title: Sky Campus

abstract: Sky Studios is the headquarters of satellite broadcaster Sky, and home to much of its programming output. The Isleworth campus consists of nine buildings plus ancillary structures, with three of those buildings containing television studios. The site is also a playout centre for many of Sky's channels. There are ten conventional television studios on site, alongside a number of galleries, purpose-built studios for news and sports news broadcasting, and post-production facilities. A number of the studios are available for independent production companies to hire. Sky Sports, Sky Sports News and Sky News all use the studios, alongside light entertainment shows such as Thronecast, Skavlan and Harry Hill's Tea Time. Previously it has been the home of shows such as Brainiac: Science Abuse.

text:
# Sky Campus

**Sky Studios** (also known as **Sky Campus**) is the headquarters of satellite broadcaster Sky, and home to much of its programming output. The Isleworth campus consists of nine buildings plus ancillary structures, with three of those buildings containing television studios. The site is also a playout centre for many of Sky's channels.

There are ten conventional television studios on site, alongside a number of galleries, purpose-built studios for news and sports news broadcasting, and post-production facilities. A number of the studios are available for independent production companies to hire.

Sky Sports, Sky Sports News and Sky News all use the studios, alongside light entertainment shows such as *Thronecast*, *Skavlan* and *Harry Hill's Tea Time*. Previously it has been the home of shows such as *Brainiac: Science Abuse*.

## Studio facilities

The studios at Osterley are currently located across three main buildings.

### Sky Studios / Harlequin 1

Originally called Harlequin 1, the Sky Studios building contains eight conventional studios located on the ground floor.

* Studio 1 (50 ft x 36 ft approx) – a mixed use sports studio, used for programmes such as *Monday Night Football*
* Studio 2 (36 ft x 30 ft approx) – golf studio
* Studio 3 (36 ft x 25 ft approx) – a mixed use sports studio
* Studio 4 (20.6 m x 14.1 m) – a 3,126.5 sq ft (290.46 m2) multi-purpose studio
* Studio 5 (15.6 m x 14.1 m) – a 2,367.6 sq ft (219.96 m2) multi-purpose studio
* Studio 6 (45 ft x 30 ft approx) – *Sky News* studio (including chromakey), previously used for *Sunrise*
* Studio 7 (35 ft x 30 ft approx) – used for *Soccer Saturday*
* Studio 8 (10.6 m x 9.9 m) – a 1,129.6 sq ft (104.94 m2) multi-purpose studio used for programmes including Sky News' *FYI* children's news programme and *Saturday Social*

Studios 4 and 5 can be used together or separately thanks to a soundproof double door – combined, they are 122 ft long and 5,676.3 sq ft (527.35 m2). Due to the door runners, camera pedestals cannot be tracked over the studio join. Shows such as *Thronecast*, *Skavlan* and *Harry Hill's Tea Time* have been made in these studios.

Studios 6, 7 and 8 have dock doors which open directly onto an access road, whilst studio 5 has a dock door with a short access tunnel before another door opening out onto an access road. Studios 1, 2, 3 and 4 have scene dock doors which open out onto a scene dock.

There are also a number of non-conventional studios located elsewhere in the building.

* *Sky Sports News* Newsroom on the 1st floor
* *Sportsline* and *Sky News* sports bulletin studio - part of the *Sky Sports News* Newsroom
* *Studio 22 – Sky News* weather studio on the 2nd floor

There are six production galleries on the ground floor alongside the conventional studios, with separate sound control rooms alongside each gallery. Any studio can be controlled from any gallery. Gallery 1 has been turned into a gallery which is capable of remote production for the EFL Championship. There is also a routing, distribution and instant replay hub in Studio 2's former control room, and Studio 7's control room is split into commentary booths and associated technical equipment. *Sky Sports News* is broadcast from Gallery 6. *Sky News* have two gallery facilities, PCR 21 and PCR 22, located on the second floor alongside Studio 22, which are used to control Studio 6, Studio 21, Studio 22, Millbank and the two City Studios. There are also a number of separate production galleries for remote sports production located elsewhere in the building.

### Sky 2

Sky 2 is currently home of Sky Creative Agency and contains two television studios: one automated and one conventional.

* Studio F (18.5 m x 15 m, formerly Studio 6) – a 3,004.9 sq ft (279.16 m2) multi-purpose studio used for shows including *Soccer AM* and *The Pledge*
* Studio G (50 ft x 40 ft approx, formerly Studio 7) – dedicated *Sky Sports Racing* studio

Both studios share a covered scene dock but have separate production galleries. Studio F's gallery is located on the second floor, with access via a gantry from the studio floor, whilst Studio G's gallery is located on the same level as the studio. The *Soccer AM* (and previously, *Game Changers*) exterior set is located next to these studios. Studio F hosted the 'Battle for Number 10' Conservative leadership programme in August 2022, with audience of around 60 people.

### Sky Central

Sky Central is the largest building on site, and is home to a significant proportion of Sky's staff. It was completed in 2016. There is one studio in this building, located on the first floor.

* Studio 21 – *Sky News* main daytime and evening studio, colloquially known as 'The Glass Box'

This studio is currently controlled from PCR 21 on the second floor of the Sky Studios building.

In addition, the atrium and mezzanine of Sky Central was used for Sky News' coverage of the 2019 United Kingdom general election.

## Former studio facilities

There are a number of buildings previously containing television studios which have now been vacated.

### Sky News Centre / Sky 1

Built in 2004 and vacated in early 2018, with studio facilities moving to *Sky Central* and the *Sky Studios* building. Staff who previously occupied the Sky News Centre moved to a dedicated floor of the *Sky Studios* building.

* Studio A (8,000 square feet approx) – former main *Sky News* newsroom, and previously the main presentation studio
* Studio B (40 ft x 30 ft approx) – previously a virtual reality studio
* Studio C (1,000 square feet approx) – formerly home of *5 News* from 2005 to 2012
* Studio D – a small interview/presentation studio

The main Sky News gallery was, until January 2018, located behind Studio A and could regularly be seen in the background of shots, alongside Sky News' Network operations center.

Parts of the building have now been modified for use as a scenery workshop.

### 1989 warehouse

The original five studios on the site have all been demolished as of October 2019.

* Studio 1 – original *Sky Sports News* studio with attached newsroom. Closed in 2011.
* Studio 2 (30 ft x 20 ft approx) – original *Sky News* studio, with the newsroom visible through a window at the back of the set. Closed in 2011.
* Studio 3 (35 ft x 20 ft approx) – generic / interchangeable sports presentation studio. Closed in 2011.
* Studio H (60 ft x 30 ft approx, formerly Studio 4) – the previous home of *Soccer AM*, and also the home of Sky One's entertainment series Braniac: Science Abuse from 2006 onwards. When Harlequin 1 opened it was renamed 'Studio H', and closed in 2012, and was then used as a scenery workshop until mid 2019.
* Studio 5 (30 ft x 20 ft approx) – generic / interchangeable sports presentation studio. Closed in 2011.

As of October 2019, Studio H (which became part of building *Sky 7*) has been demolished for the construction of the new *Innovation Centre*, which also involved the demolition of the adjacent building, *Sky 6*.

## Productions

Some productions have been broadcast from different studios, so the studios listed are the most recently used.

### Sky Sports productions

### Sky News productions

### Sky productions

### Other productions

## InfoBox

| Sky Campus | |
| --- | --- |
| Location within Greater London | |
| Alternative names | Osterley TVC
Sky Centre
Sky News Centre |
| General information | |
| Status | Operational |
| Type | Offices and television studios |
| Address | Grant Way, Isleworth |
| Country | England |
| Coordinates | 51°29′13″N 0°19′37″W / 51.487°N 0.327°W / 51.487; -0.327 |
| Current tenants | Sky News
Sky Sports |
| Construction started | 1989 |
| Client | Sky |
| Owner | Sky Group
(Comcast) |
| Design and construction | |
| Architecture firm | Arup (Sky Studios) |
| Quantity surveyor | Gleeds / Davis Langdon (Sky Studios) |
| Main contractor | Bovis (Sky Studios) |


title: The Vogel Era

abstract: The Vogel Era describes the history of New Zealand between 1873 and 1876, when the country adopted an immigration and public works scheme inaugurated by the colonial treasurer, then premier, Julius Vogel to develop the country and to relieve the slump of the late 1860s; to be financed by borrowing overseas. His "Great Public Works Policy" resulted in a large increase in migrants and provision of many new railways, roads and telegraph lines. The railway system developed from a few lines in three gauges to the start of a national network including the main line from Christchurch to Dunedin, though the narrow "Cape gauge" required later upgrading to increase the restricted height and weight limits.

text:
# The Vogel Era

**The Vogel Era** describes the history of New Zealand between 1873 and 1876, when the country adopted an immigration and public works scheme inaugurated by the colonial treasurer, then premier, Julius Vogel to develop the country and to relieve the slump of the late 1860s; to be financed by borrowing overseas. His "Great Public Works Policy" resulted in a large increase in migrants and provision of many new railways, roads and telegraph lines. The railway system developed from a few lines in three gauges to the start of a national network including the main line from Christchurch to Dunedin, though the narrow "Cape gauge" required later upgrading to increase the restricted height and weight limits.

## A Grand Go-ahead Policy

Julius Vogel, the premier and colonial treasurer, appreciated that settlement was confined to coastal lands because of inadequate transport, and ("before Lord Keynes was born") propounded a "grand go-ahead policy" to dispel the slump with increased government expenditure on contracts so increasing the community's purchasing power. The country had under fifty miles (80 km) of railway in three gauges, and Vogel proposed to borrow £10 million in ten years, with six million acres along the new railway lines and roads set aside as security.

Vogel became colonial treasurer in the Fox ministry in 1869. On 28 June 1870, he read his financial statement in Parliament, which proposed increased immigration and public works for railways and roads, with railways designed as part of a trunk line in each island. He mentioned "revenue railroads" in America constructed to suit the traffic offered; without expensive stations and suitable for a moderate speed so of low capital cost and constructing the maximum length of line with the available capital. This contrasted with elaborate British and European railways serving densely populated regions. The lines could be improved in accordance with traffic demands. He sought authority to borrow £6 million of the £7.5 million needed to build 2,400 to 2,600 km of railway in the next ten years at a cost of £5,000 per mile (1.6 km). Another £1 million would be needed for other proposals, and 1,030,000 hectares of land would be acquired. His proposals got both positive and negative comments in newspapers.

Vogel's proposals of 1870 were embodied in three acts passed in September 1870; The Immigration and Public Works Act, the Railways Act, and the Immigration and Public Works Loan Act. Vogel went to England where he borrowed £1 or £2 million at 5%; and arranged contracts with the British firm of John Brogden and Sons. While the Fox-Vogel government collapsed in 1872 because of the loss of powers by the provinces, by 1873 Vogel was back. But Vogel's proposals for reserves of land as security for railway loans and for forestry were not accepted. Resistance by the provincial governments resulted in their abolition in 1876 (although Vogel had originally been a "provincialist").

A new Public Works Department was set up in 1870, headed as minister by the Hon William Gisborne, who was replaced by John Davies Ormond in 1871. The engineer selected by Vogel was John Carruthers, a Scot who had worked on railways in Canada, America, Russia, Mauritius and Egypt. Carruthers was engineer-in-chief and was responsible for railway construction; John Blackett was responsible for road construction. Carruthers resigned in 1878 after effectively being demoted by a reorganisation under the new minister James Macandrew.

