title: Denis Gauthier

abstract: Denis Gauthier, Jr. is a Canadian former professional ice hockey defenceman. A first round selection of the Calgary Flames at the 1995 NHL Entry Draft, Gauthier played for the Flames, Phoenix Coyotes, Philadelphia Flyers and Los Angeles Kings during his ten-season National Hockey League (NHL) career.

text:
# Denis Gauthier

**Denis Gauthier, Jr.** (born October 1, 1976) is a Canadian former professional ice hockey defenceman. A first round selection of the Calgary Flames at the 1995 NHL Entry Draft, Gauthier played for the Flames, Phoenix Coyotes, Philadelphia Flyers and Los Angeles Kings during his ten-season National Hockey League (NHL) career.

## Playing career

Gauthier played four seasons of major-junior hockey with the Drummondville Voltigeurs of the Quebec Major Junior Hockey League. He holds the franchise record for most goals by a defenceman in one season, 25, and had his number 21 retired by the Voltiguers in 2009.

Known for his big open-ice hits, this physical, defensive player was the Calgary Flames' first-round draft pick, 20th overall, in the 1995 Entry Draft. He made his NHL debut in 1997 and quickly established himself as a powerful presence on the blue line.

He played only the first round of the Flames' 2004 playoff run after suffering a knee injury in Game 6 against the Vancouver Canucks. He later underwent surgery on his anterior cruciate ligament on May 21.

In the 2004 off-season, he was traded to the Phoenix Coyotes in a deal also involving Daymond Langkow and Oleg Saprykin. During the 2006 trade deadline, Gauthier was traded to the Philadelphia Flyers for Josh Gratton and 2 second round draft picks. Prior to the 2007-08 season, Gauthier was waived by the Flyers and was assigned to the Philadelphia Phantoms. He spent the entire season with the Phantoms, and following the season was waived again on June 30, 2008. The following day, he was traded along with a 2010 second round draft pick to the Los Angeles Kings for Patrik Hersley and Ned Lukacevic.

On February 2, 2009, Gauthier was suspended for five games for a high elbow head shot to Montreal Canadiens defenseman Josh Gorges. On February 21, 2009, Gauthier was suspended for two games for boarding on an icing call to San Jose Sharks captain Patrick Marleau.

## Awards

**QMJHL**:

**Canadian Hockey League**

* First Team All-Star, 1995–96

**IIHF World Junior Championship**

* Gold medal, 1995–96

## Personal life

Gauthier's father, Denis Sr., was a professional wrestler, and his mother Joanne is the sister of former wrestlers Jacques, Armand and Raymond Rougeau. His nephew Julien Gauthier was drafted by the Carolina Hurricanes. He is also the father of Ethan Gauthier who played for the Sherbrooke Phoenix in the QMJHL and got drafted 37th overall by the Tampa Bay Lightning in 2023

