title: Sau Shashi Deodhar

abstract: Sau Shashi Deodhar is an Indian Marathi language film directed by Amol Shetge and produced by Shilpa Shirodkar Ranjit and Kushna Shetty. The film stars Sai Tamhankar, Ajinkya Deo and Tushar Dalvi. The film was released on 21 February 2014.

text:
# Sau Shashi Deodhar

***Sau Shashi Deodhar*** is an Indian Marathi language film directed by Amol Shetge and produced by Shilpa Shirodkar Ranjit and Kushna Shetty. The film stars Sai Tamhankar, Ajinkya Deo and Tushar Dalvi. The film was released on 21 February 2014.

## Synopsis

Shubhada meet an accident with dr Ajinkya's car and loses her identity after a car accident and informs the police that she is Shashi Deodhar's wife. However, when police go to Shashi's home they find out that he is an old man who is already married. When Shashi identifies shubhada in hospital he recalls that she's one of his students. In past, Shashi was a art teacher in shubhada's school. Little Shubhada had crush on him and used to go for personal coaching to his home in order to get more time with him. However she found out that Shashi is married and used to idealize him due to his devoting family man personality. In this chaos, man named Thakur approaches the police claiming Shubhada to be his wife.Now Dr. Ajinkya decides to take matter in his hands. He investigates everyone thoroughly and then calls everyone to announce the decision. He slaps Mr. Thakur in front of everyone. He then discloses that Mr. Thakur is Subhada's real husband but due to his infertility his father and Subhada's Father-in-law raped her. This incident left her so broken that she ended up in accident. Due to memory loss she picked up from her childhood memories and claimed Shashi as her husband. Thakur and his father are arrested.

## Cast

## Soundtrack

| Sau Shashi Deodhar | |
| --- | --- |
| Soundtrack album by Tubby Parik | |
| Released | 2014 |
| Recorded | 2014 |
| Genre | Feature film soundtrack |
| Length | 7:52 |
| Language | Marathi |
|  | |
| Official audio | |
| Sau Shashi Deodhar – Full Album on YouTube | |
|  | |

Track listing
| No. | Title | Singer(s) | Length |
| --- | --- | --- | --- |
| 1. | "Rang Tu" | Shankar Mahadevan | 3:42 |
| 2. | "Hati Tuze" | Mahalakshmi Iyer | 4:10 |
| Total length: | | | 7:52 |

## Critical response

Sau Shashi Deodhar received positive reviews from critics. Soumitra Pote of *Maharashtra Times* rated the film 3 out of 5 stars and wrote "The planned journey has been completed perfectly by the director with the help of everyone. So he entertains well". *The Times of India* also gave it 3.5 stars out of 5 and similarly found that "Thrilling, well-crafted and disturbing at the same time, is 'Sau Shashi Deodhar' for you. It is perhaps the only film after 'Pune 52' in this genre that succeeds in playing mind games with the viewers and is a good watch for psychological thriller buffs". *Divyamarathi* wrote " It presents the gruesome reality of oppression of women for the lamp of the race. A different topic has been presented before the society by taking care of the human mind". *Loksatta* wrote "Complicated and forced to think about what would happen next, 'Mrs. Shashi Deodhar is a one time must watch movie".

## InfoBox

| Sau Shashi Deodhar | |
| --- | --- |
| Directed by | Amol Shetge |
| Produced by |  |
| Starring |  |
| Cinematography | Suresh Deshmane |
| Edited by | Rajesh Rao |
| Music by | Tubby Parik |
| Release date | * 21 February 2014 (2014-02-21) |
| Country | India |
| Language | Marathi |


title: Queer community archives

abstract: Queer community archives are a subset of the larger body of community archives, which are archives and personal collections maintained by community groups who desire to document their cultural heritage based on shared experiences, interests, and/or identities. As such, queer community archives are collections that exist to maintain the historical record of the LGBT community and broader queer community. The term queer community archives, also called gay and lesbian archives, refers to a diverse array of community projects, organizations, and public institutions that maintain these histories.

text:
# Queer community archives

**Queer community archives** are a subset of the larger body of community archives, which are archives and personal collections maintained by community groups who desire to document their cultural heritage based on shared experiences, interests, and/or identities. As such, queer community archives are collections that exist to maintain the historical record of the LGBT community and broader queer community. The term queer community archives, also called gay and lesbian archives, refers to a diverse array of community projects, organizations, and public institutions that maintain these histories.

## Background and context

As a movement, community archives are characterized by their desire to document histories not collected or recognized by mainstream archival institutions. They involve communities collecting, preserving, and sharing materials which they deem to be significant in ways that are not necessarily subject to professional oversight or located in formal institutional settings. More specifically, community archives have been defined as projects initiated and maintained by a community group, that is a nonprofit organization or voluntary group operating with and for the benefit of their community in which materials are collected and preserved. These community groups, organizations, and institutions may function autonomously or in collaboration with other groups including archivists and heritage professionals.

Community archives, and specifically queer community archives, are characterized by at least a degree of separation and autonomy from mainstream archives and an explicit intention to rectify absences and misrepresentations in mainstream collections and institutions due to lack of collecting certain groups' records. This is a form of archival activism, and studies have shown that these archives are as valuable and even more valuable to the public than mainstream collections. Activist archives are also called interference archives. Less important than a queer community archives’ position inside/outside of official institutions is a commitment to the wider strategy of promoting visibility, equal rights, social respect, and cultural space for 2SLGBTQ+ people.

The majority of queer community archives in North America are independent community based groups or initiatives of 2SLGBTQ+ associations with broader missions, but also exist as dedicated institutions or as privately housed personal collections. There are approximately 50 publicly accessible queer community archives globally, with approximately 30 of these located in the United States, 15 in Europe, 5 in Canada, 2 in Mexico, 1 in Australia, and 1 in South Africa. These figures include stand alone 2SLGBTQ+ archives and libraries, as well as distinct and substantial collections maintained within 2SLGBTQ+ organizations and community centers whose sole mission is not archiving.

Queer community archives have been foundational to and preceded the development of lesbian and gay studies and queer studies in western universities, while retaining their relevance as centers of support for community organizing, public history work, activism, cultural production, and popular education beyond the university setting. These archives welcome diverse audiences from researchers to activists, and cultural producers to the simply curious general public.

## Relationship to mainstream archives

Since queer community archives were created from the commitment of many volunteers, activists, and archivists in order to collect and protect materials that were unwanted by university, public, and government archives, those responsible for maintaining community archives tend to mistrust mainstream archives. Mainstream archives often use language and terminology that does not reflect the way queer people and communities refer to themselves, and queer community archives also give queer people a way to control the language used to describe them in archives. The desire for autonomy and independence comes with obstacles. Primarily, due to a lack of funding, there is a dependence on significant personal sacrifice, be that financial, physical or mental on behalf of key activists and a network of volunteers whose commitments arise from great emotional and political investment in queer community archives and their impact.

For example, the Lesbian Herstory Archives (LHA) in Brooklyn value their autonomy and long-term sustainability above access to some or any public funds. Financial problems experienced by both the International Gay and Lesbian Archives and ONE Inc. convinced the two collections to merge in 1995, becoming the ONE National Gay & Lesbian Archives. However, the ONE National Gay & Lesbian Archives were not maintained by a traditional archivist until two decades after this transition. Because of the general lack of professional oversight, queer community archives adopt a range of approaches not always seen in formal and mainstream archives and while it is true that many queer community archives are primarily concerned with use and access, this does not equate to failing the long-term preservation of materials.

## Origins

Dedicated queer community archives originated within and are considered an outgrowth of the gay liberation movement of the 1960s and 1970s, when the first groups, organizations, and institutions solely committed to maintaining such collections were formed.

The following archives are outgrowths of the gay liberation period:

A small number of earlier queer community organizations with libraries or archives had emerged from the homosexual emancipation movement in Europe before World War II and from the homophile movement in Europe and North America in the late 1940s to mid-1960s:

* The **Institut für Sexualwissenschaft** (Institute for Sexual Science) was founded in Berlin in 1919.
    + Founded by homosexual-emancipation and transgender-emancipation pioneer and world-renowned sexologist Dr. Magnus Hirschfeld, the institute included a library of some 12,000 volumes along with research collection of archives and artifacts; it was destroyed in 1933 at the beginning of the Nazi Regime.
* The **Scientific-Humanitarian Committee** (Netherlands Branch) was formed in 1912.
    + This organization amassed a library of over 4,000 queer books, before it was destroyed during the Nazi Occupation of the Netherlands. The catalogue is still available since it was published before the Nazi raid in 1940. The International Homo/Lesbisch Informatiecentrum (IHILA) has worked to reconstitute this lost library.
* The **Culture en Ontspannings Centrum** (COC Nederland) was formed in Amsterdam in 1946.
    + This social advocacy group maintained an extensive archive and library before donating the materials to IHLIA in 1980.
* **ONE, Inc.** was formed in Los Angeles in 1952.
    + This organization initially focused on publishing a national magazine for homosexuals and by 1954 began developing a library and archives, which now form part of the holdings of the ONE National Gay & Lesbian Archives.

In addition to the above organizations, LGBT historian and founding member of the GLBT Historical Society Gerard Koskovich notes that it is likely that some of the other homophile organizations scattered around the United States from the mid-1950s to mid-1960s also maintained small archival holdings, but that research to establish this has yet to be done.

Political activism, community empowerment, and social change were all motivating factors underpinning these community-based archival efforts. The above listed collections and the queer community archives that have been instated since began because pioneering individuals and/or communities saw a lack of representation in their local archives and public libraries and sought to redress this discrimination. These archives were founded as conscious, political acts vital for presenting their communities positively to the dominant culture of heteronormativity and homophobia, while preserving their history for future generations. While many individuals held private collections of personal papers and ephemera, individuals such as Gail Land, Jim Kepner, and Willie Walker acted as catalysts to bring these collections together to form queer community archives.

## Methods

### Organizational

Existing queer community archives reflect several models of structure, finance, administration and programming:

* The most observed organizational model for queer community archives are small archives and/or libraries in 2SLGBTQ+ organizations and/or community centers, where collections often reflect programming.
* Another prominent organizational model is that of non-profits devoted entirely to maintaining queer archives or libraries, such as The ArQuives and the Lesbian Herstory Archives.
* A third organizational model represents partnerships between traditional archives and LGBTQ+ organizations, in which communities are brought in to appraise material and solicit further donations.
* A fourth organizational model that has gained prominence in the 21st Century is the creation of dedicated special collections of 2SLGBTQ+ materials owned by university or municipal libraries, which in contrast to more independent organizational models, has consistent access to financing which allows for the acquisition of more material ensuring long-term preservation.