Vogel (from 1875 Sir Julius Vogel) resigned as premier in 1876, being replaced by Harry Atkinson, and became agent-general in London. Vogel was colonial treasurer in 1869–72, 1872, 1872–75, 1876 and 1884; and was premier 1873-75 and 1876 (governments changed frequently in the 19th-century before the development of political parties).

The public debt had increased from £7.8 million in 1870 to £18.6 million in 1876. The cost of railways per mile was £6000 not £4000, with some bridges needed rebuilding and tunnels relining. But 718 miles (1,156 km) of railway had been built with 427 miles (687 km) under construction. 2,000 miles (3,200 km) of road had been opened, and electric telegraph lines increased from 699 miles (1,125 km) in 1866 to 3,170 miles (5,100 km) in 1876. A record number of immigrants arrived in 1874 (32,000 of the 44,000 were government assisted) and the population rose from 248,000 in 1870 to 399,000 in 1876.

In 1880, New Zealand had almost 1,200 miles of working railway, with more than 75% in the South Island. According to the minister (Richard Oliver) this was one mile of railway for every 406 inhabitants, which compared favourably with America (580 people), Britain (1,961 people), France (2,900 people) and New South Wales (1,108 people). That year, a separate New Zealand Railways Department (NZR) was established to run the railways.

Eventually the worldwide Long Depression of the late 1870s affected New Zealand, with a downturn in 1879, with bad harvests and low prices for wheat and wool. The City of Glasgow Bank collapse in 1878 took out New Zealand and Australian investment capital, as advances had been made against Australian and New Zealand wool consignments and securities e.g. land company stock. Local banks, notably the Bank of New Zealand and the Colonial Bank of New Zealand, were "reckless" and permitted "a frenzy of private borrowing".

The Hall government of 1880 cut back on railway construction; resulting in Wellington businessmen establishing the successful Wellington and Manawatu Railway Company which built the West Coast Railway from Wellington to the Manawatu. In the five years to 1885, only 317 miles were added to the national network, compared with 1,032 miles in the previous five years.

## Vogel railways

Vogel proposed narrow-gauge railways as easier to construct through the rugged landscape. The "pilot" was the 59 miles (95 km) Dunedin to Clutha Railway; the first 10 km (6.2 mi) section opened in 1874. Priority was given to the completion of the trunk line between Christchurch and Dunedin. The gradients were not to exceed 1 in 50 (2%) and curves were not to be sharper than 200 metres (9.9 chains) radius. Construction cost was estimated at £3,000 per km, compared with the Canterbury Provincial Railways which averaged £8,000 per km (excluding the £200,000 for the Lyttelton Tunnel). But while the earthworks for the Canterbury Plains were low or "mere scratching", the expense in crossing the wide Canterbury braided rivers was considerable, despite looping inland to get shorter and more stable crossing points for the Rakaia River (an 1,818-metre or 5,965-foot long combined road and rail bridge built in 1873) and the Rangitata River (with two bridges).

The 1870 Act specified a uniform rail gauge for the country; although the act just specified that the rail gauge was not to exceed 3 ft 6 in (1,067 mm), the Cape gauge as used at that time in Canada and Norway was chosen, as recommended by Charles Fox and Sons of London. Lines were constructed with lightweight track, steep gradients, tight curves and light wooden bridges. The 40 lb/yd (19.8 kg/m) iron rails was later replaced with (now cheaper) 50 lb/yd (24.8 kg/m) steel rails; and then with heavier 55 or 70 lb/yd (27.3 or 34.7 kg/m) rails in the Liberal era of 1891–1912, increasing the maximum axle load from six tonnes (5.9 long tons; 6.6 short tons) to 16 or 18 tonnes (15.7 or 17.7 long tons; 17.6 or 19.8 short tons) with 100 lb/yd (49.6 kg/m) rail. But the tight tunnels with a height limit of 11+12 ft (3.5 m) led to expensive lowering of track in tunnels or "daylighting" them to accommodate intermodal containers on flat wagons in the 20th century.

Charles Rous-Marten writing in the *English Railway Magazine* in 1899, described the decision to use a narrow gauge in New Zealand as a *grevious and irrepairable blunder*. But some 1000 miles (1604 km) of railways had been opened within seven years, and in 1878 the first inter-city route, complete with stylish American-built locomotives was ready to go into operation (The Main South Line, Christchurch-Dunedin-Invercargill). Many railways in Africa (e.g. South Africa) and Asia (e.g. Japan) use either the Cape gauge (1067 mm) or the meter gauge (1000 mm).

Vogel had contracted John Brogden and Sons of England to construct six lines, for land as well as cash and the right to bring out 10,000 immigrants or "navvies". The six sections of a future national network went out from Auckland, Wellington, Napier, Picton, Oamaru and Invercargill.

### Locomotives

The first NZR loco was the English built NZR F class tank engine, which could reach 40 mph (64 km/h), and even on long steep banks could "climb like a cat". The first tender locomotives for the NZR were the English built NZR J class (1874) which could reach 50 mph (80 km/h) downhill with an express.

However, the new NZR chief mechanical engineer Allison D. Smith believed that American locomotives would be preferable for the light track used. The London agent-general's consulting engineer, R. M. Brereton, obtained opinions from two English firms Neilson and the Vulcan Foundry: both agreed that British locomotives were "excessively rigid" and that there was "absurd conservatism" in this country. American builders used bar frames rather than the heavier plate frames used in Britain. Brereton said in his letter that:

The American builder excels in the system of framing and counterbalancing and in the design of the crank, axles, etc, so that the engine may run remarkably easily round sharp curves and work not only the light roads but also diminish wear and tear on the solid roads, and at the same time increase the tractive effort force. The English engine is a very heavy affair, and, in running, it not only wears and tears itself out very rapidly, but also the roadway, and by its unsteadiness and jar, fatigues drivers and firemen .... (and the jarring) fatigues drivers and firemen .... The two most reliable and best American locomotive firms were Baldwin and Rogers.

So the first American locomotives were the NZR K class (1877) with two batches from Rogers of New Jersey, ordered through New York consulting engineer Walton Evans. They were very successful despite initial Canterbury apprehension at their light construction, and hauled the first express from Christchurch to Dunedin in 1878.

Further American orders from NZR were placed with Baldwin of Pennsylvania for the NZR T class of 1879 and the NZR N class and NZR O class of 1885. Baldwin also supplied most of the WMR locomotives.

The P class and V class locomotives ordered from Nasmyth Wilson of England in 1885 were delayed and overweight "for reasons still not entirely clear", and the Baldwin-built N and O locomotives were delivered promptly and to the specified weight, creating a favourable impression.

A later comment is that:

American builders delivered more speedily and at a lower price. Typically, their locomotives steamed more freely but tended to be less durable and have higher running costs. In the early days, when local design capabilities were limited, faster deliveries at a lower price had a considerable appeal. However, as NZR began to develop its own design preferences, the willingness of British manufacturers to follow those eventually won out. American manufacturers, whose low costs were based on mass-produced components, had no wish to build to NZR's designs, only to its specifications.

### Rolling stock

Early passenger carriages were English style 4 or 6 wheel carriages. Some 6 wheel carriages had rigid centre axles and some with play in the outer axles. But neither were satisfactory in New Zealand, and in 1878 the first North American style bogie carriages from America proved to be much more suitable. So the Addington Workshops constructed similar carriages, and 73 12.2-metre (40 ft) carriages were in use on the Hurunui-Bluff section by 1886. Most were "composites" with 1st and 2nd class compartments and clerestory roofs. Carriages were now mostly American-style open "saloon" cars rather than British style carriages with small compartments and a side corridor. From the 1890s turtle-back style roofs were used. Early wagons were of 2.6 m (8 ft 6 in) wheelbase with four wheels, but in 1886 9.14 m (30 ft 0 in) wheelbase bogie wagons were introduced.

## Immigrant Cottages

In the mid-1870s the loans were also used to build 4-roomed cottages, to encourage immigrants to move to areas needing labour. They were built of timber and corrugated iron, so as to be portable. There was criticism that the cottages were a waste of money, remained empty, were occupied by people unsuited to the work available, or were in the wrong places. Some of the cottages have survived, as they were built of kauri and used brass screws. The uninhabited cottages were put to other uses, such as a church, or council chambers.

### Citations

### Bibliography

* Atkinson, Neil (2007). *Trainland: How Railways made New Zealand*. Auckland: Random House. ISBN 978-1-86941-905-9.
* Bromby, Robin (2003). *Rails that built a Nation: An Encyclopaedia of New Zealand Railways*. Wellington: Grantham House. ISBN 1-86934-080-9.
* Cassells, K R (1994). *Uncommon Carrier - The History of the Wellington and Manawatu Railway Company, 1882–1908*. New Zealand Railway and Locomotive Society. ISBN 0908573634.
* Churchman, Geoffrey B; Hurst, Tony (2001). *The Railways of New Zealand: A Journey through History*. Wellington: Transpress. ISBN 0-908876-20-3. (1st edition 1990, 1991)
* Churchman, Geoffrey B; Hurst, Tony (1992). *South Island Main Trunk*. Wellington: IPL Books. ISBN 0-908876-78-5.
* Leitch, David; Stott, Bob (1988). *New Zealand Railways: The First 125 Years*. Auckland: Heinemann Reed. ISBN 0-7900-0000-8.
* Lloyd Pritchard, Muriel F. (1970). *An Economic History of New Zealand to 1939*. Auckland: Collins.
* Millar, Sean (2011). *The NZR Steam Locomotive*. Wellington: New Zealand Railway and Locomotive Society. ISBN 978-0-908573-89-9.
* Noonan, Rosslyn J. (1975). *By Design: A brief history of the Public Works Department Ministry of Works 1870-1970*. Wellington: Ministry of Works (Crown Copyright).
* Sinclair, Keith (1969) \[1959\]. *A History of New Zealand* (2 ed.). England: Penguin.
* Sinclair, Roy (1987). *Rail: The Great New Zealand Adventure*. Wellington: Grantham House. ISBN 1-86934-013-2.
* Wright, Matthew (2003). *Rails across New Zealand: A History of Rail Travel*. Wellington: Whitcoulls. ISBN 1-87732-714-X.


title: Cassano Magnago

abstract: Cassano Magnago is a town and comune in the province of Varese, Lombardy, Italy.

text:
# Cassano Magnago

**Cassano Magnago** is a town and *comune* in the province of Varese, Lombardy, Italy.

## Notable people

1. "Superficie di Comuni Province e Regioni italiane al 9 ottobre 2011". Italian National Institute of Statistics. Retrieved 16 March 2019.
2. "Popolazione Residente al 1° Gennaio 2018". Italian National Institute of Statistics. Retrieved 16 March 2019.