## Career statistics

### Regular season and playoffs

|  | | |  | Regular season | | | | |  | Playoffs | | | | |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| Season | Team | League | | GP |  |  | Pts | PIM | | GP | G | A | Pts | PIM |
| 1992–93 | Drummondville Voltigeurs | QMJHL | | 61 | 1 | 7 | 8 | 136 | | 10 | 0 | 5 | 5 | 40 |
| 1993–94 | Drummondville Voltigeurs | QMJHL | | 60 | 0 | 7 | 7 | 176 | | 9 | 2 | 0 | 2 | 41 |
| 1994–95 | Drummondville Voltigeurs | QMJHL | | 64 | 9 | 31 | 40 | 190 | | 4 | 0 | 5 | 5 | 12 |
| 1995–96 | Drummondville Voltigeurs | QMJHL | | 53 | 25 | 49 | 74 | 140 | | 6 | 4 | 4 | 8 | 32 |
| 1995–96 | Saint John Flames | AHL | | 5 | 2 | 0 | 2 | 8 | | 16 | 1 | 6 | 7 | 20 |
| 1996–97 | Saint John Flames | AHL | | 73 | 3 | 28 | 31 | 74 | | 5 | 0 | 0 | 0 | 6 |
| 1997–98 | Calgary Flames | NHL | | 10 | 0 | 0 | 0 | 16 | |  |  |  |  |  |
| 1997–98 | Saint John Flames | AHL | | 68 | 4 | 20 | 24 | 154 | | 21 | 0 | 4 | 4 | 83 |
| 1998–99 | Calgary Flames | NHL | | 55 | 3 | 4 | 7 | 68 | |  |  |  |  |  |
| 1998–99 | Saint John Flames | AHL | | 16 | 0 | 3 | 3 | 31 | |  |  |  |  |  |
| 1999–00 | Calgary Flames | NHL | | 39 | 1 | 1 | 2 | 50 | |  |  |  |  |  |
| 2000–01 | Calgary Flames | NHL | | 62 | 2 | 6 | 8 | 78 | |  |  |  |  |  |
| 2001–02 | Calgary Flames | NHL | | 66 | 5 | 8 | 13 | 91 | |  |  |  |  |  |
| 2002–03 | Calgary Flames | NHL | | 72 | 1 | 11 | 12 | 99 | |  |  |  |  |  |
| 2003–04 | Calgary Flames | NHL | | 80 | 1 | 15 | 16 | 113 | | 6 | 0 | 1 | 1 | 4 |
| 2005–06 | Phoenix Coyotes | NHL | | 45 | 2 | 9 | 11 | 61 | |  |  |  |  |  |
| 2005–06 | Philadelphia Flyers | NHL | | 17 | 0 | 0 | 0 | 37 | | 6 | 0 | 1 | 1 | 19 |
| 2006–07 | Philadelphia Flyers | NHL | | 43 | 0 | 4 | 4 | 45 | |  |  |  |  |  |
| 2007–08 | Philadelphia Phantoms | AHL | | 78 | 3 | 15 | 18 | 80 | | 11 | 0 | 1 | 1 | 17 |
| 2008–09 | Los Angeles Kings | NHL | | 65 | 2 | 2 | 4 | 90 | |  |  |  |  |  |
| AHL totals | | | | 240 | 12 | 66 | 78 | 347 | | 53 | 1 | 11 | 12 | 126 |
| NHL totals | | | | 554 | 17 | 60 | 77 | 748 | | 12 | 0 | 2 | 2 | 23 |

### International

| Year | Team | Event |  | GP | G | A | Pts | PIM |
| --- | --- | --- | --- | --- | --- | --- | --- | --- |
| 1996 | Canada | WJC | | 6 | 1 | 1 | 2 | 6 |
| Junior totals | | | | 6 | 1 | 1 | 2 | 6 |

Rougeau wrestling family

## InfoBox

| Denis Gauthier | | | |
| --- | --- | --- | --- |
|  | | | |
| Born | (1976-10-01) October 1, 1976
Montreal, Quebec, Canada | | |
| Height | 6 ft 3 in (191 cm) | | |
| Weight | 225 lb (102 kg; 16 st 1 lb) | | |
| Position | Defence | | |
| Shot | Left | | |
| Played for | Calgary Flames
Phoenix Coyotes
Philadelphia Flyers
Los Angeles Kings | | |
| NHL draft | 20th overall, 1995
Calgary Flames | | |
| Playing career | 19962009 | | |


title: Deoxyguanosine diphosphate

abstract: Deoxyguanosine diphosphate (dGDP) is a nucleoside diphosphate. It is related to the common nucleic acid guanosine triphosphate (GTP), with the -OH group on the 2' carbon on the nucleotide's pentose removed, and with one fewer phosphoryl group than GTP.

text:
# Deoxyguanosine diphosphate

**Deoxyguanosine diphosphate** (**dGDP**) is a nucleoside diphosphate. It is related to the common nucleic acid guanosine triphosphate (GTP), with the -OH group on the 2' carbon on the nucleotide's pentose removed (hence the deoxy- part of the name), and with one fewer phosphoryl group than GTP.