### Collection practises

Most queer community archives represent diverse interests and represent many facets of a diverse community, while a small number of collections are more focused, such as community archives which rose from lesbian feminism and archives dedicated to collecting materials specific to a subculture, such as the Leather Archives and Museum in Chicago.

Queer community archives are characterized by their unorthodox material, as they have accepted and continue to accept any material queer people decide is important to their history. Cultural theorist Ann Cvetkovich describes how traditional archives have difficulty documenting intimacy, love, sexuality, and activism; experiences fundamental to queer people.

Queer community archives gather traditional materials such as personal papers, organizational records, and other print materials but also collect non-traditional materials such as books, periodicals like newsletters and zines, textiles such as banners and imprinted t-shirts, sound recordings, film and video, artifacts such as buttons and sex toys, as well as graphic and fine art. Browsing The ArQuives digital collection reveals a vast diversity of materials in their possession, including condoms, puzzles, and dog tags. Oral history is a significant method in recovering queer history and is very common in queer community archives in the format of cassette tapes, audio files, and transcripts, especially those that document the histories of queer people of colour.

Since almost all material in these archives is from donation, they are examples of participatory archives in which collectives intentionally and actively shape their shared history. Because of the participatory nature of queer community archives, the contents of each is influenced by and reflects each community's particular interests.

Collections may be brought together physically or virtually. An example of a virtual queer community archive is the Digital Transgender Archives. The process of bringing together geographically scattered material into a digital collection is called "virtual reunification" and creates empowering views of communities that are dispersed, decentralized, and heavily marginalized even within their own social movements.

## Challenges

The growing visibility of community archives has provoked criticism from professional archivists, some of whom dismiss community archives due to their lack of professional oversight. Community archives are a compound of two contested terms. Describing these kinds of collections with the term "community" is criticized as the term is used in ill-defined ways by state bodies to denote otherness and separateness, while using the term "archive" to describe these activities has received dissenting professional voices who wish to maintain a strict and traditional definition of archives.

"Community archives" is a general term under which a host of different projects may fit, ranging from permanent registered nonprofit organizations to loosely defined, temporal configurations of community members seeking to preserve their history. The term community archives should be seen as an external description rather than emerging from within such community efforts.

In addition, queer community archives have largely emerged during a period of growing visibility of LGBTQ people in non-White communities. Queer community archives which developed without an explicit commitment and historical engagement with QTBIPOC (Queer and or Trans Black, Indigenous and People of Colour) communities may struggle to rectify and meaningfully engage with such communities outside of those of their White founders. For instance, Syrus Marcus Ware has critiqued The ArQuives in Toronto, Canada, for creating a "narrative of struggle and resistance that always begins with whiteness and that is used too often in the service of homonationalism".

Conversely, a number of queer community archives founded in the 1970s and 1980s have directly and critically engaged with questions of race, gender, class, diversity of sexual cultures, language, citizenship and immigration status, and issues of intersectionality. As Koskovich notes, some of the organizations which attempted to collect comprehensively "were committed to documenting the racial and ethnic diversity of LGBTQ communities. In practice, however, evidence of the experience of cisgender white gay men often constituted a majority of the collections, in part because systems of privilege meant that more such material had been produced and preserved in the first place."

Koskovich adds that "other community-based archives followed the model of the LHA, seeking to address such challenges by focusing specifically on underrepresented groups. Institutions in this category include the National Transgender Library and Archive, which Dallas Denny created as a personal collection in 1990 in Tucker, Georgia, then donated in 1993 to the American Educational Gender Information Service, which in turn transferred it to the Labadie Collection at the University of Michigan in 2000. Another example is the Historical Archive of the Latino GLBT History Project, started as a personal collection by José Gutierrez in Washington, D.C., in 1993 and incorporated as a nonprofit in 2007."


title: SEAT Bolero

abstract: The SEAT Bolero 330 BT was a concept car presented at the 1998 Geneva Salon International de l’Auto. It was available as a four-door, four seat saloon car body style. The "330 BT" is derived from the power output of 330 PS. No five-door, four-seat estate car body style is ever produced. One of the most remarkable aspects of this concept consists in the elimination of the B-pillar and the use of hinges, due to which the doors could open independently in a contrary suicide door like manner, leaving room for an easier access to the rear seats. The SEAT Bolero's doors open in a manner of front conventional doors and rear sliding doors. The design of the car was a four-door saloon with rear sliding doors. Another interesting issue is that the design of the SEAT Bolero incorporated many stylistic elements that would later be implemented in other models of the brand, especially in the front fascia. During development, the SEAT Exeo was codenamed Bolero, before being renamed Exeo.

text:
# SEAT Bolero

The **SEAT Bolero 330 BT** was a concept car presented at the 1998 Geneva Salon International de l’Auto. It was available as a four-door, four seat saloon car body style. The "330 BT" is derived from the power output of 330 PS. No five-door, four-seat estate car body style is ever produced.

One of the most remarkable aspects of this concept consists in the elimination of the B-pillar and the use of hinges, due to which the doors could open independently in a contrary suicide door like manner, leaving room for an easier access to the rear seats. The SEAT Bolero's doors open in a manner of front conventional doors and rear sliding doors.

The design of the car was a four-door saloon with rear sliding doors (four door, front engine).

Another interesting issue is that the design of the SEAT Bolero incorporated many stylistic elements that would later be implemented in other models of the brand, especially in the front fascia. During development, the SEAT Exeo was codenamed *Bolero*, before being renamed Exeo.

## Specification

The Bolero is powered by a 2.8-litre V6 engine with two turbochargers (aka 'biturbo'), which is mounted longitudinally at the front. It produces a maximum power output of 330 PS (243 kW; 325 bhp) at 5,800 revolutions per minute (rpm), and generates a peak torque output of 500 newton-metres (369 lbf⋅ft) between 1,800 and 3,600 rpm.

The driveline includes a transaxle six speed 'sportronic' tiptronic automatic transmission, with the output being routed through a conventional front-wheel drive system.

It rides on 9Jx19" alloy wheels shod with 255/40 R19 tyres. Performance figures indicate that the Bolero completes the standard discipline of sprinting from a standing start to 100 kilometres per hour (62.1 mph) in 5.0 seconds, and will reach an estimated top speed of 275 km/h (170.9 mph).

## InfoBox

| SEAT Bolero 330 BT | |
| --- | --- |
|  | |
| Overview | |
| Manufacturer | SEAT, SA<br>Stola |
| Production | 1998 (concept car) |
| Designer | Erwin Leo Himmel |
| Body and chassis | |
| Class | Compact executive car () |
| Body style | 4-door saloon |
| Layout | Longitudinal front-engine, front-wheel-drive |
| Doors | Sliding doors |
| Powertrain | |
| Engine | 2.8 L V6 biturbo |
| Transmission | 6-speed sportronic (tiptronic) automatic |
| Dimensions | |
| Length | 4,520 mm (178.0 in) |
| Width | 1,870 mm (73.6 in) |
| Height | 1,380 mm (54.3 in) |
| Chronology | |
| Successor | SEAT Exeo |


title: CYB561

abstract: Cytochrome b561 is a protein that in humans is encoded by the CYB561 gene.

text:
# CYB561

**Cytochrome b561** is a protein that in humans is encoded by the *CYB561* gene.

## Further reading

## InfoBox

| CYB561 | | | |
| --- | --- | --- | --- |
|  | | | |
| Identifiers | | | |
| Aliases | CYB561, cytochrome b561, CYB561A1, FRRS2, ORTHYP2 | | |
| External IDs | OMIM: 600019; MGI: 103253; HomoloGene: 37552; GeneCards: CYB561; OMA:CYB561 - orthologs | | |
|  | | | |
|  | | | |
|  | | | |
|  | | | |
| Orthologs  Species **Human** **Mouse**  Entrez   Ensembl   UniProt   RefSeq (mRNA)     NM\_001017916
NM\_001017917
NM\_001017918
NM\_001915
NM\_001330421   NM\_007805
NM\_001356374   RefSeq (protein)     NP\_001017916
NP\_001017917
NP\_001317350
NP\_001906   NP\_031831
NP\_001343303   Location (UCSC) Chr 17: 63.43 – 63.45 Mb Chr 11: 105.82 – 105.84 Mb  PubMed search | | | |
| Wikidata | | | |
| View/Edit Human View/Edit Mouse | | | |


title: Pogonocherus propinquus

abstract: Pogonocherus propinquus is a species of beetle in the family Cerambycidae. It was described by Fall in 1910. It is known from Canada and the United States.

text:
# Pogonocherus propinquus

***Pogonocherus propinquus*** is a species of beetle in the family Cerambycidae. It was described by Fall in 1910. It is known from Canada and the United States.

## InfoBox

| *Pogonocherus propinquus* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Coleoptera |
| Family: | Cerambycidae |
| Tribe: | Pogonocherini |
| Genus: | *Pogonocherus* |
| Species: | ***P. propinquus*** |
| Binomial name | |
| ***Pogonocherus propinquus***<br>Fall, 1910 | |
|


title: Take It Away (The Used song)

abstract: "Take It Away" is the first single from the Used's second studio album In Love and Death. "Take It Away" was released to radio on August 31, 2004. This song, as well as video, was played during the commercials to promote the album.

text:
# Take It Away (The Used song)

"**Take It Away**" is the first single from the Used's second studio album *In Love and Death*. "Take It Away" was released to radio on August 31, 2004. This song, as well as video, was played during the commercials to promote the album.

## Track listings

### CD single 1

| No. | Title | Length |
| --- | --- | --- |
| 1. | "Take It Away" | 3:38 |
| 2. | "All That I've Got" (Live at Soma) | 4:07 |

### CD single 2

| No. | Title | Length |
| --- | --- | --- |
| 1. | "Take It Away" | 3:38 |
| 2. | "The Taste of Ink" (Live at Soma) | 4:27 |
| 3. | "Take It Away" (Live at Soma) | 4:08 |

### 7-inch vinyl

| No. | Title | Length |
| --- | --- | --- |
| 1. | "Take It Away" | 3:38 |
| 2. | "All That I've Got" (Live at Soma) | 4:07 |

## Personnel

**The Used**

* Bert McCracken - vocals
* Quinn Allman - guitar
* Jeph Howard - bass
* Branden Steineckert - drums

## Charts

| Chart (2004–05) | Peak
position |
| --- | --- |
| UK Singles (OCC) | 44 |
| US Alternative Airplay (*Billboard*) | 13 |

1. "FMQB Airplay Archive: Modern Rock". Friday Morning Quarterback Album Report, Incorporated. Retrieved October 30, 2016.
2. "The Used: Artist Chart History". Official Charts Company. Retrieved 7 August 2017.
3. "The Used Chart History (Alternative Airplay)". *Billboard*. Retrieved 7 August 2017.