## InfoBox

| Cassano Magnago | |
| --- | --- |
| *Comune* | |
| Comune di Cassano Magnago | |
|  | |
|  | |
| Location of Cassano Magnago | |
| Cassano MagnagoLocation of Cassano Magnago in ItalyCassano MagnagoCassano Magnago (Lombardy) | |
| Coordinates: 45°41′N 8°50′E / 45.683°N 8.833°E / 45.683; 8.833 | |
| Country | Italy |
| Region | Lombardy |
| Province | Varese (VA) |
| Government | |
| Mayor | Nicola Poliseno (PdL) |
| Area | |
| Total | 12 km2 (5 sq mi) |
| Elevation | 261 m (856 ft) |
| Population (31 December 2004) | |
| Total | 20,754 |
| Density | 1,700/km2 (4,500/sq mi) |
| Demonym | Cassanesi |
| Time zone | UTC+1 (CET) |
| Summer (DST) | UTC+2 (CEST) |
| Postal code | 21012 |
| Dialing code | 0331 |
| Patron saint | St. Maurice |
| Saint day | September 22 |
| Website | Official website |


title: Feng J

abstract: Feng J or Feng Ji is a Paris-based Chinese jewelry designer and artist. She established her own eponymous jewelry brand in Paris and set up showrooms in Place Vendôme and Shanghai. In December 2015, she founded Fengji Jewelry (Shanghai) Co., Ltd. in Shanghai, serving as its executive director and general manager. The company has a registered capital of only RMB 1 million. Feng brought the "Jardins de Giverny" necklace and the "Fountain of Diamonds" ring to Phillips Auction in November 2020, where the necklace was auctioned for $2.6 million. In May 2021, she attended the "Woman to Woman" exhibition co-hosted by Phillips and jewelry historian Vivienne Becker.

text:
# Feng J

**Feng J** or **Feng Ji** (simplified Chinese: 丰吉; traditional Chinese: 豐吉; born 1985) is a Paris-based Chinese jewelry designer and artist. She established her own eponymous jewelry brand in Paris and set up showrooms in Place Vendôme and Shanghai. In December 2015, she founded Fengji Jewelry (Shanghai) Co., Ltd. in Shanghai, serving as its executive director and general manager. The company has a registered capital of only RMB 1 million.

Feng brought the "Jardins de Giverny" necklace and the "Fountain of Diamonds" ring to Phillips Auction in November 2020, where the necklace was auctioned for $2.6 million. In May 2021, she attended the "Woman to Woman" exhibition co-hosted by Phillips and jewelry historian Vivienne Becker.

## Education

Feng J graduated from the China Academy of Art, where she received tuition from Wang Shu. Feng obtained her Master's Degree in jewellery design from the University of the Arts London. Subsequently, she studied at Haute École de Joaillerie, received training in European-style jewelry craftsmanship, and earned a Graduate Gemologist degree from Gemological Institute of America.

## Career

Feng created FENG.J Haute Joaillerie, a jewelry brand, in France in 2016. In 2018, a brooch and earrings by Feng were displayed at the PAD London in the United Kingdom.

In 2019, Feng's jewelry piece was exhibited at Salon Art+Design Fair in New York, United States.

## InfoBox

| Feng J | |
| --- | --- |
| 丰吉 | |
| Born | 1985 in Hangzhou |
| Nationality | Chinese |
| Education | CAA, UAL, HEJ, GIA |
| Occupation | Jewelry artist ＆ designer |


title: FAM127A

abstract: CAAX box protein 1 is a protein that in humans is encoded by the FAM127A gene.

text:
# FAM127A

**CAAX box protein 1** is a protein that in humans is encoded by the *FAM127A* gene.

## Further reading

## InfoBox

| RTL8C | | | |
| --- | --- | --- | --- |
|  | | | |
| Identifiers | | | |
| Aliases | RTL8C, CXX1, MAR8C, MART8C, Mar8, Mart8, FAM127A, family with sequence similarity 127 member A, SIRH5, retrotransposon Gag like 8C | | |
| External IDs | OMIM: 300213; MGI: 1920115; HomoloGene: 124163; GeneCards: RTL8C; OMA:RTL8C - orthologs | | |
|  | | | |
|  | | | |
|  | | | |
|  | | | |
| Orthologs  Species **Human** **Mouse**  Entrez   Ensembl   UniProt   RefSeq (mRNA)     NM\_003928<br>NM\_001078171   NM\_028375   RefSeq (protein)     NP\_001071639   NP\_082651   Location (UCSC) Chr X: 135.03 – 135.03 Mb Chr X: 52.61 – 52.61 Mb  PubMed search | | | |
| Wikidata | | | |
| View/Edit Human View/Edit Mouse | | | |


title: Difference density map

abstract: In X-ray crystallography, a difference density map or Fo–Fc map shows the spatial distribution of the difference between the measured electron density of the crystal and the electron density explained by the current model. A way to compute this map has been formulated for cyro-EM.

text:
# Difference density map

In X-ray crystallography, a **difference density map** or **Fo–Fc map** shows the spatial distribution of the difference between the measured electron density of the crystal and the electron density explained by the current model.

A way to compute this map has been formulated for cyro-EM.

## Display

Conventionally, they are displayed as isosurfaces with positive density—electron density where there's nothing in the model, usually corresponding to some constituent of the crystal that hasn't been modelled, for example a ligand or a crystallisation adjutant -- in green, and negative density—parts of the model not backed up by electron density, indicating either that an atom has been disordered by radiation damage or that it is modelled in the wrong place—in red. The typical contouring (display threshold) is set at 3σ.

## Calculation

Difference density maps are usually calculated using Fourier coefficients which are the differences between the observed structure factor amplitudes from the X-ray diffraction experiment and the calculated structure factor amplitudes from the current model, using the phase from the model for both terms (since no phases are available for the observed data). The two sets of structure factors must be on the same scale.

$$C\_{diffmap}=(|F\_{obs}|-|F\_{calc}|)exp(2\pi i\phi \_{calc})$$

It is now normal to also include maximum-likelihood weighting terms which take into account the estimated errors in the current model:

$$C\_{diffmap}=(m|F\_{obs}|-D|F\_{calc}|)exp(2\pi i\phi \_{calc})$$

where *m* is a figure of merit which is an estimate of the cosine of the error in the phase, and *D* is a "σA" scale factor. These coefficients are derived from the gradient of the likelihood function of the observed structure factors on the basis of the current model. A difference map built with *m* and *D* is known as a mFo – DFc map.

The use of ML weighting reduces model bias (due to using the model's phase) in the 2 Fo–Fc map, which is the main estimate of the true density. However, it does not fully eliminate such bias.

## Further reading


title: Shoulder programming

abstract: Shoulder programming is a type of pre-event and post-event broadcast programming as a companion to live sporting events. This type of programming may be multi-platform and include both television and radio programs. Due to exclusive content or access, it may be included in a broadcast rights package for a particular sport or event. The purpose is to expand revenue opportunities through radio or television advertising or increased exposure to a pay-per-view event.

text:
# Shoulder programming

**Shoulder programming** is a type of pre-event and post-event broadcast programming as a companion to live sporting events. This type of programming may be multi-platform and include both television and radio programs. Due to exclusive content or access, it may be included in a broadcast rights package for a particular sport or event. The purpose is to expand revenue opportunities through radio or television advertising or increased exposure to a pay-per-view event.

## Examples

### NFL

NFL Primetime, Monday Night Countdown, and *SportsCenter Monday Kickoff* have each been companion National Football League (NFL) programming for Monday Night Football on ESPN. Monday Night Football was highly rated on ABC from 1970 to 2005, but since ESPN took over in 2006, it could more directly surround the franchise with programming in the time-slots before and after the game.

### UFC

The first Ultimate Fighting Championship (UFC) event on UFC on Fox was a title card between Junior dos Santos and Cain Velasquez in 2011. Networks such as Fox Deportes, *Fuel TV* (since re-branded Fox Sports 2 and Fox Sports Radio broadcast many hours of programming leading up to and during the fight. Programming included specials by both Fox Deportes and Fuel TV. Replays of the previously-held Velasquez vs Lesnar fight and the weigh-in were aired by Fox Deportes and Fuel TV, respectively. Live radio coverage of the fight was broadcast by Fox Sports Radio. Other programming included a UFC primetime special and the pre-fight and post-fight shows by Fuel TV.

## Criticism

ESPN has been criticized for devoting more or less air-time to a sport depending on whether it has rights to the primary organization or league of that sport. Examples include less air-time for National Hockey League (NHL), including the cancellation of NHL 2Night following their expiration of ESPN's rights contract and expanding air-time for NASCAR and the Arena Football League following rights deals.


title: Sky Burger

abstract: Sky Burger was a strategy video game developed by NimbleBit for iOS and Android devices. The game was originally released in 2009 and is no longer available for download.

text:
# Sky Burger

***Sky Burger*** was a strategy video game developed by NimbleBit for iOS and Android devices. The game was originally released in 2009 and is no longer available for download.

## Gameplay

In *Sky Burger*, players stack ingredients to fill a specific order. The ingredients—patty, cheese, lettuce, pickle, onion, and tomato—fall from the sky, and the player must tilt their device to catch them. Once the order is filled, the player gets money and a tip and then continues making more burgers. The tip is based upon the cost of the burger and how well the player did catching the ingredients and avoiding the unwanted ingredients.

The burgers which the players assemble are randomly selected, and one burger called the "Sky Burger" lets the player stack as many ingredients as they are able to with no limit as long as the player avoids the falling hamburger buns.

The difficulty becomes harder as the player successfully makes consecutive orders. Ingredients, as well as the hamburger buns, fall much more quickly. The required amount of ingredients is higher. However, if a player fails to complete an unfinished order due to accidentally collecting a hamburger bun when they have not collected all of the ingredients needed to make that order, the difficulty is set back to the beginning, and again becomes harder as the player progresses.

## Reception

On GameRankings, *Sky Burger* is ranked with a 65% approval rating.

Chris Barylick of *Macworld* mentioned that the game "makes great use of tilt controls for the iPhone and iPod touch," but "the game can feel a bit directionless, which both works for and against it." The game was praised.

## InfoBox

| Sky Burger | |
| --- | --- |
| App icon | |
| Developer(s) | NimbleBit |
| Publisher(s) | NimbleBit |
| Platform(s) | iOS, Android |
| Release | May 21, 2009 (iOS),<br>2009 (Android) |
| Genre(s) | Strategy |
| Mode(s) | Single-player |


title: Then (Brad Paisley song)

abstract: "Then" is a song co-written and recorded by American country music artist Brad Paisley. It is his twenty-third entry on the Billboard country charts, debuting at number 26 on the chart week of April 4, 2009. The song is the lead-off single from his seventh studio album, American Saturday Night, which was released via Arista Nashville on June 30, 2009. It is one of Paisley's four songs certified 2× Platinum by the Recording Industry Association of America, the others being "She's Everything", "Whiskey Lullaby", and "Remind Me". Paisley wrote this song with Ashley Gorley and Chris DuBois.

text:
# Then (Brad Paisley song)

**"Then"** is a song co-written and recorded by American country music artist Brad Paisley. It is his twenty-third entry on the *Billboard* country charts, debuting at number 26 on the chart week of April 4, 2009. The song is the lead-off single from his seventh studio album, *American Saturday Night*, which was released via Arista Nashville on June 30, 2009. It is one of Paisley's four songs certified 2× Platinum by the Recording Industry Association of America, the others being "She's Everything", "Whiskey Lullaby", and "Remind Me". Paisley wrote this song with Ashley Gorley and Chris DuBois.

## Content

"Then" is a ballad, backed primarily by piano and electric guitar. In it, the male narrator expresses his love for his female partner. In the verses, he recalls various events in their relationship, such as meeting for the first time, kissing on her porch, and then proposing to her at the place where they first met. In the chorus, he says how much stronger his love has become since their first meeting.

## Critical reception

The song has been given mixed critical reviews. Robert Christgau included it at number 12 in his ballot for Rolling Stone's list of the decades' best songs. Liz Jungers gave a favorable review on *Roughstock*, saying that the song was well written and produced, and that it showed a more serious side to Paisley, in contrast to his novelty songs such as "Ticks" and "Online". Leeann Ward of *Country Universe* gave it a B− rating, saying that it was largely cliché but adding that it was "an admirable enough sentiment with an inoffensive production, but it’s not at all impressive coming from an artist with so many years of songwriting experience behind him." Juli Thanki of *Engine 145*, however, gave the song a thumbs-down rating. Thanki's review criticized the song for lacking lyrical depth, and called it "a bland collection of memories and observations about an anonymous girl who is now Paisley’s whole life and world."