## InfoBox

Deoxyguanosine diphosphate
|  | |
| --- | --- |
|  | |
| Names | |
| IUPAC name 2′-Deoxyguanosine 5′-(trihydrogen diphosphate) | |
| Systematic IUPAC name \[(2*R*,3*S*,5*R*)-5-(2-Amino-6-oxo-1,6-dihydro-9*H*-purin-9-yl)-3-hydroxyoxolan-2-yl\]methyl trihydrogen diphosphate | |
| Other names dGDP; 2'-Deoxyguanosine-5'-diphosphate; 2'-Deoxy-GDP; 5'-dGDP | |
| Identifiers | |
| CAS Number |  |
| 3D model (JSmol) |  |
| ChEBI |  |
| ChemSpider |  |
| DrugBank |  |
| PubChem CID |  |
| CompTox Dashboard (EPA) |  |
| InChI * InChI=1S/C10H15N5O10P2/c11-10-13-8-7(9(17)14-10)12-3-15(8)6-1-4(16)5(24-6)2-23-27(21,22)25-26(18,19)20/h3-6,16H,1-2H2,(H,21,22)(H2,18,19,20)(H3,11,13,14,17)/t4-,5+,6+/m0/s1 NKey: CIKGWCTVFSRMJU-KVQBGUIXSA-N N * InChI=1/C10H15N5O10P2/c11-10-13-8-7(9(17)14-10)12-3-15(8)6-1-4(16)5(24-6)2-23-27(21,22)25-26(18,19)20/h3-6,16H,1-2H2,(H,21,22)(H2,18,19,20)(H3,11,13,14,17)/t4-,5+,6+/m0/s1Key: CIKGWCTVFSRMJU-KVQBGUIXBA | |
| SMILES * O=P(O)(O)OP(=O)(O)OC\[C@H\]3O\[C@@H\](n1cnc2c1NC(=N/C2=O)\N)C\[C@@H\]3O | |
| Properties | |
| Chemical formula | C10H15N5O10P2 |
| Molar mass | 427.203 g·mol−1 |
| Except where otherwise noted, data are given for materials in their standard state (at 25 °C \[77 °F\], 100 kPa). N verify (what is YN ?)  Infobox references | |


title: Deoxyguanosine monophosphate

abstract: Deoxyguanosine monophosphate (dGMP), also known as deoxyguanylic acid or deoxyguanylate in its conjugate acid and conjugate base forms, respectively, is a derivative of the common nucleotide guanosine triphosphate (GTP), in which the –OH (hydroxyl) group on the 2' carbon on the nucleotide's pentose has been reduced to just a hydrogen atom. It is used as a monomer in DNA.

text:
# Deoxyguanosine monophosphate

**Deoxyguanosine monophosphate** (**dGMP**), also known as **deoxyguanylic acid** or **deoxyguanylate** in its conjugate acid and conjugate base forms, respectively, is a derivative of the common nucleotide guanosine triphosphate (GTP), in which the –OH (hydroxyl) group on the 2' carbon on the nucleotide's pentose has been reduced to just a hydrogen atom (hence the "deoxy-" part of the name). It is used as a monomer in DNA.