## InfoBox

| "Take It Away" | |
| --- | --- |
|  | |
| Single by the Used | |
| from the album  *In Love and Death* | |
| Released | August 31, 2004 (2004-08-31) |
| Recorded | 2004 |
| Studio | Foxy Studios in Los Angeles, California, US |
| Genre |  |
| Length | 3:37 |
| Label | Reprise |
| Songwriter(s) |  |
| Producer(s) | John Feldmann |
| The Used singles chronology | |
| "Blue and Yellow"
(2003) "**Take It Away**"
(2004) "All That I've Got"
(2004) | |


title: Kraljevica Shipyard

abstract: Kraljevica Shipyard is a shipbuilder at Kraljevica, on the Adriatic coast of Croatia. The shipyard was founded in 1729 by Charles VI, Holy Roman Emperor, and is claimed to be the oldest continuously operational shipyard in the world. The shipyard has been operating under the name DALMONT d.o.o. since 1992. The government of Croatia has repeatedly attempted to privatise the shipyard, most recently in November 2010. The company was forced into bankruptcy proceedings by the Croatian government in March 2012.

text:
# Kraljevica Shipyard

45°16′14″N 14°34′07″E / 45.2706°N 14.5686°E / 45.2706; 14.5686

**Kraljevica Shipyard** is a shipbuilder at Kraljevica, on the Adriatic coast of Croatia. The shipyard was founded in 1729 by Charles VI, Holy Roman Emperor, and is claimed to be the oldest continuously operational shipyard in the world.

The shipyard has been operating under the name *DALMONT d.o.o.* since 1992*.* The government of Croatia has repeatedly attempted to privatise the shipyard, most recently in November 2010. The company was forced into bankruptcy proceedings by the Croatian government in March 2012.

## Vessels

The shipyard has produced a variety of commercial ships, military vessels, and superyachts. In 2009, Kraljevica Shipyard constructed the JoyMe, a 49.9 metre yacht. In 2010, the shipyard agreed to build two large trawlers for Russian clients.

## InfoBox

Kraljevica Shipyard
|
|  |
| Company type | Limited liability company |
| Industry | Ship building |
| Founded | 28 April 1729 (1729-04-28) |
| Founder | Charles VI, Holy Roman Emperor |
| Headquarters | Kraljevica, Croatia |
| Owner | Ivan Ivić |
| Website | dalmont.hr |


title: Separation (2013 film)

abstract: Separation is a 2013 Canadian thriller film directed by Greg White and his feature film directorial debut. The film was released on video on demand on April 15, 2013 and stars Sarah Manninen and Peter Stebbings as a married couple struggling to save their lives as well as their marriage.

text:
# Separation (2013 film)

***Separation*** is a 2013 Canadian thriller film directed by Greg White and his feature film directorial debut. The film was released on video on demand on April 15, 2013 and stars Sarah Manninen and Peter Stebbings as a married couple struggling to save their lives as well as their marriage.

## Synopsis

Liz (Sarah Manninen) and Jack (Peter Stebbings) are a seemingly average couple that have moved into a new house in the hopes of rekindling their failing marriage. This effort is made more difficult by their troubled daughter Angie (Arcadia Kendal) and an unhappy mother-in-law (Barbara Gordon) that's determined to find fault in everything the couple does. When the family hears about a potential serial killer in the neighborhood, things begin to grow tense and they begin to suspect everyone around them- especially their strange neighbor Geoffrey (Dmitry Chepovetsky).

## Cast

## Reception

Critical reception for *Separation* has been largely positive and *Fearnet* drew positive comparisons between the film and a *Twilight Zone* episode. Much of the film's praise centered on its acting and pacing, as multiple reviewers felt that the slow development in the film heightened the story's tension. *Bloody Disgusting* gave the film a positive rating and stated that it "has as a solid story and the leads carry the movie through its rough patches".

## InfoBox

| Separation | |
| --- | --- |
|  | |
| Directed by | Greg White |
| Written by | Greg White |
| Produced by | Peter Apostolopoulos,
Greg White |
| Starring | Sarah Manninen, Peter Stebbings, Dmitry Chepovetsky |
| Cinematography | Pasha Patriki |
| Edited by | Jamie Franklin |
| Production
company | Birchmount Entertainment |
| Distributed by | Gravitas Ventures |
| Release date | * April 15, 2013 (2013-04-15) |
| Running time | 81 minutes |
| Country | Canada |
| Language | English |


title: United Student Movement

abstract: United Student Movement was united front of several left-wing student federations in Pakistan. It was founded around 1980. It included All Pakistan Muhajir Students Organisation, Baloch Students Federation, Democratic Students Federation, National Students Federation, and Peoples Students Federation. Its main opponent in elections was the right-wing Islami Jamiat Talaba (IJT). NOTE - the references cited in the sectionm cite different dates and a slightly different list of original member organisations.

text:
# United Student Movement

**United Student Movement** was united front of several left-wing student federations in Pakistan. It was founded around 1980. It included All Pakistan Muhajir Students Organisation, Baloch Students Federation, Democratic Students Federation, National Students Federation, and Peoples Students Federation. Its main opponent in elections was the right-wing Islami Jamiat Talaba (IJT). NOTE - the references cited in the sectionm cite different dates (1979 and 1981) and a slightly different list of original member organisations.


title: Callisia ornata

abstract: Callisia ornata, the Florida scrub roseling, is a species of flowering plant in the family Commelinaceae, native to the U.S. states of Georgia and Florida. An annual reaching 50 cm (20 in), it is typically found in the Florida scrub ecoregion.

text:
# Callisia ornata

***Callisia ornata***, the **Florida scrub roseling**, is a species of flowering plant in the family Commelinaceae, native to the U.S. states of Georgia and Florida. An annual reaching 50 cm (20 in), it is typically found in the Florida scrub ecoregion.

## InfoBox

| *Callisia ornata* | |
| --- | --- |
|  | |
| Close-up of flowers | |
|  | |
| Three flowers | |
|
| Scientific classification | |
| Kingdom: | Plantae |
| *Clade*: | Tracheophytes |
| *Clade*: | Angiosperms |
| *Clade*: | Monocots |
| *Clade*: | Commelinids |
| Order: | Commelinales |
| Family: | Commelinaceae |
| Genus: | *Callisia* |
| Species: | ***C. ornata*** |
| Binomial name | |
| ***Callisia ornata***<br>(Small) G.C.Tucker | |
|
| Synonyms | |
| * *Cuthbertia ornata* Small * *Tradescantia rosea* var. *ornata* (Small) E.S.Anderson & Woodson | |


title: U.D.A.U.F.L.

abstract: U.D.A.U.F.L. is the acronym for Underground Dance Artists United For Life, a collaboration of Dance music acts put together by the producer duo known as Blaze. The acts that make up this project are Kenny Bobien, Joi Cardwell, Arnold Jarvis, Ultra Nate, Byron Stingily, Barbara Tucker, Dawn Tallman, Michelle Weeks, Darryl D'Bonneau, Sabrynaah Pope, Stephanie Cooke and Keith Thompson [(Joe Adams)]. In 2005, the project, along with Tucker and Blaze, scored a number-one track on the Billboard Hot Dance Music/Club Play chart with "Most Precious Love". This would be Pope's last song that she would record as part of the project before her death on September 24, 2005.

text:
# U.D.A.U.F.L.

**U.D.A.U.F.L.** is the acronym for **Underground Dance Artists United For Life**, a collaboration of Dance music acts put together by the producer duo known as Blaze.

The acts that make up this project are Kenny Bobien, Joi Cardwell, Arnold Jarvis, Ultra Nate, Byron Stingily, Barbara Tucker, Dawn Tallman, Michelle Weeks, Darryl D'Bonneau, Sabrynaah Pope, Stephanie Cooke and Keith Thompson \[(Joe Adams)\].

In 2005, the project, along with Tucker and Blaze, scored a number-one track on the Billboard Hot Dance Music/Club Play chart with "Most Precious Love". This would be Pope's last song that she would record as part of the project (as one of the backing chorus vocals) before her death on September 24, 2005.


abstract: Critical Assessment of PRediction of Interactions (CAPRI) is a community-wide experiment in modelling the molecular structure of protein complexes, otherwise known as protein–protein docking. The CAPRI is an ongoing series of events in which researchers throughout the community attempt to dock the same proteins, as provided by the assessors. Rounds take place about every six months. Each round contains between one and six target protein–protein complexes whose structures have been recently determined experimentally. The coordinates and are held privately by the assessors, with the co-operation of the structural biologists who determined them. The CAPRI experiment is double-blind, in the sense that the submitters do not know the solved structure, and the assessors do not know the correspondence between a submission and the identity of its creator.

text:
# Critical Assessment of Prediction of Interactions

**Critical Assessment of PRediction of Interactions** (CAPRI) is a community-wide experiment in modelling the molecular structure of protein complexes, otherwise known as protein–protein docking.

The CAPRI is an ongoing series of events in which researchers throughout the community attempt to dock the same proteins, as provided by the assessors. Rounds take place about every six months. Each round contains between one and six target protein–protein complexes whose structures have been recently determined experimentally. The coordinates and are held privately by the assessors, with the co-operation of the structural biologists who determined them. The CAPRI experiment is double-blind, in the sense that the submitters do not know the solved structure, and the assessors do not know the correspondence between a submission and the identity of its creator.

### List of predictions servers participating in CAPRI


title: Brave New Guitar

abstract: Brave New Guitar is the first studio album by jazz guitarist Frank Gambale, released in 1985 through Legato Records.

text:
# Brave New Guitar

Professional ratings
| Review scores | |
| --- | --- |
| Source | Rating |
| AllMusic |  |

***Brave New Guitar*** is the first studio album by jazz guitarist Frank Gambale, released in 1985 through Legato Records.