## Personnel

As listed in liner notes

### Gang Vocals (album version only)

* Robert Arthur
* Tracie Hamilton
* Gary Hooker
* Kendal Marcy
* Tim Owens
* Valerie Pringle
* Ben Sesar
* Emily Reeves
* Missy Reeves
* Scott Reeves

## Chart performance

"Then" debuted at number 26 on the *Billboard* Hot Country Songs charts dated for the week of April 4, 2009. It became his tenth consecutive Number One hit for the week of June 6, 2009. In August of the same year, "Then" became Paisley's first entry on the Hot Adult Contemporary Tracks charts, debuting at number 30.

## Certifications

| Region | Certification | Certified units/sales |
| --- | --- | --- |
| Canada (Music Canada) | Platinum | 80,000 |
| United States (RIAA) | 2× Platinum | 2,000,000 |
| Sales+streaming figures based on certification alone.
 | | |

## InfoBox

| "Then" | |
| --- | --- |
|  | |
| Single by Brad Paisley | |
| from the album  *American Saturday Night* | |
| Released | March 23, 2009 (2009-03-23) |
| Genre | Country |
| Length | 4:16 (single edit)
5:21 (album version) |
| Label | Arista Nashville |
| Songwriter(s) | Chris DuBois
Ashley Gorley
Brad Paisley |
| Producer(s) | Frank Rogers |
| Brad Paisley singles chronology | |
| "Start a Band"
(2008) "**Then**"
(2009) "Welcome to the Future"
(2009) | |


title: Shahriyar II

abstract: Shahriyar II was the eleventh ruler of the Bavand dynasty from 930 to 964. He was the son and successor of Sharwin II. After the fall of the Zaydids of Tabaristan, Shahriyar II became involved in a power struggle between the Buyids and Ziyarids for the Tabaristan region. The Ziyarid ruler of Tabaristan, Vushmgir, is known to have married the sister of Shahriyar. In 943, Vushmgir was expelled from Ray by the Buyid by Rukn al-Dawla, and took refugee in the court of Shahriyar II. In 948, Rukn al-Dawla conquered Tabaristan, and forced Shahriyar to swear allegiance to the Buyids in person. However, Shahriyar still remained loyal to the Ziyarids and their Samanid overlords. Because of his pro-Ziyarid policies, Shahriyar was deposed in favor of his pro-Buyid brother Rustam II in 964. Shahriyar later tried to reclaim the Bavand throne by invading Tabaristan with a Samanid army in 968, but to no avail.

text:
# Shahriyar II

**Shahriyar II** (Persian: شهریار) was the eleventh ruler of the Bavand dynasty from 930 to 964. He was the son and successor of Sharwin II.

After the fall of the Zaydids of Tabaristan, Shahriyar II became involved in a power struggle between the Buyids and Ziyarids for the Tabaristan region. The Ziyarid ruler of Tabaristan, Vushmgir, is known to have married the sister of Shahriyar. In 943, Vushmgir was expelled from Ray by the Buyid by Rukn al-Dawla, and took refugee in the court of Shahriyar II. In 948, Rukn al-Dawla conquered Tabaristan, and forced Shahriyar to swear allegiance to the Buyids in person. However, Shahriyar still remained loyal to the Ziyarids and their Samanid overlords. Because of his pro-Ziyarid policies, Shahriyar was deposed in favor of his pro-Buyid brother Rustam II in 964. Shahriyar later tried to reclaim the Bavand throne by invading Tabaristan with a Samanid army in 968, but to no avail.

## Sources

* Madelung, W. (1975). "The Minor Dynasties of Northern Iran". In Frye, R.N. (ed.). *The Cambridge History of Iran, Volume 4: From the Arab Invasion to the Saljuqs*. Cambridge: Cambridge University Press. pp. 198–249. ISBN 978-0-521-20093-6.
* Frye, R.N. (1975). "The Saljuq and Mongol periods". In Frye, R.N. (ed.). *The Cambridge History of Iran, Volume 5: The Iranian world*. Cambridge: Cambridge University Press. pp. 1–659. ISBN 0-521-20093-8.


title: Chrysotoxum baphyrum

abstract: Chrysotoxum baphyrum is a species of holarctic hoverfly. The adults are strong mimics of wasps. Larvae of this genera, when known, are aphid predators.

text:
# Chrysotoxum baphyrum

***Chrysotoxum baphyrum*** is a species of holarctic hoverfly. The adults are strong mimics of wasps. Larvae of this genera, when known, are aphid predators.

## Distribution

Alaska, Canada, United States, Europe and Asia.

## Description

For terminology see Speight key to genera and glossary

Head

The antennae are black, with the first joint slightly shorter than the second, and the third joint slightly longer than the first and second together. The arista is deep yellow, brownish towards the apex. The frons is shiny and brownish-black, with numerous long brown hairs and a broad band of short, yellow pubescence along the eyes. The ocellar triangle is shiny black, with numerous long dark hairs and a whitish pubescence across the base, with the front ocellus being yellowish-white and the basal pair quite reddish. The face is pale yellow, finely pubescent, and covered with numerous yellowish-brown hairs, shorter than those on the frons, with a black stripe reaching from the antennae to the oral margin, very narrow at the antennae and much broader at the facial tubercle. Sometimes this stripe is interrupted by a narrow yellow stripe between the oval margin and the facial tubercle. The gena is yellow, with a broad, shiny, black stripe reaching from the oral margin to the eye.

Thorax

The thorax is black, sub-opaque with a bronze reflection, and isslightly shiny along the sides. It is covered with numerous yellow hairs, more reddish along the sides, with two faint yellowish stripes in the middle extending from half to two-thirds the length of the thorax. The lateral edge has a yellow stripe, broadly interrupted in back of the transverse suture. The pleura is black, with the posterior half of the mesopleura being pale yellow, extending up to the base of the wing. The scutellum is yellow, brownish in the center, with bristly hairs on the basal half being yellow and those on the apical half being brown and slightly longer.

Abdomen

The first and second segments are black, with the second having a yellow, arcuate fascia across the middle, broadly interrupted in the middle and dilated towards the outer edge. The extreme apical edge of the segments may sometimes be yellow. The third segment has a narrow black fascia entirely across the base and widening as it meets the carina, as well as a wider black fascia near the middle extending obliquely towards, but not touching, the apical corner. The fasciae on this segment are variable in width. The fourth and fifth segments have a very narrow black fascia of uneven width along the base, connecting with the carina, with the fourth having a black spot in the center and a longer one towards each apical corner, and the fifth having three black spots in a triangular form. All the black markings on the dorsum and the yellow on the apical part of the last three segments are covered with numerous, short, black, bristly hairs.

Wings

The wing microtrichia is well-developed, and the wing vein R4+5 is clearly dipped into the cell r4+5. The wings are faintly cinerous, with the costal edge lutescent on the basal half and brown on the apical half.

Legs

The legs are mostly yellow, The tarsi are reddish. The front and middle femora have a brownish infuscation at the base, while the hind femora are brownish on the apical half, with the tip being yellow.

## InfoBox

| *Chrysotoxum baphyrum* | |
| --- | --- |
|  | |
| under the synonym *Chrysotoxum coloradense* | |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Diptera |
| Family: | Syrphidae |
| Genus: | *Chrysotoxum* |
| Species: | ***C. baphyrum*** |
| Binomial name | |
| ***Chrysotoxum baphyrum***<br>Walker, 1849 | |
|
| Synonyms | |
| * *Chrysotoxum coloradense*  Greene, 1918 * *Chrysotoxum fasciata*  Kohli, 1987 * *Chrysotoxum fasciatus*  Kohli, Kapoor & Gupta, 1988 * *Chrysotoxum testaceum*  Sack, 1913 * *Musca fasciatum*  Müller, 1764 | |


title: Robert W. Grow

abstract: Major General Robert Walker Grow was a senior United States Army officer who commanded the 6th Armored Division during World War II. He was notable for his court-martial in 1951 for failing to safeguard classified information.

text:
# Robert W. Grow

Major General **Robert Walker Grow** (February 14, 1895 – November 3, 1985) was a senior United States Army officer who commanded the 6th Armored Division during World War II. He was notable for his court-martial in 1951 for failing to safeguard classified information.

## Early life and military career

Born in Sibley, Iowa to Nellie (*née* Walker) and John Thomas Grow. His mother died when he was two years old and Grow went to live with his paternal grandparents, as his father went to Canada to work. He graduated from the University of Minnesota in 1916. He married Mary Louella Marshall (1896-1974), daughter of Willamina H. "Willie" (*née* Robertson) and J Walter Marshall, of Cleveland, Tennessee on November 5, 1917, in Hamilton, Tennessee. They had two sons, Robert Marshall and Walter Thomas, both attendees of the United States Military Academy at West Point, New York. They had an additional child die as a one-day-old in Brownsville, Texas.

Grow joined the Minnesota National Guard in February 1914, whilst attending the University of Minnesota, and was commissioned as an officer in November 1915. On December 5, 1916, he was promoted to first lieutenant. April 1917 saw the American entry into World War I and Grow was promoted again, this time to captain, in the National Army on August 5, 1917. On October 12, he transferred to the Regular Army but retained his captain rank. Grow did not see active service during World War I.

He remained in the army during the interwar period, attending both the United States Army Command and General Staff College and the United States Army War College.

Robert W. Grow was the commander the 6th Armored Division on the Western Front, fighting during the battles of Normandy and of the Bulge.

His command of the 6th Armored Division in its rapid assault across the Brittany Peninsula is considered one of the finest examples of armor in the exploitation phase. This stunning advance is often overlooked due to the more glamorous exploits of the rest of the U.S. Army surrounding the German Seventh Army at the same time.

## After the war

He is also known for being court-martialed in 1951 during the Cold War on charges of failing to safeguard classified information. At the time, he was the senior U.S. military attache in Moscow, and portions of his diary fell into Soviet hands and were published in part by Richard Squires, a British defector to East Germany. Grow retired after the court-martial and later became an executive of the Falls Church, Virginia chamber of commerce. He was reprimanded and suspended from command for six months. Only after the trial did the public discover that many of the sentiments that Squires attributed to Grow were forgeries. The case was appealed and ultimately came before President Eisenhower in 1957, who approved the findings but remitted the sentence. "Spymaster," by ex-CIA official Tennant Bagley, gives an updated account of the affair of the diary by a Soviet intelligence agent.

Not long after the court-martial, his son, Walter Thomas Grow, was on summer vacation from the United States Military Academy at West Point in 1953 when a fire started in his bedroom of the family home in Falls Church, Virginia. Walter Thomas Grow, 21, died of smoke inhalation on August 12, 1953.