1. Müller, Sabine (2008-09-08). *Nucleic Acids from A to Z*. John Wiley & Sons. ISBN 9783527622535.

## InfoBox

Deoxyguanosine monophosphate
|  | |
| --- | --- |
|  | |
| Names | |
| IUPAC name 2′-Deoxyguanylic acid | |
| Systematic IUPAC name \[(2*R*,3*S*,5*R*)-5-(2-Amino-6-oxo-1,6-dihydro-9*H*-purin-9-yl)-3-hydroxyoxolan-2-yl\]methyl dihydrogen phosphate | |
| Identifiers | |
| CAS Number |  |
| 3D model (JSmol) |  |
| ChEBI |  |
| ChemSpider |  |
| ECHA InfoCard | 100.011.808 |
| IUPHAR/BPS |  |
| PubChem CID |  |
| UNII |  |
| CompTox Dashboard (EPA) |  |
| InChI * InChI=1S/C10H14N5O7P/c11-10-13-8-7(9(17)14-10)12-3-15(8)6-1-4(16)5(22-6)2-21-23(18,19)20/h3-6,16H,1-2H2,(H2,18,19,20)(H3,11,13,14,17)/t4-,5+,6+/m0/s1 NKey: LTFMZDNNPPEQNG-KVQBGUIXSA-N N * InChI=1/C10H14N5O7P/c11-10-13-8-7(9(17)14-10)12-3-15(8)6-1-4(16)5(22-6)2-21-23(18,19)20/h3-6,16H,1-2H2,(H2,18,19,20)(H3,11,13,14,17)/t4-,5+,6+/m0/s1Key: LTFMZDNNPPEQNG-KVQBGUIXBV | |
| SMILES * C1\[C@@H\](\[C@H\](O\[C@H\]1N2C=NC3=C2N=C(N=C3O)N)COP(=O)(O)O)O | |
| Properties | |
| Chemical formula | C10H14N5O7P |
| Molar mass | 347.2243 |
| Except where otherwise noted, data are given for materials in their standard state (at 25 °C \[77 °F\], 100 kPa). N verify (what is YN ?)  Infobox references | |


title: Deoxyhypusine monooxygenase

abstract:
In enzymology, a deoxyhypusine monooxygenase (EC 1.14.99.29) is an enzyme that catalyzes the chemical reaction
  - protein N⁶-(4-aminobutyl)-L-lysine + AH2 + O2 ⇌ protein N⁶-[(R)-4-amino-2-hydroxybutyl]-L-lysine + A + H2O The 3 substrates of this enzyme are a protein-bound N⁶-(4-aminobutyl)-L-lysine, an electron acceptor AH2, and O2, and its 3 products are protein-bound N⁶-[(R)-4-amino-2-hydroxybutyl]-L-lysine, the reduction product A, and H2O. This enzyme belongs to the family of oxidoreductases, specifically those acting on paired donors, with O2 as oxidant and incorporation or reduction of oxygen. The oxygen incorporated need not be derive from O miscellaneous. The systematic name of this enzyme class is deoxyhypusine,hydrogen-donor:oxygen oxidoreductase (2-hydroxylating). Other names in common use include deoxyhypusine hydroxylase, and deoxyhypusine dioxygenase.

text:
# Deoxyhypusine monooxygenase

In enzymology, a **deoxyhypusine monooxygenase** (EC 1.14.99.29) is an enzyme that catalyzes the chemical reaction

protein *N*6-(4-aminobutyl)-L-lysine + AH2 \+ O2 $\rightleftharpoons $ protein *N*6-\[(*R*)-4-amino-2-hydroxybutyl\]-L-lysine + A + H2O

The 3 substrates of this enzyme are a protein-bound *N*6-(4-aminobutyl)-L-lysine, an electron acceptor AH2, and O2, and its 3 products are protein-bound *N*6-\[(*R*)-4-amino-2-hydroxybutyl\]-L-lysine, the reduction product A, and H2O.

This enzyme belongs to the family of oxidoreductases, specifically those acting on paired donors, with O2 as oxidant and incorporation or reduction of oxygen. The oxygen incorporated need not be derive from O miscellaneous. The systematic name of this enzyme class is **deoxyhypusine,hydrogen-donor:oxygen oxidoreductase (2-hydroxylating)**. Other names in common use include **deoxyhypusine hydroxylase**, and **deoxyhypusine dioxygenase**.