## Track listing

All tracks are written by Frank Gambale

| No. | Title | Length |
| --- | --- | --- |
| 1. | "Fe Fi Fo Funk" | 4:03 |
| 2. | "Blues for Hollywood" | 5:39 |
| 3. | "Credit Reference Blues" | 5:01 |
| 4. | "Song for Family" | 5:10 |
| 5. | "Spending Sunday with You" | 5:19 |
| 6. | "Weddington Street" | 5:50 |
| 7. | "Alone Together" | 3:07 |
| 8. | "A Touch of Brazil" | 5:24 |
| Total length: | | 38:42 |

## Personnel

Credits adapted from CD edition liner notes:

* Frank Gambale – guitar, vocals, producer
* Jon Crosse – saxophone, flute
* Mark Gasbarro – keyboard
* Kei Akagi – piano
* Jack Kelly – drums
* Steve Kershisnik – bass
* Marcus Hinder – timbales, congas
* Steve Reid – percussion
* Wally Grant – engineering
* Steve Hall – engineering
* Mark Varney – executive producer

## InfoBox

| Brave New Guitar | |
| --- | --- |
|  | |
| Studio album by Frank Gambale | |
| Released | 1985 (1985) |
| Studio | Weddington Studios, North Hollywood |
| Genre | Jazz fusion |
| Length | 38:42 |
| Label | Legato |
| Producer | Frank Gambale, Mark Varney |
| Frank Gambale chronology | |
| ***Brave New Guitar***
(1985) *A Present for the Future*
(1987) | |


title: CY8ER

abstract: Ichigo Rinahamu CY8ER was a Japanese alternative idol girl group. Formed by Ichigo Rinahamu and Nicamoq as BPM15Q in 2015, the group expanded and had five members by the time of their dissolution in January 2021. Their music was characterized by its peculiar EDM style with an added kawaii element.

text:
# CY8ER

**CY8ER** (pronounced as "cyber") was a Japanese alternative idol girl group. Formed by Ichigo Rinahamu and Nicamoq as **BPM15Q** in 2015, the group expanded and had five members by the time of their dissolution in January 2021. Their music was characterized by its peculiar EDM style with an added *kawaii* element.

## History

The group was founded as BPM15Q in 2015 by Ichigo Rinahamu (苺りなはむ), a former member of idol groups BiS and Akishibu Project, and Nicamoq, a DJ. The name BPM15Q was chosen as a reference to the two members: 15 for Ichigo Rinahamu (One is pronounced *ichi* and five is pronounced *go*, putting them together made *ichigo*) and Q for Nicamoq. The duo began releasing a series of songs, out of which "Hakuchu-mu" (はくちゅーむ) peaked at 3rd on iTunes' J-pop charts. In November 2016, BPM15Q released their first album titled *BPM15Q All Songs* via Ichigo Rinahamu's own label, Icigo Style. The album contained all of the songs the duo has released so far. In December 2016, the group announced the additions of two members: Koinumaru Pochi (小犬丸 ぽち), a former DJ, and Mashiro (ましろ), former member of idol group DEEP GIRL. December also saw the departure of Nicamoq. With the changes, the group renamed itself to "CY8ER".

The group released two singles before the additions of three more members in April 2017: Fujishiro Anna (藤城アンナ), former member of Ice Cream Suicide and Bellring Shōjo Heart; Naatan Koromushi (なぁたんコロ虫); and Yamiyume Yamii (病夢やみい). The six-person group soon made headlines for an event inviting fans to hug a member, but each member was wearing full chemical protective clothing. Naatan Koromushi left the group in March 2018. As of April 2014, four additional singles and one album were released.

The group disbanded on January 10, 2021, following their last live show at Nippon Budokan.

In April 2022, the original duo officially announced they will resuming their activities as BPM15Q under Victor Entertainment’s label.

## Members

### Final lineup

* Ichigo Rinahamu (苺りなはむ)
* Koinumaru Pochi (小犬丸ぽち)
* Suzukawa Mashiro (涼川ましろ)
* Fujishiro Anna (藤城アンナ)
* Yamiyume Yammy (病夢やみい)

### Former members

* Nicamoq (にかもきゅ)
* Naatan Koromushi (なぁたんコロ虫)

### Timeline

## Discography

### Studio albums

| Title | Album details | Peak
chart
positions | |
| --- | --- | --- | --- |
| | | Oricon | Hot |
| *Hello New Generation* (ハローニュージェネレーション) |  | 43 |  |
| *Tokyo* (東京) | * Released: January 22, 2020 * Label: Victor Entertainment * Formats: CD, digital download | 13 | 17 |
|

### Compilation albums

| Title | Album details | Peak
chart
positions | |
| --- | --- | --- | --- |
| | | Oricon | Hot |
| *CY8ER* | * Released: December 16, 2020 * Label: Victor Entertainment * Formats: CD, digital download | 21 | 37 |
|

### Singles

| Title | Year | Peak
chart
positions | | Album |
| --- | --- | --- | --- | --- |
| | | Oricon | Billboard | |
| "Remixtart" (リミックスタート) | 2017 |  |  | *Hello New Generation* |
| | "Tetote" (手と手) |  | |  |
| | "Kakushe-mu" (かくしぇーむ) |  | |  |
| "Dead Boy, Dead Girl" (デッドボーイ、デッドガール) | 2019 | 27 |  | Non-album singles |
| | "Time Trip" (タイムトリップ) | 35 | |  |
| | "Summer / Sayonara Flashback" (サマー / さよならフラッシュバック) |  | |  |
| "Endroll" (エンドロール) | 2021 |  | |  |
| "—" denotes releases that did not chart or were not released in that region. | | | | |

## InfoBox

| CY8ER | |
| --- | --- |
| CY8ER logo | |
| Background information | |
| Origin | Japan |
| Genres | J-pop, future bass, drum & bass |
| Years active | 2015 (2015)–2021 (2021) |
| Labels | Icigo Style |
|  | |
| Website | cy8er.jp |


title: Plummers Landing, Kentucky

abstract: Plummers Landing is an unincorporated community in Fleming County, Kentucky, United States. The community is 8 miles (13 km) southeast of Flemingsburg. Plummers Landing has a post office with ZIP code 41081.

text:
# Plummers Landing, Kentucky

**Plummers Landing** is an unincorporated community in Fleming County, Kentucky, United States. The community is 8 miles (13 km) southeast of Flemingsburg. Plummers Landing has a post office with ZIP code 41081.

## InfoBox

| Plummers Landing, Kentucky | |
| --- | --- |
| Unincorporated community | |
| Plummers LandingPlummers Landing | |
| Coordinates: 38°19′08″N 83°33′40″W / 38.31889°N 83.56111°W / 38.31889; -83.56111 | |
| Country | United States |
| State | Kentucky |
| County | Fleming |
| Elevation | 659 ft (201 m) |
| Time zone | UTC-5 (Eastern (EST)) |
| Summer (DST) | UTC-4 (EDT) |
| ZIP code | 41081 |
| Area code | 606 |
| GNIS feature ID | 514665 |


title: Take It EZ

abstract: "Take It EZ" is the debut single by Chicago rapper Common from his debut album Can I Borrow a Dollar?. It is produced by 2 pc. DRK, a production team made up of Immenslope and The Twilite Tone. The song's beat mixes keyboards and saxophone playing by Lenny Underwood and Tony Orbach respectively, as well as a sample from "When Will the Day Come" by Rasa. Its beat anticipates the soulful production from Common's second album, Resurrection. It reached #5 on the Hot Rap Singles chart making it the most popular single from Common's debut album. Stanton Swihart of Allmusic considers it to be a standout track on the album.

text:
# Take It EZ

"**Take It EZ**" is the debut single by Chicago rapper Common from his debut album *Can I Borrow a Dollar?*. It is produced by 2 pc. DRK, a production team made up of Immenslope and The Twilite Tone. The song's beat mixes keyboards and saxophone playing by Lenny Underwood and Tony Orbach respectively, as well as a sample from "When Will the Day Come" by Rasa. Its beat anticipates the soulful production from Common's second album, *Resurrection*. It reached #5 on the Hot Rap Singles chart making it the most popular single from Common's debut album. Stanton Swihart of Allmusic considers it to be a standout track on the album.

## Track listing

### A-side

1. "Take It EZ" (4:08)
2. "Take It EZ (Instrumental)" (4:08)

### B-side

1. "Take It EZ (Jazz Instrumental)" (4:08)
2. "Soul by the Pound" (4:20)

## Chart positions

| Chart (1992) | Peak
position |
| --- | --- |
| U.S. *Billboard* Hot Rap Singles | 5 |
|

## InfoBox

| "Take It EZ" | |
| --- | --- |
|  | |
| Single by Common Sense | |
| from the album  *Can I Borrow a Dollar?* | |
| B-side | "Soul by the Pound" |
| Released | September 4, 1992 |
| Recorded | 1991 |
| Studio | New York City Recording Studios |
| Genre | Hip hop |
| Length | 4:08 |
| Label | Relativity Records |
| Songwriter(s) | Lonnie Lynn, Andrew Jay Marks, London C McDaniels, Dion Wilson, Tony Craig |
| Producer(s) | 2 pc. DRK (No I.D., The Twilite Tone) |
| Common singles chronology | |
| "**Take It EZ**"
(1992) "Breaker 1/9"
(1992) | |


title: Sergius of Reshaina

abstract: Sergius of Reshaina was a physician and priest during the 6th century. He is best known for translating medical works from Greek to Syriac, which were eventually, during the Abbasid Caliphate of the late 8th- & 9th century, translated into Arabic. Reshaina, where he lived, is located about midway between the then intellectual centres of Edessa and Nisibis, in northern Mesopotamia. The ninth-century translator Hunain ibn Ishaq gives the names of twenty-six medical texts by Galen which Sergius translated into Syriac; they were the first significant translations of medical works from Greek into a Semitic language, and presumably were the textbooks Sergius himself had used when he studied at Alexandria. Hunain is not always complimentary about Sergius's translations, though some he thinks are better, as Sergius became more experienced. Sergius also translated various other works, including the Categories of Aristotle, Porphyry's Introduction to the Categories and theological works by Pseudo-Dionysius the Areopagite. He also composed two works of his own, On the Influence of the Moon and The Movement on the Sun, probably drawing heavily on Greek sources. Recently, a palimpsest with an undertext of Galen, translated by Sergius from Greek to Syriac, gathered the attention of scientists. It contains chapters of Galen's On Simple Drugs that had been lost. The manuscripts upper text dates from the 11th century and the undertext, which contains the translation from Sergius of Reshaina, has been dated to the 9th century. The imaging and reading of the text is considered crucial, as it will elucidate the role that Sergius played in the transmission of medical knowledge from Greek into Arabic. Sergius' translations of Galen were copied and recopied for centuries, and eventually became a bridge for moving the medical expertise of the ancient Greeks to Islamic societies. Syriac texts were much easier than Greek ones to translate into Arabic. Although Sergius kept in close contact with the mostly Nestorian scholars nearby, he was himself a Miaphysite Christian priest. In 535, he was sent to Rome by Ephrem, Orthodox Patriarch of Antioch, and escorted Pope Agapetus I to Constantinople. There he died, the following year.

text:
# Sergius of Reshaina

**Sergius of Reshaina** (died 536) was a physician and priest during the 6th century. He is best known for translating medical works from Greek to Syriac, which were eventually, during the Abbasid Caliphate of the late 8th- & 9th century, translated into Arabic. Reshaina, where he lived, is located about midway between the then intellectual centres of Edessa and Nisibis, in northern Mesopotamia.