## InfoBox

| Robert Walker Grow | |
| --- | --- |
|  | |
| Nickname(s) | "Bob" |
| Born | February 14, 1895
Sibley, Iowa, United States |
| Died | November 3, 1985 (aged 90)
Falls Church, Virginia, United States |
| Buried | Arlington National Cemetery, Virginia, United States |
| Allegiance | United States |
| Service/branch | United States Army |
| Years of service | 1914–1951 |
| Rank | Major General |
| Service number | 0-4621 |
| Unit | Cavalry Branch
Field Artillery Branch |
| Commands | 34th Armored Regiment
6th Armored Division
3rd Armored Division
26th Infantry Division |
| Battles/wars | World War I
World War II |
| Awards | Distinguished Service Cross
Army Distinguished Service Medal
Legion of Merit
Silver Star
Bronze Star |


title: Vertamboz

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

text:
# Vertamboz

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

## Population

Historical population
| Year | Pop. | ±% p.a. |
| --- | --- | --- |
| 1968 | 121 |  |
| 1975 | 94 | −3.54% |
| 1982 | 90 | −0.62% |
| 1990 | 84 | −0.86% |
| 1999 | 68 | −2.32% |
| 2009 | 95 | +3.40% |
| 2014 | 88 | −1.52% |
| 2020 | 95 | +1.28% |
| Source: INSEE | | |

## InfoBox

| Vertamboz | |
| --- | --- |
| Commune | |
| The chapel in Vertamboz | |
| Location of Vertamboz | |
| VertambozVertamboz | |
| Coordinates: 46°35′48″N 5°44′32″E / 46.5967°N 5.7422°E / 46.5967; 5.7422 | |
| Country | France |
| Region | Bourgogne-Franche-Comté |
| Department | Jura |
| Arrondissement | Lons-le-Saunier |
| Canton | Saint-Laurent-en-Grandvaux |
| Government | |
| Mayor (20202026) | Christiane Dufour |
| Area**1** | 6.66 km2 (2.57 sq mi) |
| Population (2021) | 91 |
| Density | 14/km2 (35/sq mi) |
| Time zone | UTC+01:00 (CET) |
| Summer (DST) | UTC+02:00 (CEST) |
| INSEE/Postal code | 39556 /39130 |
| Elevation | 439–615 m (1,440–2,018 ft) |
| **1** French Land Register data, which excludes lakes, ponds, glaciers \> 1 km2 (0.386 sq mi or 247 acres) and river estuaries. | |


title: Uttar Pradesh State Election Commission

abstract: The State Election Commission Uttar Pradesh, commonly known as the Uttar Pradesh State Election Commission, is an independent constitutional body responsible for conducting elections for urban and rural local bodies—the constitutionally mandated third-tier of government in India—in the Indian state of Uttar Pradesh (UP). The commission is headed by the Uttar Pradesh State Election Commissioner, at present, Manoj Kumar.

text:
# Uttar Pradesh State Election Commission

The **State Election Commission Uttar Pradesh** (**SEC UP**; IAST: *Rājya Nirvācana Āyoga Uttara Pradeśa*), commonly known as the **Uttar Pradesh State Election Commission**, is an independent constitutional body responsible for conducting elections for urban and rural local bodies—the constitutionally mandated third-tier of government in India—in the Indian state of Uttar Pradesh (UP). The commission is headed by the Uttar Pradesh State Election Commissioner, at present, Manoj Kumar.

## Origins

The commission was constituted by the Government of Uttar Pradesh in April 1994, after the passing of 73rd and 74th amendments of the Constitution of India, which mandated for a permanent indissoluble local bodies in rural and urban areas with a maximum term of five years, and allowed for the creation of state election commissions in all states to conduct elections to local-self government bodies under the newly-inducted article 243K.

## Functions

The commission is responsible for conducting elections to *gram panchayats* (village councils), *kshetra panchayats* (regional councils), and *zila panchayats* (district councils) under the *U. P. Panchayati Raj Act, 1947* and *U. P. (Kshettra Panchayats and Zila Panchayats) Adhiniyam, 1961* and *nagar palika parishads* (municipal councils), *nagar panchayats* (city councils), and municipal corporations under the *U. P. Municipalities Act, 1916* in the state of Uttar Pradesh.

District magistrates—under the general superintendence of the state election commission—are responsible for the conduct of local body elections in their respective districts.

The commission is also vested with the power of general supervision of preparation of electoral rolls for local body election in Uttar Pradesh. The Election Commission of India—the constitutional body responsible for conducting presidential, vice-presidential, parliamentary and state legislative elections in India—can share its electoral rolls with the state election commission, but the latter is otherwise independent from it, whilst being vested with the same powers as the former for local body elections.

## Organisation

The commission is headed by the Uttar Pradesh State Election Commissioner, who is in turn assisted by an additional commissioner; three joint commissioners; two officers on special duty, one of whom also acts the head of department (HoD); a secretary; and two deputy election commissioners.

### Uttar Pradesh State Election Commissioner

The Uttar Pradesh State Election Commissioner acts as the head of the state election commission. Usually a retired officer of the Indian Administrative Service (IAS), the commissioner is appointed by the governor of Uttar Pradesh on the chief minister's aid and advise and has the same immunity as a high court judge and therefore, can only be removed from office via impeachment by both houses of the Indian parliament. The commissioner has a tenure of six years or till she/he attains the age of 68, whichever is earlier. The current state election commissioner is Manoj Kumar, a retired UP cadre IAS officer of 1982 batch.

## Bibliography

### Book

### Paper

## InfoBox

State Election Commission Uttar Pradesh
| *Rājya Nirvācana Āyoga Uttara Pradeśa* | |
| --- | --- |
| Logo of the Uttar Pradesh State Election Commission | |
| Commission overview | |
| Formed | 23 April 1994 (1994-04-23) |
| Jurisdiction | Whole of Uttar Pradesh |
| Headquarters | 32, Station Road, Udaiganj, Lalkuan Lucknow, Uttar Pradesh, 226-001, India<br>26°50′11″N 80°56′02″E / 26.836336°N 80.93382099999997°E / 26.836336; 80.93382099999997 |
| Commission executives | * Manoj Kumar, IAS, Uttar Pradesh State Election Commissioner * Ved Prakash Verma, ITS, Additional State Election Commissioner |
| Website | Official website |


title: Charles John Wentworth Dilke

abstract: The Rev. Fr. Sir Charles Dilke, 6th Baronet, was a British baronet and priest of the London Oratory.

text:
# Charles John Wentworth Dilke

**The Rev. Fr. Sir Charles Dilke, 6th Baronet,** Cong. Orat. (21 February 1937 – 14 November 2022) was a British baronet and priest of the London Oratory.

## Life

Charles John Wentworth Dilke was born in London in 1937, to Sir John Dilke, 5th Bt. and Sheila Seeds, daughter of the future ambassador to the Soviet Union Sir William Seeds.

Dilke studied at Ashdown House followed by Winchester College and King’s College, Cambridge for a degree in architecture. It was at Cambridge that Dilke, previously having shown few signs of religiosity, began to attend chapel services and fell under the influence of the then Roman Catholic chaplain Monsignor Alfred Gilbey, leading to his conversion.

## London Oratory

On the advice of Gilbey, Dilke entered the London Oratory shortly after graduating from Cambridge, where he would spend the next 56 years as a priest and serve from 1981 to 1987 as a provost. He was ordained in 1966, after studying at Rome's Beda College during the Second Vatican Council.

Dilke retained some of his family's ancestral non-traditionalism – his election as provost was said to be celebrated by the liberal-minded members of his community – and was not in sympathy with the fogeyish element that congregated about the Brompton Oratory. Indeed, upon hearing the news from Rome of the white smoke signaling a new pontiff, he once remarked "Popes come. Then they die, and another one is elected", before continuing to play his recorder.

From 2004, Dilke was a fellow of the Royal Astronomical Society, and even wrote an unpublished novel about the oratory set in outer space.

## Oratory School

In the 1980s Dilke was instrumental to the survival of the London Oratory School, when the Westminster Archdiocese proposed discontinuing the school’s sixth form to be absorbed into a consolidated college with others across the city. As chairman of the board of governors, Father Charles lent steadfast support to the "visionary educationalist" headmaster John McIntosh, who thought him "the most supportive chairman of governors in his 30 years as head." Dilke protested to Basil Cardinal Hume, Archbishop of Westminster, a Benedictine monk of Ampleforth Abbey, that he would no more accept the closure than would Hume of his own college, and pointing out the diocese did not have jurisdiction over the oratory (a verdict confirmed after a diocesan appeal to Rome).

## Death

In 2022, Dilke broke a hip after tripping on a Turkish rug during an All Souls' Day celebration. He died shortly thereafter.

## Family

Dilke acceded to the Dilke Baronetcy on the death of his father in 1998, inheriting a title first granted by personal act of Queen Victoria to his great great grandfather Charles Wentworth Dilke, an organizer of the Great Exhibition of 1851.

Even in Dilke's youth the family retained a connection to its most infamous forbear. Virginia Crawford, the MPs wife whose testimony in a divorce case precipitated the second baronet's public disgrace in 1886, became a Catholic under the influence of Henry Edward Cardinal Manning as well as a friend of the family who as "Auntie Nia" dandled the younger Dilke on her knee as a baby.

On his death the baronetcy was inherited by his brother Timothy, a retired rheumatologist.


title: Difference hierarchy

abstract:
In set theory, a branch of mathematics, the difference hierarchy over a pointclass is a hierarchy of larger pointclasses
generated by taking differences of sets. If Γ is a pointclass, then the set of differences in Γ is { A : ∃ C, D ∈ Γ }. In usual notation, this set is denoted by 2-Γ. The next level of the hierarchy is denoted by 3-Γ and consists of differences of three sets: { A : ∃ C, D, E ∈ Γ }. This definition can be extended recursively into the transfinite to α-Γ for some ordinal α. In the Borel hierarchy, Felix Hausdorff and Kazimierz Kuratowski proved that the countable levels of the difference hierarchy over Π⁰γ give
Δ⁰γ+1.

text:
# Difference hierarchy

In set theory, a branch of mathematics, the **difference hierarchy** over a pointclass is a hierarchy of larger pointclasses generated by taking differences of sets. If Γ is a pointclass, then the set of differences in Γ is $\\{A:\exists C,D\in \Gamma (A=C\setminus D)\\}$. In usual notation, this set is denoted by 2-Γ. The next level of the hierarchy is denoted by 3-Γ and consists of differences of three sets: $\\{A:\exists C,D,E\in \Gamma (A=C\setminus (D\setminus E))\\}$. This definition can be extended recursively into the transfinite to *α*-Γ for some ordinal *α*.

In the Borel hierarchy, Felix Hausdorff and Kazimierz Kuratowski proved that the countable levels of the difference hierarchy over Π0*γ* give Δ0*γ*+1.


title: Shopite

abstract: Shopite is a village in the municipality of Sevlievo, in Gabrovo Province, in northern central Bulgaria.

text:
# Shopite

**Shopite** is a village in the municipality of Sevlievo, in Gabrovo Province, in northern central Bulgaria.

## InfoBox

| Shopite | |
| --- | --- |
| Village | |
| Shopite | |
| Coordinates: 42°51′N 24°59′E / 42.850°N 24.983°E / 42.850; 24.983 | |
| Country | Bulgaria |
| Province | Gabrovo Province |
| Municipality | Sevlievo |
| Time zone | UTC+2 (EET) |
| Summer (DST) | UTC+3 (EEST) |


title: Cheiridopsis schlechteri

abstract: Cheiridopsis schlechteri is a species of plant from South Africa. It is a succulent plant that grows in dry habitats.

text:
# Cheiridopsis schlechteri

***Cheiridopsis schlechteri*** is a species of plant from South Africa. It is a succulent plant that grows in dry habitats.

## Description

These plants grow as cushion-like clumps with a height of 3–8 cm (1.2–3.1 in) and diameter of 4–12 cm (1.6–4.7 in). The paired leaves are a dark grey-green in colour, particularly on the margins. They are also spotted with idioblasts. The leaves do not form resting sheaths, but shrivel and are held close to the plant when they are dormant.