## Mammalian proteins

The HUGO symbol for human gene and protein is DOHH, the full name is **deoxyhypusine hydroxylase**, and there are orthologs in other mammals. The orthologs have the same symbol, except for rodents, there the symbol is Dohh. The difference in case is just a meaningless historical artifact.

* Abbruzzese A, Park MH, Folk JE (1986). "Deoxyhypusine hydroxylase from rat testis. Partial purification and characterization". *J. Biol. Chem*. **261** (7): 3085–9. PMID 3949761.

## InfoBox

| deoxyhypusine monooxygenase | |
| --- | --- |
| Identifiers | |
| EC no. | 1.14.99.29 |
| CAS no. | 101920-83-6 |
| Databases | |
| IntEnz | IntEnz view |
| BRENDA | BRENDA entry |
| ExPASy | NiceZyme view |
| KEGG | KEGG entry |
| MetaCyc | metabolic pathway |
| PRIAM | profile |
| PDB structures | RCSB PDB PDBe PDBsum |
| Gene Ontology | AmiGO / QuickGO |
| Search  PMC articles  PubMed articles  NCBI proteins | |


title: The Bell Jar (film)

abstract: The Bell Jar is a 1979 American drama film based on Sylvia Plath's 1963 book The Bell Jar. It was directed by Larry Peerce and stars Marilyn Hassett and Julie Harris. The story follows a young woman's summer in New York working for a women's magazine, her return home to New England and her psychological breakdown within the context of the difficulties of the 1950s, including the Rosenbergs' execution, the disturbing aspects of pop culture, and the distraction of predatory college boys.

text:
# The Bell Jar (film)

***The Bell Jar*** is a 1979 American drama film based on Sylvia Plath's 1963 book *The Bell Jar*. It was directed by Larry Peerce and stars Marilyn Hassett and Julie Harris. The story follows a young woman's summer in New York working for a women's magazine, her return home to New England and her psychological breakdown within the context of the difficulties of the 1950s, including the Rosenbergs' execution, the disturbing aspects of pop culture, and the distraction of predatory college boys.

## Plot

The story depicts a young woman's summer in New York working for a *Mademoiselle*-like magazine, returning home to New England, and having a mental breakdown amid the 1950s.

## Cast

Mia Farrow had been approached for the lead role at one point.

## Production

Filmmakers had been trying to adapt the novel for the screen since the early 1970s.

The film was shot in June and July 1978 at Rutgers University in New Jersey, Four Winds Hospital in Katonah, New York and at various locations in New York City. The fashion-show scenes were shot on the seventh-floor terrace of the International Building in New York City.

## Reception

Janet Maslin of *The New York Times* was unimpressed, stating that the film's portrayal of Esther was "disastrous...because it is the character's imaginative life that leads her to a collapse, and the movie barely even goes skin-deep. The audience isn't given the slightest clue about Esther's quirks, her fears, her peculiarly distorted notion of herself." The film has a "way of spelling things out ad nauseam and still not making them clear." Even where it should have flourished, like in descriptions of Esther's life in New York, "there's no satirical edge to any of this, and no dramatic edge either. It all simply plods along, en route to a nervous collapse that manages to seem perfectly unwarranted by the time it finally occurs."

*Variety* wrote: "Despite some decent performances, 'The Bell Jar,' based on the late poet Sylvia Plath's autobiographical novel, evokes neither understanding or sympathy for the plight of its heroine...As played by Marilyn Hassett, who has a cool, *Seventeen* magazine kind of prettiness, Esther emerges as a selfish, morbid little prig."

Gene Siskel of the *Chicago Tribune* gave the film one star out of four and called it "downright laughable, a stormy TV soap opera without that genre's sense of humor. *The Bell Jar* is more than just a bad movie. It's a bad movie based on a book that has meant much to many, and they will be bitterly disappointed."