The ninth-century translator Hunain ibn Ishaq gives the names of twenty-six medical texts by Galen which Sergius translated into Syriac; they were the first significant translations of medical works from Greek into a Semitic language, and presumably were the textbooks Sergius himself had used when he studied at Alexandria. Hunain is not always complimentary about Sergius's translations, though some he thinks are better, as Sergius became more experienced. Sergius also translated various other works, including the *Categories* of Aristotle, Porphyry's *Introduction to the Categories* and theological works by Pseudo-Dionysius the Areopagite. He also composed two works of his own, *On the Influence of the Moon* and *The Movement on the Sun*, probably drawing heavily on Greek sources.

Recently, a palimpsest with an undertext of Galen, translated by Sergius from Greek to Syriac, gathered the attention of scientists. It contains chapters of Galen's *On Simple Drugs* that had been lost. The manuscripts upper text dates from the 11th century and the undertext, which contains the translation from Sergius of Reshaina, has been dated to the 9th century. The imaging and reading of the text is considered crucial, as it will elucidate the role that Sergius played in the transmission of medical knowledge from Greek into Arabic. Sergius' translations of Galen were copied and recopied for centuries, and eventually became a bridge for moving the medical expertise of the ancient Greeks to Islamic societies. Syriac texts were much easier than Greek ones to translate into Arabic.

Although Sergius kept in close contact with the mostly Nestorian scholars nearby, he was himself a Miaphysite Christian priest. In 535, he was sent to Rome by Ephrem, Orthodox Patriarch of Antioch, and escorted Pope Agapetus I to Constantinople. There he died, the following year.

## Bibliography

## InfoBox

| Sergius of Reshaina | |
| --- | --- |
| Died | 536 |
| Occupations | * Physician * priest |


title: Callisina

abstract: Callisina is a genus of leaf beetles in the subfamily Eumolpinae. It is distributed in Asia.

text:
# Callisina

***Callisina*** is a genus of leaf beetles in the subfamily Eumolpinae. It is distributed in Asia.

## Species

Synonyms:

## InfoBox

| *Callisina* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Coleoptera |
| Family: | Chrysomelidae |
| Subfamily: | Eumolpinae |
| Tribe: | Typophorini |
| Genus: | *Callisina*
Baly, 1860 |
|
| Type species | |
| *Callisina fasciata*
Baly, 1860 | |


abstract: The U.S. Department of Education Office of Inspector General is an Inspector General office created by the Department of Education Organization Act. The Inspector General for the Department of Education is charged with investigating and auditing department programs to combat waste, fraud, and abuse.

text:
# U.S. Department of Education, Office of Inspector General

The **U.S.** **Department of Education Office of Inspector General** (**ED** **OIG**) is an Inspector General office created by the Department of Education Organization Act. The Inspector General for the Department of Education is charged with investigating and auditing department programs to combat waste, fraud, and abuse.

## History of Inspectors General

| **Inspector General** | **Appointment Date** |
| --- | --- |
| Sandra Bruce<br> | January 26, 2022 |
| Sandra Bruce (Acting) | December 3, 2018 |
| Kathleen S. Tighe | March 17, 2010 |
| Mary Mitchelson (Acting) | July 1, 2008 |
| John P. Higgins Jr. | November 27, 2002 |
| John P. Higgins Jr. (Acting) | May 27, 2002 |
| Lorraine Pratte Lewis | June 14, 1999 |
| John P. Higgins Jr. (Acting) | March 1, 1998 |
| Steve McNamara (Acting) | January 1, 1998 |
| Thomas R. Bloom | January 3, 1996 |
| John P. Higgins Jr. (Acting) | April 3, 1995 |
| Gretchen C. Schwarz (Acting) | March 4, 1995 |
| James B. Thomas Jr. | July 27, 1981 |
| John C. Yazurlo (Acting) | January 27, 1981 |
| James B. Thomas Jr. | August 26, 1980 |
| John C. Yazurlo (Acting) | May 4, 1980 |

## InfoBox

U.S. Department of Education, Office of Inspector General
|  | |
| --- | --- |
| Agency overview | |
| Formed | 1979 |
| Headquarters | Washington, D.C. |
| Agency executive | * Sandra Bruce, Inspector General |
| Parent agency | U.S. Department of Education |
| Website | www2.ed.gov/about/offices/list/oig/index.html |


title: Critical Asian Studies

abstract: Critical Asian Studies is a quarterly peer-reviewed academic journal covering research for understanding the Asia and Pacific regions, the world, and ourselves. It was articulated in 1967 by Committee of Concerned Asian Scholars, a group that coalesced around young scholarly opposition to US involvement in the Vietnam War. From 1968 until 2001 it was published under the name of Bulletin of Concerned Asian Scholars in Asian studies. In the estimation of Fabio Lanza, the journal was at its inception "radical, vibrant, at times excessive, and always politically minded. According to the Journal Citation Reports, the journal has a 2021 impact factor of 3.053. The editor-in-chief is Robert J Shepherd.

text:
# Critical Asian Studies

***Critical Asian Studies*** is a quarterly peer-reviewed academic journal covering research for understanding the Asia and Pacific regions, the world, and ourselves. It was articulated in 1967 by Committee of Concerned Asian Scholars, a group that coalesced around young scholarly opposition to US involvement in the Vietnam War. From 1968 until 2001 it was published under the name of **Bulletin of Concerned Asian Scholars** in Asian studies. In the estimation of Fabio Lanza, the journal was at its inception "radical, vibrant, at times excessive, and always politically minded.

According to the *Journal Citation Reports*, the journal has a 2021 impact factor of 3.053. The editor-in-chief is Robert J Shepherd (George Washington University).

## Abstracting and indexing

The journal is abstracted and indexed in:

## InfoBox

*Critical Asian Studies*
| Discipline | Asian studies; Anthropology, Ethnography |
| --- | --- |
| Language | English |
| Edited by | Robert J Shepherd |
| Publication details | |
| Former name(s) | Bulletin of Concerned Asian Scholars |
| History | 1968 - present |
| Publisher | Taylor and Francis Group |
| Frequency | Quarterly |
| Impact factor | 3.053 (2021) |
| Standard abbreviations
 | |
| ISO 4 | *Crit. Asian Stud.* |
| Indexing
 | |
| ISSN | 1467-2715 (print)
1472-6033 (web)
 |
| Links | |
|  | |


title: Brestir Sigmundsson

abstract: Brestir Sigmundsson was a chieftain in the Faroe Islands. Beinir was from Skúvoy. He was the son of Sigmund the Elder. Together with Cesilia, he had the son Sigmund Brestisson (961-1005) who was the first to bring Christianity to the islands. Jointly with his brother Beinir Sigmundsson, he ruled over half of the Faroe Islands. Brestir and his brother were eventually murdered by the rival chieftains Svínoyar-Bjarni and Havgrímur when they stayed at a farm on the island Stóra Dímun.

text:
# Brestir Sigmundsson

**Brestir Sigmundsson** (10th century-ca. 970) was a chieftain in the Faroe Islands.

Beinir was from Skúvoy. He was the son of Sigmund the Elder. Together with Cesilia, he had the son Sigmund Brestisson (961-1005) who was the first to bring Christianity to the islands. Jointly with his brother Beinir Sigmundsson, he ruled over half of the Faroe Islands. Brestir and his brother were eventually murdered by the rival chieftains Svínoyar-Bjarni and Havgrímur when they stayed at a farm on the island Stóra Dímun.

## Other Sources


title: Take It Back, Take It On, Take It Over!

abstract: Take It Back, Take It On, Take It Over! is an album by the punk rock band 7 Seconds, released in 2005.

text:
# Take It Back, Take It On, Take It Over!

Professional ratings
| Review scores | |
| --- | --- |
| Source | Rating |
| Punknews.org |  |

***Take It Back, Take It On, Take It Over!*** is an album by the punk rock band 7 Seconds, released in 2005.

## Release

It was promoted with a US tour, titled Our Core, in February and March 2005; they were supported on various parts of it by Groovie Ghoulies, the Briggs, Champion and Kill Your Idols. In August 2006, the band performed at Death or Glory Fest; two months later, they appeared at Riot Fest.

## Critical reception

AllMusic called the album a "melodic thrash-fest \[that\] proves the band is vital as ever." Punknews.org wrote that the album is "literally three-chord choruses, battering drums and of course Kevin Seconds' genuine, glorious, high-pitched vocals supported by the wow-ing backings."

## Track listing

All songs written by Kevin Seconds, except for where noted.

1. "All Came Undone" - 0:58
2. "Meant to Be My Own" - 1:50
3. "This Is Temporary" - 1:17
4. "My Band, Our Crew" - 2:05
5. "Still on It" - 2:48
6. "Say My Thanks" - 1:15
7. "Big Fall" - 1:11
8. "Stand Here and Just Stare" - 1:23
9. "Where Is the Danger?" - 1:47
10. "Big Hardcore Mystery" - 2:22
11. "Panic Attack" - 1:43
12. "Our Core" - 1:14
13. "Breaking News" - 1:34
14. "One Friend Too Many" - 1:37
15. "Y.P.H." (Seconds, Bob Adams, Steve Youth, Troy Mowat) - 2:31
16. "Your Frustration" - 1:15
17. "Rules to Follow" - 1:25

## Personnel

* Kevin Seconds – lead vocals
* Bob Adams – guitar, vocals
* Troy Mowat – drums
* Steve Youth – bass, piano

## InfoBox

| Take It Back, Take It On, Take It Over! | |
| --- | --- |
|  | |
| Studio album by 7 Seconds | |
| Released | 2005 |
| Genre | Hardcore punk |
| Length | 28:11 |
| Label | Side One Dummy |
| Producer | Bill Stevenson |
| 7 Seconds chronology | |
| *Scream Real Loud...Live!*
(2000) ***Take It Back, Take It On, Take It Over!***
(2005) *Leave a Light On*
(2014) | |


title: George McWattie

abstract: George Chappell McWattie was a Scottish footballer who played as a goalkeeper for Arbroath, Hibernian, Queen's Park, Heart of Midlothian and Scotland. He played in the 1901–02 World Championship in which Hearts defeated Tottenham Hotspur over two legs, and in the 1903 Scottish Cup Final which Hearts lost to Rangers after two replays.

text:
# George McWattie

**George Chappell McWattie** (22 April 1875 – 1952) was a Scottish footballer who played as a goalkeeper for Arbroath, Hibernian, Queen's Park, Heart of Midlothian and Scotland. He played in the 1901–02 World Championship in which Hearts defeated Tottenham Hotspur over two legs, and in the 1903 Scottish Cup Final which Hearts lost to Rangers after two replays.