This species shows much geographic variability. The plants north of Eenriet and Steinkopf have white leaves with long papillae, while those around Gamoep have darker green leaves, raised idioblasts, and thicker reddish margins. The population around Eenriet was initially classified as *Cheiridopsis pulverulenta* but many intermediate forms between this form and the more typical specimens have since been found. Plants on the Geelvlei plateau are particularly small, with diameters of less than 2 cm (0.79 in). While the bright conditions they grow in n this region stunts their growth, there may be a genetic component as even cultivated specimens remain this small.

Solitarily borne flowers are most common in mid-winter but are present into spring (between August and September). They range in colour from ivory (in Areb and Umduas) to lemon yellow (in Springbok) to a bright yellow-orange and are large relative to the size of the plant (diameter of 2–4 cm (0.79–1.57 in)). Some flowers may also show a faint pink blush.

While 10-locular fruit are most common, the fruit range between 9-12-locular.

## Distribution and habitat

This species is endemic to the Northern Cape of South Africa. It prefers dry habitats. It grows on gneiss slopes, or on quartzite, shale or calcrete flats between Eenriet, Umduas, Gamoep and Bushmanland.

## Conservation

*Cheiridopsis schlechteri* is considered to be of least concern by the South African National Biodiversity Institute.

## InfoBox

| *Cheiridopsis schlechteri* | |
| --- | --- |
|
| Scientific classification | |
| Kingdom: | Plantae |
| *Clade*: | Tracheophytes |
| *Clade*: | Angiosperms |
| *Clade*: | Eudicots |
| Order: | Caryophyllales |
| Family: | Aizoaceae |
| Genus: | *Cheiridopsis* |
| Species: | ***C. schlechteri*** |
| Binomial name | |
| ***Cheiridopsis schlechteri***<br>Tischer | |
|
| Synonyms | |
| * *Cheiridopsis johannis-winkleri* Schwantes * *Cheiridopsis paucifolia* L.Bolus * *Cheiridopsis pulverulenta* L.Bolus | |


title: The World's Greatest Superheroes

abstract: The World's Greatest Superheroes was a syndicated newspaper comic strip featuring DC Comics characters which ran Sunday and daily from April 3, 1978, to February 10, 1985. It was syndicated by the Chicago Tribune/New York News Syndicate.

text:
# The World's Greatest Superheroes

***The World's Greatest Superheroes*** was a syndicated newspaper comic strip featuring DC Comics characters which ran Sunday and daily from April 3, 1978, to February 10, 1985. It was syndicated by the Chicago Tribune/New York News Syndicate.

## History

Initially starring Superman, Batman, Robin, Wonder Woman, the Flash and Black Lightning, the strip underwent several title changes, as the focus changed to primarily feature Superman.

| Title | Dates |
| --- | --- |
| *The World's Greatest Superheroes* | April 3, 1978 to October 13, 1979 |
| *The World's Greatest Superheroes Present Superman* | October 14, 1979 to August 14, 1982 |
| *Superman* | August 15, 1982 to January 8, 1983, then dailies only from January 10, 1983, to February 9, 1985 |
| *The Superman Sunday Special* | Sundays only from January 9, 1983, to February 10, 1985 |
|

Writers: Martin Pasko scripted at the beginning. Paul Levitz took over October 15, 1979 until March 22, 1981, with his initial story coming from a Pasko idea. Gerry Conway then picked up the assignment. A continuity from Mike W. Barr followed, appearing October 26, 1981 through January 10, 1982. Paul Kupperberg handled continuities from January 11, 1982, until the end, including a segment from January 12 through March 12, 1981, that he ghosted for Levitz. Bob Rozakis wrote all but two of *The Superman Sunday Special*s.

Artists: Initially dailies and Sundays were penciled by George Tuska and inked by Vince Colletta. At various times from April 25 until November 13, 1982, the strip was worked on by Tuska, Colletta, José Delbo, Bob Smith, Frank McLaughlin and Sal Trapani. Delbo and Trapani then illustrated the feature from November 14, 1982, until the end.

| Episode | Start date | End date | Fan title | Hero cast |
| --- | --- | --- | --- | --- |
| 01 | 1978-04-03 | 1978-07-01 | Vandal Savage Strikes! | Superman, the Flash, Aquaman and Wonder Woman |
| 02 | 1978-07-02 | 1978-10-24 | Flash Fights for His Life | Superman, the Flash, Batman, Robin, Wonder Woman, Green Lantern and the Black Canary |
| 03 | 1978-10-25 | 1979-01-21 | The Disco Disappearances | Superman, Black Lightning, Batman, Robin and the Black Canary |
| 04 | 1979-01-22 | 1979-05-20 | The Gravity Magnifier | Superman, Wonder Woman and Batman |
| 05 | 1979-05-21 | 1979-10-11 | Superman Subpoenaed! | Superman |
| 06 | 1979-10-12 | 1979-12-12 | Jimmy Olsen, Elastic Lad | Superman |
| 07 | 1979-12-13 | 1980-03-13 | The Shrunken Superman | Superman |
| 08 | 1980-03-14 | 1980-06-11 | The Gimmick Gang | Superman and Wonder Woman |
| 09 | 1980-06-12 | 1980-08-31 | The Weaponer | Superman and the Flash |
| 10 | 1980-09-01 | 1980-12-13 | Nuclear Crisis | Superman and Batman |
| 11 | 1980-12-14 | 1981-06-27 | Gigi and the Motion Picture | Superman |
| 12 | 1981-06-28 | 1981-10-25 | Sports with Steve Lombard | Superman |
| 13 | 1981-10-26 | 1982-01-10 | The Joke is on Superman | Superman and Batman |
| 14 | 1982-01-11 | 1982-04-21 | Lady Steel | Superman and Wonder Woman |
| 15 | 1982-04-22 | 1982-07-28 | The Joker Again | Superman |
| 16 | 1982-07-29 | 1982-11-13 | The Stalker | Superman |
| 17 | 1982-11-14 | 1983-03-23 | Luthor and the Aliens | Superman |
| 18 | 1983-03-24 | 1983-07-17 | Mxyzptlk | Superman |
| 19 | 1983-07-18 | 1983-10-29 | Bal-Ga from New Krypton | Superman |
| 20 | 1983-10-31 | 1984-01-14 | Luthor and the Robots | Superman |
| 21 | 1984-01-16 | 1984-04-14 | The Wacky Bizarros | Superman |
| 22 | 1984-04-16 | 1984-07-14 | Brainiac and the Derlyns | Superman |
| 23 | 1984-07-16 | 1984-10-21 | The Toymaker | Superman |
| 24 | 1984-10-22 | 1985-02-10 | Superman's Parents Return | Superman |
|

## InfoBox

| The World's Greatest Superheroes | |
| --- | --- |
|  | |
| Author(s) | Martin Pasko (1978–1979)
Paul Levitz (1979–1981), Gerry Conway (1981), Mike W. Barr (1981–1982), Paul Kupperberg (1982–1985), Bob Rozakis (*The Superman Sunday Special*) |
| Illustrator(s) | George Tuska and Vince Colletta (1979–1982), José Delbo and Sal Trapani (1982–1985) |
| Current status/schedule | Daily and Sunday; concluded |
| Launch date | April 3, 1978 |
| End date | February 10, 1985 |
| Alternate name(s) | *The World's Greatest Superheroes Present Superman* (1979–1982)
*Superman* (1982–1983)
*The Superman Sunday Special* (1983–1985, Sundays only) |
| Syndicate(s) | Chicago Tribune/New York News Syndicate |
| Genre(s) | Superhero |


title: Shahriyar III

abstract: Shahriyar III, was the sixteenth ruler of the Bavand dynasty from 986 to 987, and briefly in 998 after a short disruption during his reign. He was the nephew and successor of Sharwin III. Shahriyar III was the son of a certain Bavandid prince named Dara. In 986, after the death of the Bavandid ruler Rustam II, his son al-Marzuban ascended the Bavandid throne. There have been several confusions about the reign of the Bavandid kings after the death of Rustam II. In 986, al-Marzuban is no longer mentioned as the ruler of the Bavand dynasty, and a certain Sharwin III is instead mentioned as the ruler of the dynasty. Shahriyar III is later mentioned as the ruler of the Bavand dynasty in the following year. Al-Marzuban is then once again mentioned in sources, as having deposed Shahriyar III, and restored himself as the ruler of the Bavand dynasty. In 998, Shahriyar III returned to Tabaristan with Ziyarid aid, and captured Shahriyarkuh from al-Marzuban. However, al-Marzuban, with Buyid aid, managed to quickly repel him from the city. Shahriyar III shortly made another counter-attack, and defeated al-Marzuban. Shahriyar III then ascended the Bavandid throne, and declared independence from Ziyarid rule. al-Marzuban used this opportunity to become the vassal of the Ziyarids, and regain his throne. Shahriyar III then fled to Ray, where he died in 1000.

text:
# Shahriyar III

**Shahriyar III** (Persian: شهریار), was the sixteenth ruler of the Bavand dynasty from 986 to 987, and briefly in 998 after a short disruption during his reign. He was the nephew and successor of Sharwin III.

Shahriyar III was the son of a certain Bavandid prince named Dara. In 986, after the death of the Bavandid ruler Rustam II, his son al-Marzuban ascended the Bavandid throne. There have been several confusions about the reign of the Bavandid kings after the death of Rustam II. In 986, al-Marzuban is no longer mentioned as the ruler of the Bavand dynasty, and a certain Sharwin III is instead mentioned as the ruler of the dynasty. Shahriyar III is later mentioned as the ruler of the Bavand dynasty in the following year. Al-Marzuban is then once again mentioned in sources, as having deposed Shahriyar III, and restored himself as the ruler of the Bavand dynasty. In 998, Shahriyar III returned to Tabaristan with Ziyarid aid, and captured Shahriyarkuh from al-Marzuban. However, al-Marzuban, with Buyid aid, managed to quickly repel him from the city. Shahriyar III shortly made another counter-attack, and defeated al-Marzuban. Shahriyar III then ascended the Bavandid throne, and declared independence from Ziyarid rule. al-Marzuban used this opportunity to become the vassal of the Ziyarids, and regain his throne. Shahriyar III then fled to Ray, where he died in 1000.

## Sources

* Madelung, W. (1975). "The Minor Dynasties of Northern Iran". In Frye, R.N. (ed.). *The Cambridge History of Iran, Volume 4: From the Arab Invasion to the Saljuqs*. Cambridge: Cambridge University Press. pp. 198–249. ISBN 978-0-521-20093-6.
* Madelung, W. (1984). "ĀL-E BĀVAND (BAVANDIDS)". *Encyclopaedia Iranica, Vol. I, Fasc. 7*. London u.a.: Routledge & Kegan Paul. pp. 747–753. ISBN 90-04-08114-3.


title: Chrysotoxum arcuatum

abstract: Chrysotoxum arcuatum, is a species of hoverfly. It is widespread throughout Britain and Ireland but much more common in the upland districts of the north and west where it is typically found at ground level near woodland and moorland edges. The larvae are thought to feed on root aphids associated with ant colonies.

text:
# Chrysotoxum arcuatum

***Chrysotoxum arcuatum***, is a species of hoverfly. It is widespread throughout Britain and Ireland but much more common in the upland districts of the north and west where it is typically found at ground level near woodland and moorland edges. The larvae are thought to feed on root aphids associated with ant colonies.

