Assembly of Estates, the organisation of the courts, the cadaster, the Chamber of accounts, the communes and the militia.

## Economic policy

### Railway construction

The Grand Duchy was under-developed in regards to communications compared with its neighbours. Already in 1850, a law had authorised the Willmar government to negotiate on the construction of railways. However, the Luxembourgish political authorities took five years to find foreign investors. There was doubt as to the profitability of such an enterprise. The question was where the raw materials were whose transportation could have generated enough income to cover the construction of the rails. In the early 1850s, the use of minette ore in steel production was still at an experimental stage. The Simons government managed to complete a contract with French financiers who created the "Société royale grand-ducale des chemins de fer Guillaume-Luxembourg" (Royal Grand-ducal William-Luxembourg Railways Company). This company constructed the network, but did not have the means to operate it. It ceded the operation rights to the Compagnie française des chemins de fer de l’Est. In 1859, the first sections linking Luxembourg to Arlon and Thionville were opened.

The State required considerable funds to provide the country with railway lines. However, the ordinary income of the budget was not sufficient. The public authorities, loyal to the liberal conception of the state's role, were hesitant to go into debt. Nevertheless, in 1856, the Simons government took out an initial loan of 150,000 francs to provide aid to the communes. Three years later, it took out a second loan of 3,500,000 francs to subsidise railway construction.

### New banking system

The mass of capital for the construction of railway lines and the development of industry and trade required the creation of a new system of credit. The Simons government laid the foundations of the modern banking system in the Grand Duchy. Its negotiations with influential German bankers resulted in 1856 in the creation of the Banque Internationale à Luxembourg – both a merchant bank and a bank of issue. The same year saw the birth of the Caisse d’épargne, with the State guaranteeing (two years later) the full reimbursement of funds deposited in it. While this institution hoarded individuals' savings, the Banque internationale provided the country's nascent industry with capital. The attempt to create a property credit institution, the establishment of which had been voted through in 1853, resulted in failure. This establishment, effectively still-born, was intended to offer loans to farmers and land-owners, without them having to give up their land if they fell into debt.

## Footnotes

1. Thewes (2011), p. 20
2. Thewes (2011), p. 23
3. Thewes (2011), p. 24
4. Thewes (2011), p. 25
* Thewes, Guy (2011). *Les gouvernements du Grand-Duché de Luxembourg depuis 1848* (PDF) (in French). Service Information et Presse. ISBN 978-2-87999-212-9. Archived from the original (PDF) on 2017-01-11.