Sources

## InfoBox

George McWattie
| Personal information | | | |
| --- | --- | --- | --- |
| Full name | George Chappell McWattie | | |
| Date of birth | 22 April 1875 | | |
| Place of birth | Arbroath, Scotland | | |
| Date of death | 1952 (aged 7677) | | |
| Place of death | Edinburgh, Scotland | | |
| Position(s) | Goalkeeper | | |
| Senior career\* | | | |
| Years | **Team** | **Apps** | **(Gls)** |
| –1898 | Arbroath |  |  |
| 1898–1900 | Hibernian | 20 | (0) |
| 1900–1901 | Queen's Park | 18 | (0) |
| 1901–1905 | Heart of Midlothian | 60 | (0) |
| Total |  | **90** | **(0)** |
| International career | | | |
| 1901 | Scotland | 2 | (0) |
| 1901–1902 | Scottish League XI | 2 | (0) |
| \*Club domestic league appearances and goals | | | |


title: Carpathonesticus puteorum

abstract: Carpathonesticus puteorum is a species of araneomorph spider of the family Nesticidae. It is found in the Romanian caves at an altitude of 460 to 930 m.

text:
# Carpathonesticus puteorum

***Carpathonesticus puteorum*** is a species of araneomorph spider of the family Nesticidae. It is found in the Romanian caves at an altitude of 460 to 930 m (1,510 to 3,050 ft).

## Description

*Carpathonesticus puteorum* specimens have a pale reddish prosoma with black suffusion. The opisthosoma is pale grey with dorsal pairs of patches. The legs are a reddish yellow. The prosoma length is 1.6 to 2.4 mm (0.063 to 0.094 in) in female and 2.2 mm (0.087 in) in male specimens.

## Original publication

Chyzer, C.; Kulczyński, W. (1894). *Araneae Hungariae II*. Budapest: Academiae Scientarum Hungaricae.

## InfoBox

| *Carpathonesticus puteorum* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Subphylum: | Chelicerata |
| Class: | Arachnida |
| Order: | Araneae |
| Infraorder: | Araneomorphae |
| Family: | Nesticidae |
| Genus: | *Carpathonesticus* |
| Species: | ***C. puteorum*** |
| Binomial name | |
| ***Carpathonesticus puteorum***<br>(Kulczyński, 1894) | |
|
| Synonyms | |
| * *Nesticus puteorum* Kulczyński, 1894 | |


title: United States v. Constantine

abstract: United States v. Constantine, 296 U.S. 287 (1935), was a case before the United States Supreme Court that concerned liquor laws and taxation. Congress placed a tax on liquor dealers who violate state liquor laws. The Court struck down the relevant portion of the Revenue Act of 1926 as an attempt to punish a state violation through taxation.

text:
# United States v. Constantine

***United States v. Constantine***, 296 U.S. 287 (1935), was a case before the United States Supreme Court that concerned liquor laws and taxation. Congress placed a tax on liquor dealers who violate state liquor laws. The Court struck down the relevant portion of the Revenue Act of 1926 as an attempt to punish a state violation through taxation.

## Background

A Prohibition era federal law required that sellers of alcohol obtain a federal excise license which costs $25 if the holder was in compliance with state law but $1,000 if they were not. The appellee had paid the lower fee but was found to be in violation of Alabama law by selling malt liquor in a Birmingham restaurant that exceeded the strength allowed by state law. The federal government then pursued Constantine for the $975 difference even though the violation occurred after the repeal of Prohibition.

## Opinion of the court

The court ruled that the primary purpose of the tax law was to enforce police powers not to raise revenue. Since the repeal of the Eighteenth Amendment, the federal law was no longer enforceable.

## Dissents

Justice Cardozo, in an opinion joined by Justices Brandeis and Stone, dissented, arguing that Congress could have had any one of several non-punitive justifications for the statute.

## Subsequent history

*National Federation of Independent Business v. Sebelius* referenced the logic in this decision to determine whether the Affordable Care Act was a penalty or tax in terms of the Constitution. The Court held that it was a tax by "\[d\]isregarding the designation of the exaction, and viewing its substance and application."

## InfoBox

| United States v. Constantine | |
| --- | --- |
| Supreme Court of the United States | |
| Argued November 14, 1935
Decided December 9, 1935 | |
| Full case name | *United States v. Constantine* |
| Citations | 296 U.S. 287 (*more*)56 S. Ct. 223; 80 L. Ed. 233; 1935 U.S. LEXIS 577; 35-2 U.S. Tax Cas. (CCH) ¶ 9655; 36-1 U.S. Tax Cas. (CCH) ¶ 9009; 16 A.F.T.R. (P-H) 1137; 1935 P.H. P2159 |
| Case history | |
| Prior | *Cert.* to the Circuit Court of Appeals for the Fifth Circuit |
| Court membership | |
| Chief Justice Charles E. Hughes  Associate Justices Willis Van Devanter **·**  James C. McReynolds
Louis Brandeis **·**  George Sutherland
Pierce Butler **·**  Harlan F. Stone
Owen Roberts **·**  Benjamin N. Cardozo | |
| Case opinions | |
| Majority | Roberts, joined by Hughes, Van Devanter, McReynolds, Sutherland, Butler |
| Dissent | Cardozo, joined by Brandeis and Stone |
| Laws applied | |
| Revenue Act of 1926 | |


abstract: "Save Me" is a song by Dave Dee, Dozy, Beaky, Mick & Tich, released as a single in December 1966. It peaked at number 3 on the UK Singles Chart.

text:
# Save Me (Dave Dee, Dozy, Beaky, Mick & Tich song)

"**Save Me**" is a song by Dave Dee, Dozy, Beaky, Mick & Tich, released as a single in December 1966. It peaked at number 3 on the UK Singles Chart.

## Reception

Reviewing for *New Musical Express*, Derek Johnson wrote that the band "certainly believe in ringing the changes. This time they've abandoned the Bend in favour of an up-tempo, almost breathtaking, exotic Latin rhythm. It's a sort of bossa rumba, with a touch of Afro-Cuban thrown in for good measure". Reviewed in *Record Mirror*, it was described as "a powerful up-tempo belter, marked by clever drumming and piercingly exciting falsetto vocal work".

## Track listing

1. "Save Me" – 2:58
2. "Shame" – 2:05

## Charts

| Chart (1966–67) | Peak
position |
| --- | --- |
| Australia (*Go-Set*) | 25 |
| Australia (Kent Music Report) | 22 |
| Belgium (Ultratop 50 Flanders) | 17 |
| Belgium (Ultratop 50 Wallonia) | 20 |
| Canada Top Singles (*RPM*) | 93 |
| Denmark (Danmarks Radio) | 11 |
| Finland (Suomen virallinen lista) | 33 |
| Germany (Official German Charts) | 2 |
| Ireland (IRMA) | 14 |
| Netherlands (Dutch Top 40) | 10 |
| Netherlands (Single Top 100) | 8 |
| New Zealand (Listener) | 5 |
| South Africa (Springbok Radio) | 8 |
| UK Singles (OCC) | 3 |

## InfoBox

| "Save Me" | |
| --- | --- |
| Cover of the single released in the Netherlands and Austria | |
| Single by Dave Dee, Dozy, Beaky, Mick & Tich | |
| B-side | "Shame" |
| Released | 2 December 1966 |
| Recorded | 8 November 1966 |
| Studio | Philips Studios, Stanhope House, London |
| Genre |  |
| Length | 2:58 |
| Label | Fontana |
| Songwriter(s) |  |
| Producer(s) | Steve Rowland |
| Dave Dee, Dozy, Beaky, Mick & Tich singles chronology | |
| "Hard to Love You"
(1966) "**Save Me**"
(1966) "Touch Me, Touch Me"
(1967) | |


abstract: The U.S. Department of Agriculture Office of Inspector General is one of the Inspector General offices created by the Inspector General Act of 1978. The Inspector General for the Department of Agriculture is charged with investigating and auditing department programs to combat waste, fraud, and abuse. A component of USDA-OIG, the Office of Investigations, conducts criminal investigations led by USDA-OIG Special Agents.

text:
# U.S. Department of Agriculture, Office of Inspector General

The **U.S.** **Department of Agriculture Office of Inspector General** (**USDA** **OIG**) is one of the Inspector General offices created by the Inspector General Act of 1978. The Inspector General for the Department of Agriculture is charged with investigating and auditing department programs to combat waste, fraud, and abuse. A component of USDA-OIG, the Office of Investigations, conducts criminal investigations led by USDA-OIG Special Agents.

## History of Inspectors General

| Inspector General | Date Started |
| --- | --- |
| Phyllis Fong | December 2, 2002 |
| Joyce Fleischman (Acting) | October 3, 2001 |
| Roger C. Viadero | October 14, 1994 |
| Leon Snead | August 1, 1990 |
| Leon Snead (Acting) | December 26, 1988 |
| Robert W. Beuley | August 11, 1986 |
| John V. Graziano | July 31, 1981 |
| Robert E. Magee (Acting) | January 27, 1981 |
| Thomas R. McBride | July 24, 1979 |
| Thomas R. McBride | October 25, 1977 |
| Nathaniel E. Kossack | May 1969 |
| Lester P. Condon | July 19, 1962 |

1. "\[USC02\] INSPECTOR GENERAL ACT OF 1978". *uscode.house.gov*. Retrieved 2020-10-29.
2. "Inspector General Historical Data" (PDF). *Council of Inspector Generals on Integrity and Efficiency*. July 25, 2017. Retrieved August 28, 2020.

## InfoBox

U.S. Department of Agriculture - Office of Inspector General
| Formed | 1978 |
| --- | --- |
| Headquarters | Washington, D.C. |
| Parent agency | U.S. Department of Agriculture |
| Inspector General | Phyllis Fong |
| Website | www.usda.gov/oig/ |


title: Super Group

abstract: Super Group is an album by the Japanese rock trio Shonen Knife. It was released in Japan on 7 November 2008, in the USA on 20 May 2009, and in the UK and Europe in 2010. The original Japanese CD issue was released as a mini-LP cartoon package with a gatefold and poster inside. The album contains Shonen Knife typical Ramones-like pop punk and a cover of Paul McCartney's tune "Jet".

text:
# Super Group

Professional ratings
| Review scores | |
| --- | --- |
| Source | Rating |
| NEO Magazine |  |

***Super Group*** is an album by the Japanese rock trio Shonen Knife. It was released in Japan on 7 November 2008, in the USA on 20 May 2009, and in the UK and Europe in 2010. The original Japanese CD issue was released as a mini-LP cartoon package with a gatefold and poster inside.