## InfoBox

| *Chrysotoxum arcuatum* | |
| --- | --- |
|  | |
| *male* | |
|  | |
| *female* | |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Diptera |
| Family: | Syrphidae |
| Genus: | *Chrysotoxum* |
| Species: | ***C. arcuatum*** |
| Binomial name | |
| ***Chrysotoxum arcuatum***<br>(Linnaeus, 1758) | |
|
| Synonyms | |
|  | |


title: Bill Copeland (poet)

abstract: Bill Copeland was an American poet, writer and historian. He was born at the Emory University Hospital in 1946. He was raised in DeKalb County, Georgia and lived above his father's country store. During the 1970s Copeland earned his master's degree in rehabilitation counseling from the University of Georgia. Copeland has held many jobs throughout his life consisting of a probation counselor, a parole officer in Augusta, and also a disability adjudicator for people seeking social security in Atlanta. He then started his own private practice before retiring in 1995 at the age of 49. It wasn't until after his retirement that Copeland began to write. He was a member of the Georgia Writers Association, the National Writers Association, and Libros International. Copeland lived in Lilburn Georgia throughout his adult years. He died 19 October 2010 due to complications from liver failure. Bill Copeland is remembered by his wife, Kathy Copeland, as well as his daughter, Lily Copeland

text:
# Bill Copeland (poet)

**Bill Copeland** was an American poet, writer and historian. He was born at the Emory University Hospital in 1946. He was raised in DeKalb County, Georgia and lived above his father's country store. During the 1970s Copeland earned his master's degree in rehabilitation counseling from the University of Georgia. Copeland has held many jobs throughout his life consisting of a probation counselor, a parole officer in Augusta, and also a disability adjudicator for people seeking social security in Atlanta. He then started his own private practice before retiring in 1995 at the age of 49. It wasn't until after his retirement that Copeland began to write. He was a member of the Georgia Writers Association, the National Writers Association, and Libros International. Copeland lived in Lilburn Georgia throughout his adult years. He died 19 October 2010 due to complications from liver failure. Bill Copeland is remembered by his wife, Kathy Copeland, as well as his daughter, Lily Copeland

## Awards

Despite Bill Copeland's short career as a writer, he was able to win many awards for his writings. In 2006 Copeland won the National Writers Association Contest. In 2008 Copeland won the AmazonClicks.com Authors Choice Award for his novel *Ashes to the Vistula.* Copeland then went on to receive the Taran Family Memorial Award for historical fiction. He was elected a nominee for Georgia Author of the Year in 2008. Geri Taran, the creator of the Taran Family Memorial Award, said that "In *Ashes to the Vistula* the first person approach to the novel was so real that the story could easily be mistaken for a painful memoir. Perhaps it is an affirmation of the human spirit's ability to empathize that the novel was conceived and written by an author with a passion for historical clarity. A successful writing indeed. It is my honor and pleasure to recognize *Ashes to the Vistula* and Bill Copeland for his outstanding achievement in Historical Fiction."

## Works

Copeland was a man of many passions; however, some of his favorite things to write about were the Holocaust, World War II, Native Americans and many other topics. He was a historian and that aspect reveals itself in many of his works. It was not easy for Copeland to get his works published as he did countless research online, joined different writing groups and talked with fellow writers. He was finally able to find a publisher out of Spain that liked his first novel, *Ashes to the Vistula.* In 2007, Libros International went on to publish this novel as well as his second one, *Desert Peoples Trilogy.*

### Poetry

Below are a list of Bill Copeland's Poetry:

SEEK THE NIGHT Seek the night; find solace in shadows and observe a quieter world free of probing eyes and questioning stares...

THE LAST CANDLE I watch the candles burn slowly with their flickering light, giving softness to the gaiety of the evening. One-by-one they flicker their last flame, signaling the end of the night, the bleakness of the season...

WINDS OF THOUGHT It's in the wind and can be seen in things bending to please, shaped by force. A tree, gnarled and twisted, points to the wind's goal bowing after this majesty...

* *Lonely Watch*
* *Clouds*
* *Ride the Roads*
* *Daisy*
* *Run, Daisy, Run*
* *Birds in a Field*
* *Owl Doth Fly*
* *Do You Remember*
* *Helen*
* *The Rose*
* *Gentle Memory*
* *Man as an Island*
* *Dawn*
* *Moving Times*
* *Infinite Thoughts*
* *A Soul Rising*
* *No More Roses*
* *Finding Strength*
* *Lonely Call*

### Novels

*Ashes to the Vistula* (2007) is perhaps Copeland's most well known novel. It was his first novel published and won multiple awards. It is a story about two boys that are taken to Auschwitz and forced to overcome hardships together despite the hardships that they already face.

"Desert People's Trilogy" was Copeland's second novel to be published and it won him the National Writer's Association Novel Contest. This is a unique trilogy that represents the white man's takeover of the Native American tribes.

*Hindu Moon* is Copeland's third novel and it depicts a story of both romance, mystery, and tragedy.

### Holocaust poetry

As a historian it is obvious that Bill Copeland took great interest in the horror that was the Holocaust. This is evident through his use of descriptive language and vivid imagery that he uses in holocaust poems.

**A Dark Pall** A dark pall hangs over the earth time sanity vanished replaced with ruthlessness unimaginable evil. Tyrants rose from the muck cloaked in black, adorning death heads stone faces masking evil hiding sinister intentions. Ruses perpetuated disarming many innocents shading villainous intentions a final solution...

**The Ruse** Down from the train the ruse begins words of cheer amid the guards facing guns fearing dogs. To the showers the ruse portrays no diseases here crowding together walking slowly on the ashes of kin...

Other famous holocaust poets are Mahmoud Darwish and Martin Niemoller.

## Interviews

Copeland uses vivid details in all of his poems, especially the holocaust ones, and part of the reason for this is his extensive research that he put into whatever he was talking about. With regards to his holocaust poetry Copeland not only did plenty of research on the Holocaust and WWII, but he also was able to get a primary source perspective from actual soldiers that fought in the war. He interviewed both a US Army and a US Navy veteran and took what he learned and turned it into poetry.

Copeland's first interview was with Private First Class Russell Scott, a member of the 802nd Field Artillery Battalion. It becomes obvious where Copeland got his gruesome dialect for his poems as during part of the interview PFC Russell Scott states that: "What did I think when I saw them? I vomited. \[He holds his hands together to form a circle about three inches in diameter.\] Their legs weren't any bigger than this. I didn't know people could live like that. It's sickening to this day. The worst was Nordhausen, near Halle, Germany. It was a death camp, with the bodies stacked like cord wood. That was sickening, and the local people said they didn't know it was happening, but they knew. They couldn't have not known. They knew." -Private First Class Russell Scott

PFC Scott goes on to talk about the rest of the war and how seeing these horrible things prevented him from staying in the army.

In Copeland's second interview with Petty Officer Bill York of the US Navy, it becomes clear where a lot of the emotional aspects to the poetry comes from. Throughout the interview Officer York comes off as a tough character who doesn't seem to show emotion until he brings up his brother. "At that time, he learned his only brother had been wounded in Normandy on D-Day, but had been taken to Paris for recuperation. "Then I learned he had been killed at Bastogne in the Battle of the Bulge. Johnny's death was the greatest personal loss in my life, and still is today."-Petty Officer Bill York

For the rest of the interview Officer York shows just how emotional war can make even the toughest people seem.

Bill Copeland's third interview was with Corporal Theodore Suroweic, a member of the 747th Tank Battalion. In this interview Suroweic goes into great detail about how much preparation it took to get to the point where they were ready for battle. Suroweic talks about the rough trip over and how he had no idea what lay ahead of him. The interview takes a huge turn when he starts going into detail about landing on the beach and all of the death that was around him. It seemed everything was on fire; tanks, trucks, everything…. I remember seeing the bodies of soldiers, all lined up with their boots sticking straight up; a lot of bodies; our guys. They were lying all over the beach, and some were still floating in the water."-Corporal Theodore Suroweic

Not only does this interview depict the agony of having to watch ones fellow soldiers being slaughtered, but also how it feels to be personally brutalized. The fire had burned my clothes and I was lying there mostly naked with burns all over my body. There was no bleeding or pain, which had to be a blessing at the time, but my left leg was shattered. I knew I was in trouble when I looked at it. I remember thinking, "What a mess it was in". -Corporal Theodore Suroweic

This interview provides another rare first person perspective into what it was like to live through this war as a soldier. Copeland incorporates much of this into his holocaust poetry.

## Critiques

Author Sandra J. Cropsey on *Ashes to the Vistula* "Mr. Copeland could have bombarded his readers with one atrocity after another," she wrote, "but instead he carefully controls the story while at the same time giving his readers a glimpse into the misery and inhumanity of the Holocaust enough to remind us that we should never forget history, lest we surely repeat it."

Author Philip Spires on *Ashes to the Vistula*: "This is one of the strengths of Bill Copeland's book. It has an immediacy, a present that it is uncomplicated by received hindsight. On many issues, Bill Copeland leaves the jury out, enabling the reader to empathise with the dilemmas that confronted wartime and immediate post-war experience. This is the book's subtlety. Though it is primarily plot-led, the plot is genuinely surprising, ultimately engaging and, in a few late chapters, both confronts and rounds off several themes that the reader has registered throughout the narrative."

## InfoBox

| Bill Copeland | |
| --- | --- |
| Born | Lilburn, Georgia, U.S. |
| Died | October 19, 2010(2010-10-19) (aged 64)<br>Lilburn, Georgia, U.S. |
| Occupation | * Poet * writer * historian |
| Nationality | American |


title: Rdiff-backup

abstract: rdiff-backup is a backup software written in Python that creates reverse incremental backups. The most recent backup is thus directly accessible, while earlier backups will be reconstructed from diff files by rdiff-backup. As the name implies, rdiff-backup uses the rdiff method to compute the differences between file versions. rdiff-backup is able to back up files across different machines via ssh.

text:
# Rdiff-backup

**rdiff-backup** is a backup software written in Python that creates reverse incremental backups. The most recent backup is thus directly accessible, while earlier backups will be reconstructed from diff files by rdiff-backup.

As the name implies, rdiff-backup uses the rdiff method (more exactly, the reimplementation of rsync within librsync) to compute the differences between file versions. rdiff-backup is able to back up files across different machines via ssh.

## Usage

Beginning with version 2.2, the flags passed to rdiff-backup are either general, or specific to the operation. For example, disabling fsync (see below) is an option that is general, and thus comes after `rdiff-backup`. `--no-compression` is specific to the backup mode, and thus comes after `backup`.

### Backup

Normal operation is `rdiff-backup backup <source directory> <backup directory>`. gzip compression of increment files can be disabled with `--no-compression` after the `backup` flag. The options `-v 5` and `--print-statistics` show the backup's progress and some statistics.

Specifying `--no-fsync` will disable fsync, causing a significant speedup, with an elevated risk of data loss.

### Restoration of files or directories

`rdiff-backup --restore-as-of <date> <backup> <source>` will restore to `<source>` the entire backup, a single file or a sub-directory. `<date>` can be specified in one of several ways:

* as a date, for example "2020-02-14" (which will be interpreted as midnight of the day in question), or as a datetime string like "2020-02-14T12:26:53+02:00" (which can be found by running `rdiff-backup --list-increments <backup>` first)
* as a time span, for example "1M" will restore the files as they were one month ago
* as a number of backups, so "10B" will restore the 10th most-recent version
* or "now", which will restore the most recent backup.

It is also possible to find the relevant time-stamped file in the `rdiff-backup-data/increments` directory, and run `rdiff-backup <time-stamped file> <file or folder to be restored>`.

Simpler (but not always correctly, as the file permissions might not be properly restored), the most recent backup can also be restored by copying a backed-up file or directory with `cp -a` or `rsync -a`. A deleted file – recognizable by the suffix `snapshot.gz` – can also be restored by retrieving it in the `rdiff-backup-data/increments` directory, copying it to the source directory, and unpacking with gzip.

### Deleting old backups

Only the oldest backups can be removed, with `rdiff-backup --remove-older-than <date> <backup directory>`. The ability to delete the oldest versions of specific files (or directories) is scheduled to appear in version 2.2.

When deleting old versions, `<date>` takes the same arguments as when restoring files or directories (see above).

### Problems

rdiff-backup does not work under Linux with SSHFS and exFAT file systems, though FAT and NTFS do work. This is mostly due to their implementation as FUSE module, causing delays in certain operations, making it probably unfit for backup purposes. No file system is explicitly supported or unsupported, but rdiff-backup does tests before starting a backup, and refuses to progress on file systems deemed unfit. Regarding exFAT, by using the newer in-kernel exFAT-driver, this limitation *should* be overcome.

rdiff-backup cannot backup to a SFTP destination.

rdiff-backup recognizes changed files only by file size as well as modification time (mtime). To make sure all changed files have been backed-up, running `rdiff-backup --compare-hash <source directory> <backup directory>` (or `rdiff-backup --compare-full <source directory> <backup directory>` for a byte-wise comparison) will display all changed files. Then, using `touch`, the modification time of all problematic files can be reset to now, and thus, they will be included during the next rdiff-backup run.

1. Eric Zolf (8 September 2023). "Final minor release v2.2.6". Retrieved 13 September 2023.
2. Eric Zolf (1 January 2024). "Happy New Year unreleased version 2.6.0". Retrieved 9 January 2024.

## InfoBox

rdiff-backup
| Original author(s) | Ben Escoto (2001–2005)
Dean Gaudet, Andrew Ferguson, Edward Ned Harvey (2005–2016)
Eric Lavarde, Otto Kekäläinen, Patrik Dufresne (Python 3 rewrite beginning in 2019) |
| --- | --- |
| Initial release | 2001 |
|  | |
| Stable release | 2.2.6  / 8 September 2023 (8 September 2023) |
|  | |
| Repository |  |
| Written in | Python |
| Platform | Unix-like systems, MacOS, Windows |
| Type | backup software |
| License | GPL-2.0-or-later |
| Website | rdiff-backup.net |


title: Six Gentlemen (painting)

abstract: Six Gentlemen is a landscape painting by the Yuan dynasty Chinese artist Ni Zan (1301–1374). The work portrays six trees along a riverbank, a metaphor for the principled seclusion of virtuous gentlemen in an era of violent upheaval and foreign occupation. As the first of Ni Zan’s paintings to demonstrate the stark, minimalist style for which he is known, Six Gentlemen marked a turning point in his artistic career. He would frequently return to its subject matter in later years, producing many subsequent works of nearly identical composition and style.

text:
# Six Gentlemen (painting)

***Six Gentlemen*** is a landscape painting by the Yuan dynasty Chinese artist Ni Zan (1301–1374). The work portrays six trees along a riverbank, a metaphor for the principled seclusion of virtuous gentlemen in an era of violent upheaval and foreign occupation. As the first of Ni Zan’s paintings to demonstrate the stark, minimalist style for which he is known, *Six Gentlemen* marked a turning point in his artistic career. He would frequently return to its subject matter in later years, producing many subsequent works of nearly identical composition and style.

## Description

Ni Zan painted *Six Gentlemen* while visiting his friend, the art collector Lu Heng, in the spring of 1345. Ni’s inscription explains that he arrived by boat at Lu’s house on May 10, and that Lu immediately brought paper and asked him to paint something for him (a request he made whenever the two of them met). Though tired, Ni Zan obliged and produced the painting by the light of a lamp.

The result was a sparse landscape in which six old trees stand on a small bank in the lower foreground, across an expanse of water from some distant hills in the background. Ni Zan’s inscription suggests that “old master Dachi”, the respected elder artist Huang Gongwang, would laugh when he saw the painting. It is accompanied by a second inscription by Huang himself, who was also a guest at Lu Heng’s house at the time, and examined the painting soon after it was made. It is from Huang’s inscription that the painting receives its name, *Six Gentlemen*:

> Distant cloudy mountains range across the autumn river;
> Nearby, ancient trees huddle by the sloping shore.
> Six gentlemen stand facing one another,
> Upright, straight, outstanding, unbending.

Another inscription, possibly by a different guest at Lu Heng’s house, volunteers its author as a model if Ni Zan should ever decide to add a fisherman to his painting later. The final inscription, added after Huang’s death, remarks that he and Ni Zan will live on in the form of the painting.

## Analysis

The starkly barren landscape depicted in *Six Gentlemen* might represent Ni Zan's feelings about recent upheavals in the region around his home in Wuxi. The devastating Yellow River flood of the previous year displaced many people in the area, and gave rise to banditry and peasant rebellions.

The composition and brushwork of *Six Gentlemen* are simpler compared to Ni Zan’s earlier paintings, such as *Enjoying the Wilderness in an Autumn Grove* (1339) and *Water and Bamboo Dwelling* (1343), which had been influenced by the styles of Dong Yuan and Zhao Mengfu. Ni's later approach to landscape painting was expressed by his statement that "what I call painting is no more than free brushwork done sketchily" and that "I never seek representative likeness since I paint only for my own amusement". The austerity of Ni's brushwork is also thought to be connected to his reputed obsession with cleanliness and purity.

The visual isolation of the “six gentlemen” in the painting may reflect the attitude of intellectuals like Ni who preferred to live a life of seclusion in the countryside rather than serve as government officials under the Mongol-led Yuan dynasty, which had conquered the native Chinese Song dynasty. This theme is suggested by Huang’s inscription, which may be referring to the likeminded individuals gathered in Lu Heng’s house when Ni Zan painted *Six Gentlemen*, or to the “six gentlemen” of the Song dynasty, a group of officials who were purged from the government for their views. The importance of individual expression (both political and aesthetic), and the rejection of realistic detail, are major themes in late Yuan dynasty literati painting.

## Similar works

*Six Gentlemen* marks the genesis of Ni's personal style. His subsequent landscapes usually follow the same pattern: minimal compositions with a few trees, low mountains across a lake or river, occasionally an empty hut, and no human figures. Examples from Ni's later years include *Empty Pavilion in a Pine Grove* (1354), *Wind among the Trees on the Riverbank* (1363, painted after his wife's death), *The Rongxi Studio* (1372), and *Woods and Valleys of Mount Yu* (also 1372). This style was also frequently imitated by later artists, who took Ni and the other literati painters of the Yuan dynasty as archaic models to emulate.

## InfoBox

| Six Gentlemen | |
| --- | --- |
| Traditional: *六君子圖*, Simplified: *六君子图* | |
|  | |
| Artist | Ni Zan |
| Year | 1345 |
| Type | ink on paper, mounted on hanging scroll |
| Dimensions | 61.9 cm × 33.3 cm (24.4 in × 13.1 in) |
| Location | Shanghai Museum, Shanghai |


title: Shoplifter (artist)

abstract: Shoplifter is a New York City-based contemporary artist who works with synthetic and natural hair. When Arnardóttir moved to New York in 1994, her birth name was mispronounced as Shoplifter and she has gone by that name ever since. Shoplifter is known for her sculptures, wall murals, and site-specific installations and has shown her work worldwide and collaborated with artists from various countries. In 2004, she collaborated with musician Björk and created the hair mask for the cover of her album Medúlla. In 2008, she worked in collaboration with Aimez Vous Avec Ferveur to create a large-scale window installation at MoMA. Shoplifter represented Iceland at La Biennale di Venezia in 2019 with her installation Chromo Sapiens.

text:
# Shoplifter (artist)

**Shoplifter** (real name **Hrafnhildur Arnardóttir**) is a New York City-based contemporary artist who works with synthetic and natural hair. When Arnardóttir moved to New York in 1994, her birth name was mispronounced as Shoplifter and she has gone by that name ever since.

Shoplifter is known for her sculptures, wall murals, and site-specific installations and has shown her work worldwide and collaborated with artists from various countries. In 2004, she collaborated with musician Björk and created the hair mask for the cover of her album Medúlla. In 2008, she worked in collaboration with Aimez Vous Avec Ferveur to create a large-scale window installation at MoMA.

Shoplifter represented Iceland at La Biennale di Venezia in 2019 with her installation Chromo Sapiens.

## Early life and influences

Shoplifter was born in Reykjavik, Iceland. At an early age, she was introduced to the art of hair by her grandmother, who stored one of her cut-off braids in her bedroom drawer. She works with hair in various ways, creating multi-colored structures. Shoplifter has a background in painting and works within the spaces of art, design, and fashion.

She has collaborated with brands such as Moncler, Comme des Garçons, & Other Stories, and HAY.

Shoplifter completed her BFA at the Icelandic College of Art and Crafts in Iceland and her MFA at the School of Visual Arts in New York City.

## InfoBox

| Shoplifter | |
| --- | --- |
| Born | Hrafnhildur Arnardóttir<br>Reykjavik, Iceland |
| Nationality | Icelandic |
| Website | www.shoplifterart.com |


title: Duality of Man

abstract: Duality of Man (2016) is an album by Greek thrash metal band Memorain. It was released on 16 January 2016 by Rock of Angels Records.

text:
# Duality of Man

***Duality of Man*** (2016) is an album by Greek thrash metal band Memorain. It was released on 16 January 2016 by Rock of Angels Records.

## Track listing

All music and lyrics composed by Ilias Papadakis, except where noted.

| No. | Title | Lyrics | Music | Guest Musicians | Length |
| --- | --- | --- | --- | --- | --- |
| 1. | "Demon's Hunt" |  |  |  | 03:19 |
| 2. | "Guardian Knight" |  |  |  | 04:06 |
| 3. | "The Giant" | Vagelis Kolios |  |  | 04:34 |
| 4. | "Last of Light" |  |  | Blaze Bayley, David Ellefson | 04:06 |
| 5. | "Inside My Eyes" | Vagelis Kolios | Vagelis Kolios |  | 04:32 |
| 6. | "The End of Hope" |  |  |  | 03:37 |
| 7. | "Lost in Vain" |  |  |  | 03:58 |
| 8. | "The Crescent" | Jason Mercury | Jason Mercury |  | 04:02 |
| 9. | "Broken Dreams" |  | Jason Mercury, Ilias Papadakis | Michael Gilbert | 03:20 |
| 10. | "Since I Remember" |  |  |  | 03:54 |
| 11. | "The Final Message" |  |  | Steve Conley | 03:16 |
| Total length: | | | | | 42:44 |

## Personnel

### Musicians

### Guests

* Blaze Bayley – vocals on track 4
* David Ellefson – bass on track 4
* Michael Gilbert – main solo on track 9
* Steve Conley – main solo on track 11

### Production

## InfoBox

| Duality of Man | |
| --- | --- |
|  | |
| Studio album by Memorain | |
| Released | 16 January 2016 |
| Recorded | 2015 |
| Studio | White Planet Studios
22 Media Production Studio
Rosanna's studio |
| Genre | Thrash metal |
| Length | 42:44 |
| Language | English |
| Label | Rock of Angels Records |
| Producer | Ilias Papadakis |
| Memorain chronology | |
| *Zero Hour*
(2014) ***Duality of Man***
(2016) | |