The album contains Shonen Knife typical Ramones-like pop punk and a cover of Paul McCartney's tune "Jet".

## Track listing

All tracks written by Naoko Yamano except "Jet," written by Paul and Linda McCartney, and "Top Of The World" by Richard Carpenter.

1. "Super Group"
2. "Slug"
3. "Muddy Bubbles Hell"
4. "Deer Biscuits"
5. "BBQ Party"
6. "Pyramid Power"
7. "Time Warp"
8. "Na Na Na"
9. "Your Guitar"
10. "Jet"
11. "Top of the World"

## Bonus tracks

* "Evil Birds" (US version)
* "Lazybone (Live)" (UK version)
* "Muddy Bubbles Hell (Live)" (UK version)
* "Riding on the Rocket (Live)" (UK version)

## Personnel

## InfoBox

| Super Group | |
| --- | --- |
|  | |
| Studio album by Shonen Knife | |
| Released | 7 November 2008 |
| Recorded | 2008 |
| Genre | Pop-punk |
| Label | P-Vine-Good Charamel-Damnably |
| Producer | Naoko Yamano and Atsushi Shibata |
| Shonen Knife chronology | |
| *Fun! Fun! Fun!*
(2007) ***Super Group***
(2008) *Free Time*
(2010) | |


title: Breston Plantation House

abstract: Breston Plantation House in Caldwell Parish, Louisiana, was built in the 1830s. It was added to the National Register of Historic Places in 1980. It is located behind the levee on the east bank of Riverton Lake, formerly the bed of Ouachita River, approximately 5 miles (8.0 km) above Columbia, Louisiana, near the community of Riverton. The house shows a mixture of French Creole architecture and Greek Revival architecture. Exterior Greek Revival elements are its five-bay front facade, with center emphasis; six molded Doric posts and entablature of the front gallery; six matching pilasters along the front wall of the house.

text:
# Breston Plantation House

**Breston Plantation House** in Caldwell Parish, Louisiana, was built in the 1830s. It was added to the National Register of Historic Places in 1980.

It is located behind the levee on the east bank of Riverton Lake, formerly the bed of Ouachita River, approximately 5 miles (8.0 km) above Columbia, Louisiana, near the community of Riverton.

The house shows a mixture of French Creole architecture and Greek Revival architecture. Exterior Greek Revival elements are its five-bay front facade, with center emphasis; six molded Doric posts and entablature of the front gallery; six matching pilasters along the front wall of the house.

## InfoBox

|  | |
| --- | --- |
| Breston Plantation House | |
| U.S. National Register of Historic Places | |
|  | |
|  | |
| Location | About 5 miles (8.0 km) northwest of Columbia on east bank of Riverton Lake |
| Coordinates | 32°10′13″N 92°05′53″W / 32.17019°N 92.098°W / 32.17019; -92.098 |
| Area | 0.18 acres (0.073 ha) |
| Built | c.1835 |
| Architectural style | Greek Revival |
| NRHP reference No. | 80001709 |
| Added to NRHP | November 22, 1980 |


title: Caenacantha

abstract: Caenacantha is a genus of flies in the family Stratiomyidae.

text:
# Caenacantha

***Caenacantha*** is a genus of flies in the family Stratiomyidae.

## Species

## InfoBox

| *Caenacantha* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Diptera |
| Family: | Stratiomyidae |
| Subfamily: | Pachygastrinae |
| Genus: | *Caenacantha*
Wulp, 1885 |
|
| Type species | |
| *Caenacantha bipartita*
Wulp, 1885 | |
| Synonyms | |
|  | |


title: Point-to-point laser technology

abstract: Point-to-point laser technology (PPLT) refers to a technology that enables a user or surveyor to survey or capture a building's geometry in real time or while on site by translating laser range finder data directly into a Computer-aided design (CAD) or building information models (BIM) work station.

text:
# Point-to-point laser technology

**Point-to-point laser technology** (PPLT) refers to a technology that enables a user or surveyor to survey or capture a building's geometry in real time or while on site by translating laser range finder data directly into a Computer-aided design (CAD) or building information models (BIM) work station.

## Applications

Most commonly used for as-built and existing conditions documentation or converting the built environment into a digital format.

## Benefits

PPLT has many benefits in creating BIM or (CAD) models. Entering data directly into a CAD- or BIM-enabled work station allows a user or 'surveyor' to capture and confirm a building's geometry on site. This effectively builds a digital model of a building while it is being measured enabling not only speed but accuracy. Additionally, building in real time can eliminate the need for revisits and also minimizes the need for future interpretation and manipulation of measurements and data by a CAD operator.

## Associations

Since PPLT mainly deals with building surveying there are a few associations that are building surveying specific. There is the Association of Professional Building Surveyors (APBS) in the United States and the Royal Institution of Chartered Surveyors (RICS) in Britain. Whereas building surveying is offered at the curriculum level in Europe it still is in its nascent stages in the United States.

## Certifications

Both the APBS and RICS offer certification methods and programs. The APBS has the professional building surveyor (PBS) certifications.

1. "Methods to Capture the Built Environment". 28 May 2009. Retrieved 2012-11-23.


title: Dara Birnbaum

abstract: Dara Birnbaum is an American video and installation artist. Birnbaum entered the nascent field of video art in the mid-to-late 1970s challenging the gendered biases of the period and television’s ever-growing presence within the American household. Her oeuvre primarily addresses ideological and aesthetic features of mass media through the intersection of video art and television. She uses video to reconstruct television imagery using as materials such archetypal formats as quizzes, soap operas, and sports programmes. Her techniques involve the repetition of images and interruption of flow with text and music. She is also well known for forming part of the feminist art movement that emerged within video art in the mid-1970s. Birnbaum lives and works in New York.

text:
# Dara Birnbaum

**Dara Birnbaum** (born 1946) is an American video and installation artist. Birnbaum entered the nascent field of video art in the mid-to-late 1970s challenging the gendered biases of the period and television’s ever-growing presence within the American household. Her oeuvre primarily addresses ideological and aesthetic features of mass media through the intersection of video art and television. She uses video to reconstruct television imagery using as materials such archetypal formats as quizzes, soap operas, and sports programmes. Her techniques involve the repetition of images and interruption of flow with text and music. She is also well known for forming part of the feminist art movement that emerged within video art in the mid-1970s. Birnbaum lives and works in New York.

## Early life and education

Dara Birnbaum was born in 1946 in New York. She is the daughter of architect Philip Birnbaum. In 1969 she received her BA in architecture at Carnegie Mellon University in Pittsburgh. She subsequently worked in the Lawrence Halprin & Associates architectural firm in New York City. Her work with the firm instilled a lifelong consideration of civic space and exploration of the relationship between private and public spheres in mass culture. In 1973 Birnbaum attained a BFA in painting from the San Francisco Art Institute.

## Career and artistic practice

In 1975 Birnbaum moved to Florence for a year and was introduced to video art by the Centro Diffusione Grafica, a gallery that pioneered video art exhibitions. Shortly after her return to New York City in 1976, Birnbaum met Dan Graham, an artist/critic who greatly impacted her artistic development. He introduced her to Screen (journal), a British film theory journal, which provided a critical analysis of mainstream cinema during the 1970s. Birnbaum was very interested in the journal’s discussion of an emerging feminist context in the critique of cinema, but found Screen to be flawed in its failure to consider television — a medium she believed to have replaced film as the dominant force of American mass culture.

During the mid-1970s, the poet Alan Sondheim lent Birnbaum his Sony Portapak, which enabled her to create her first experimental video works, such as *Control Piece* and *Mirroring*. These works explored the separation between the body and its representation through the use of mirrors and projected images. The presence of mirrors continued into her late-1970s video works which focused primarily on the appropriation and of television's conventions. Through the fragmentation and repetition of TV conventions, she used borrowed images to examine the medium's technical structures and bodily gestures.

These explorations laid a foundation for her most prominent work, the 1978 - 1979 video art piece *Technology/Transformation: Wonder Woman*. In this work she used appropriated images of Wonder Woman to subvert ideological subtexts and meanings embedded in the television series. "Opening with a prolonged salvo of fiery explosions accompanied by the warning cry of a siren, *Technology/Transformation: Wonder Woman* is supercharged, action-packed, and visually riveting... throughout its nearly six minutes we see several scenes featuring the main character Diana Prince... in which she transforms into the famed superhero." Her citational use of Wonder Woman illustrates the efforts she made into exploring "television on television," which indicates a consciousness of analyzing the television/video medium within its own terms, an exploration of the structural elements of television content, and an attempt to talk back to television.

In 1979 she started to make fast-edited video collages from footage appropriated while working for a TV post-production unit. In 1982 Birnbaum created the piece titled PM Magazine/Acid Rock with appropriated video from the nightly TV program *PM Magazine* and a segment of a Wang Computers commercial. Created for *Documenta 7* as part of a four channel video installation. *PM Magazine/Acid Rock* underscores the themes of consumerism, TV and feminism in Birnbaum's work through the use of pop images and a recomposed version of "L.A. Woman" by The Doors. In 1981 Birnbaum documented a no wave musical performance of Glenn Branca's *Symphony no. 1* at the Performing Garage for Electronic Arts Intermix. In 1985 she participated in the Whitney Biennial.

In her 1990 single channel video work *Cannon: Taking to the Street* the political act of taking to the street is framed through an iconic evocation of the Paris uprising of May 1968, interspersed with amateur footage from a Take Back the Night march held at Princeton University in April, 1987.

Her 1994 six channel video installation *Hostage* has as its subject the kidnapping of Hanns-Martin Schleyer in 1977.

*Technology/Transformation: Wonder Woman* is held in the collection of the Museum of Modern Art. She also has works in the collection of the National Gallery of Canada.

## Selected works

Dara Birnbaum works distributed by the Electronic Arts Intermix include:

* *Technology/Transformation: Wonder Woman* 1978-79, 5:50 min, color, sound
* *Kiss The Girls: Make Them Cry* (1979), 6:50 min, color, sound
* *Local TV News Analysis* (1980), 61:08 min, color, sound
* *Pop-Pop Video* (1980), 9 min, color, sound
* *General Hospital/Olympic Women Speed Skating* (1980), 6 min, color, sound
* *Kojak/Wang* (1980), 3 min, color, sound
* *Remy/Grand Central: Trains and Boats and Planes* (1980), 4:18 min, color, sound
* *Fire! Hendrix* (1982), 3:13 min, color, sound
* *PM Magazine/Acid Rock* (1982), 4:09 min, color, sound
* *Damnation of Faust: Evocation* (1983), 10:02 min, color, sound
* *Damnation of Faust: Will-o'-the-Wisp (A Deceitful Goal)* (1985), 5:46 min, color, sound
* *Artbreak, MTV Networks, Inc.* (1987), 30 sec, color, sound
* *Damnation of Faust: Charming Landscape* (1987), 6:30 min, color, sound
* *Canon: Taking to the Streets, Part One: Princeton University - Take Back the Night* (1990), 10 min, color, sound
* *Transgressions* (1992), 60 sec, color, sound

## Arabesque, Special Limited Edition 2021

Dara Birnbaum is the first artist who participated in the D’ORO D’ART Project, for the creation of books that contain digital art. Birnbaum took on the challenge of specially transforming her four-channel video, Arabesque from 2011, to a single-channel video for the book. In the video, sound and image are integrated, and together retrace the love and artistic relationship of Robert and Clara Schumann. Birnbaum brought together selections from films of performances of Robert Schumann’s Arabesque Opus 18 and from films of Clara Schumann’s Romanze 1, Opus 11. Birnbaum juxtaposed these clips with still images made from footage of the 1947 film about the Schumanns, Song of Love, which tellingly features only Robert Schumann's Arabesque Opus 18. Birnbaum’s Arabesque delicately reflects on the troubled love relationship of Robert and Clara Schumann, a love relationship closely linked to music, as they are both pianists. The video Arabesque, Special Limited Edition 2021 is activated by opening the book in which it is contained. The curators of the project are Barbara London and Valentino Catricalà. The book is produced by the publishing house D'ORO Collection, based in Rome. Arabesque, Special Limited Edition 2021 was post-produced by Michael Saia. The video lasts 6 min. and 29 seconds.

## Awards

In 2010 she won a United States Artists Fellow award.

* Demos, T. J. (2010). *Dara Birnbaum:Technology/Transformation: Wonder Woman*. Afterall Publishing. ISBN 978-1-84638-066-2.

## InfoBox

| Dara Birnbaum | |
| --- | --- |
|  | |
| Born | 1946 (age 7778)<br>New York, US |
| Known for | installation artist, video artist |
| Movement | Feminist art movement |
| Father | Philip Birnbaum |


title: Sanford Capital

abstract: Sanford Capital is a property management company based in Bethesda, Maryland. The company received severe criticism from tenants and regulators before agreeing to exit the property management business in Washington DC.

text:
# Sanford Capital

**Sanford Capital** is a property management company based in Bethesda, Maryland. The company received severe criticism from tenants and regulators before agreeing to exit the property management business in Washington DC.

## History

Patrick B. Strauss and Aubrey Carter Nowell founded Sanford Capital in 2005. At its peak, Sanford owned more than 65 rental properties, all in the DC area. At least 330 of the company's residents received public housing vouchers, meaning Sanford received at least $3.7 million per year in taxpayer money.

## Resident complaints

Residents of Sanford's buildings complained about multiple problems related to shoddy maintenance. Some of the highest-profile complaints related to raw sewage spreading through buildings. According to one media account, "Feces coagulated like cooled lava along the bathroom walls, and debris-laden brown liquid filled the bathtub and spilled out the bathroom door." Other residents complained about rodent infestations, broken heating systems, non-functioning locks, squatters, blocked drains, broken lighting fixtures, damaged floors, leaky faucets, and broken smoke detectors. In response to resident feedback, Mayor Muriel Bowser ordered a government review of all properties owned by Sanford Capital in 2017.

The Bowser review resulted in 1,083 violations being discovered by city inspectors, who issued $539,500 in fines to Sanford. The nonprofit Equal Rights Center sued Sanford Capital in mid-2017, alleging that Sanford discriminated against veterans and other groups.

DC Attorney General Karl Racine filed multiple lawsuits against Sanford Capital.

In April 2018, Sanford entered into a consent decree with the District in which the company agreed to stop acting as a landlord in Washington DC within six months.

In November 2019, Sanford Capital and its owner settled with the Attorney General, agreeing to pay $1.1 million in rent recovery to 155 residents in three of its apartment complexes.


title: United States v. Continental Can Co.

abstract: United States v. Continental Can Co., 378 U.S. 441 (1964), was a U.S. Supreme Court case which addressed antitrust issues. One issue it addressed was how should a market segment be defined for purposes of reviewing a merger of companies which manufacture different but related products.

text:
# United States v. Continental Can Co.

***United States v. Continental Can Co.***, 378 U.S. 441 (1964), was a U.S. Supreme Court case which addressed antitrust issues. One issue it addressed was how should a market segment be defined for purposes of reviewing a merger of companies which manufacture different but related products.

## Facts

In 1956, Continental Can Company, the second largest producer of metal containers in the U.S., acquired the Hazel-Atlas Glass Company, the third largest producer of glass containers.

The government sought Continental Can's divestiture of the assets of Hazel-Atlas, arguing that the merger was a violation of Section 7 of the Clayton Antitrust Act. The government claimed ten product markets existed, including the can industry, the glass container industry, and various lines of commerce defined by the end use of the containers.

## Judgment

The United States District Court for the Southern District of New York found three product markets: metal containers, glass containers, and beer containers. The district court dismissed the case, holding that the government had failed to prove reasonable probability of lessening competition in the markets it had identified.

### Supreme Court

## InfoBox

| United States v. Continental Can Co. | |
| --- | --- |
| Supreme Court of the United States | |
| Argued April 28, 1964
Decided June 22, 1964 | |
| Full case name | *United States v. Continental Can Co., et al.* |
| Citations | 378 U.S. 441 (*more*)84 S. Ct. 1738; 12 L. Ed. 2d 953; 1964 U.S. LEXIS 2224; 1964 Trade Cas. (CCH) ¶ 71,146 |
| Case history | |
| Prior | Motion to dismiss granted, 217 F. Supp. 761 (S.D.N.Y. 1963) |
| Holding | |
| Section 7 of the Clayton Act, which prohibits a corporation from acquiring another company when it results in a substantial reduction in competition, applies to competition between different industries for the same end user market. Southern District of New York reversed and remanded. | |
| Court membership | |
| Chief Justice Earl Warren  Associate Justices Hugo Black **·**  William O. Douglas
Tom C. Clark **·**  John M. Harlan II
William J. Brennan Jr. **·**  Potter Stewart
Byron White **·**  Arthur Goldberg | |
| Case opinions | |
| Majority | White, joined by Warren, Black, Douglas, Clark, Brennan, Goldberg |
| Concurrence | Goldberg |
| Dissent | Harlan, joined by Stewart |
| Laws applied | |
| 15 U.S.C. § 18 (Clayton Act § 7) | |


title: Save Me (Empress Of EP)

abstract: Save Me is the third EP by Honduran-American singer-songwriter and producer, Empress Of released June 24, 2022 via her independent label, Major Arcana. The EP was preceded by three singles, Save Me, Dance For You and Turn the Table with Jim-E Stack released April 8, May 25, and June 23, 2022, respectively.

text:
# Save Me (Empress Of EP)

***Save Me*** is the third EP by Honduran-American singer-songwriter and producer, Empress Of released June 24, 2022 via her independent label, Major Arcana. The EP was preceded by three singles, *Save Me*, *Dance For You* and *Turn the Table* with Jim-E Stack released April 8, May 25, and June 23, 2022, respectively.

## Critical reception

*Save Me* was favourably received upon its release. Fran Gonzalez of Madrid-based *dod Magazine*, offered a fairly positive review opining it as "a collection of fierce and scathing tracks where \[Rodriguez\] does not hesitate to bring out her most sexual side" and further praising Rodriguez's uncanny songwriting and production on the latter half of the EP, stating "The last blows of *Save Me* exhibit a treatment of electronics quite unusual to date in Rodriguez's range of resources, revealing us from more exotic and calm flashes of 'Kept Up' to more syncopated and dark textures of 'Cry for Help'".

Writing for *Pitchfork*, Hannah Jocelyn offered a more reserved and mixed review stating, "*Save Me* represents an opportunity to consolidate \[Rodriguez's\] sound while exploring less intense territory". Jocelyn further highlights the single, "Dance for You" as "the EP's most accomplished composition" but criticized certain repetitive song structures and lyrical motifs saying, "Almost every song climaxes with a section alternating between a synth riff and a title drop—each effective on their own, but noticeable when clumped together."

## Track listing

| No. | Title | Writer(s) | Producer(s) | Length |
| --- | --- | --- | --- | --- |
| 1. | "Save Me" |  | * Empress Of * Burton * Lennox | 3:18 |
| 2. | "Dance for You" | * Rodriguez * Burton | * Empress Of * Burton | 3:21 |
| 3. | "Turn the Table" (featuring Jim-E Stack) | * Rodriguez * James Harmon Stack | * Empress Of | 2:51 |
| 4. | "Kept Up" | * Rodriguez | * Empress Of | 2:37 |
| 5. | "Cry for Help" |  | * Empress Of | 2:50 |
| Total length: | | | | 14:59 |

### Notes

* "Cry for Help" contains a sample of "Melodies of Love", written by John Rocca and Andy Sennett, as performed by Pink Rhythm.

## Personnel

* Lorely Rodriguez – vocals, synthesizer, production, writing
* BJ Burton – production, writing (track 1,2)
* Johan Lenox – production, string arrangements (track 1)
* Yasmeen Al-Mazeedi – violin, orchestra (track 1)
* John Rocca – writing (track 5)
* Andy Sennett – writing (track 5)
* Jim-E Stack – writing (track 3)

**Technical**

* Robin Schmidt - mastering
* Geoff Swan – mixing
* Alexa Hernandez - makeup
* Chris Horan - styling
* Natalia Mantini – cover photo
* Hair by Mya - hair

## InfoBox

| Save Me | |
| --- | --- |
|  | |
| EP by Empress Of | |
| Released | June 24, 2022 |
| Genre |  |
| Label | Major Arcana |
| Producer | * Lorely Rodriguez * BJ Burton * Johan Lennox |
| Empress Of chronology | |
| *I'm Your Empress Of*
(2020) ***Save Me***
(2022) *For Your Consideration*
(2024) | |
|  | |
| Singles from  *Save Me* | |
| 1. "Save Me"
Released: April 8, 2022 2. "Dance For You"
Released: May 25, 2022 3. "Turn the Table"
Released: June 23, 2022 | |
|  | |