Kevin Thomas of the *Los Angeles Times* wrote that the film "would be ideal material for Ingmar Bergman, or more appropriately, since it is an American work, for the Woody Allen of *Interiors*. It cries for imagery and stylization—some kind of visual expression of Esther's perceptions and torments, but Peerce's approach is resolutely literal...Luckily, Marilyn Hassett's Esther is involving and thoroughly convincing—if you're prepared to share her frequent pain at merely being alive."

Judith Martin of *The Washington Post* wrote the film seemed "especially cruel" to kill Sylvia Plath again "by reputation," by making the heroine of her story "an elitist hysteric."

Jack Kroll of *Newsweek* wrote that "Marjorie Kellogg's screenplay is reasonably faithful to Plath's novel on the surface, but the movie totally lacks the mythic rhythm and force underneath the book's easy, colloquial style...Marilyn Hassett looks like Plath with her fine-drawn Puritan beauty, but her clean, strong acting can't overcome the film's stifling conventionality of style."

Penelope Gilliatt of *The New Yorker* wrote: "A lot that is serious and troubled about insanity has been written in world literature, painted, and also dealt with on film. This picture is merely hysterical."

*The Bell Jar* holds a 0% rating on Rotten Tomatoes, based on eight reviews.

## Lawsuit

After the film's release, Boston psychiatrist Dr. Jane V. Anderson claimed that she was portrayed as the Joan character and filed a lawsuit. In the film, Joan attempts to convince Esther to agree to a suicide pact, an incident that is not in the book. Joan is implied to be a lesbian in Plath's novel, but it never is explicitly stated. Anderson's lawyer said that the film portrayal "has grossly damaged her reputation as a practicing psychiatrist and a member of the Harvard Medical School faculty." The lawsuit was settled in 1987 for $150,000.

The British Library holds the archive of poetry, diary entries, correspondence and copies of legal documents relating to the lawsuit, information that sheds light on the publication of *The Bell Jar* in the U.S. and the difficulties surrounding the film adaptation.

## InfoBox

| The Bell Jar | |
| --- | --- |
|  | |
| Directed by | Larry Peerce |
| Screenplay by | Marjorie Kellogg |
| Based on | *The Bell Jar*
by Sylvia Plath |
| Produced by | Jarrold T. Brandt Jr.
Mike Todd Jr. |
| Starring | Marilyn Hassett
Julie Harris
Anne Jackson
Barbara Barrie
Robert Klein |
| Cinematography | Gerald Hirschfeld |
| Edited by | Marvin Walowitz |
| Music by | Gerald Fried |
| Distributed by | AVCO Embassy Pictures |
| Release date | * March 21, 1979 (1979-03-21) |
| Running time | 107 minutes |
| Country | United States |
| Language | English |
| Budget | $2 million |


title: The Bell That Never Rang

abstract: The Bell That Never Rang is the fourth studio album by British folk band Lau, released on 4 May 2015 on Reveal Records. Produced by Joan Wasser, the album's title is taken from the city of Glasgow's coat of arms, and features The Elysian Quartet on its title track. The album is dedicated to the memory of The Elysian Quartet's Vince Sipprell, who died in January 2015.

text:
# The Bell That Never Rang

***The Bell That Never Rang*** is the fourth studio album by British folk band Lau, released on 4 May 2015 on Reveal Records. Produced by Joan Wasser, the album's title is taken from the city of Glasgow's coat of arms, and features The Elysian Quartet on its title track.

The album is dedicated to the memory of The Elysian Quartet's Vince Sipprell, who died in January 2015.

## Background and recording

*The Bell That Never Rang* was produced by Joan Wasser, noted for her musical career under the name Joan As Police Woman. After visiting Wasser in New York City, the band collectively decided to work with her on their next studio album. Aidan O'Rourke noted, "It was when we got back and talked about the experiences and the excitement of the trip, we decided to invite Joan in to produce us".

## Writing and composition

The album's title track was initially commissioned by the Celtic Connections festival to celebrate the Commonwealth Games taking place in the city of Glasgow.

An early version of "Ghosts" appeared on the 2011 collaborative EP *Lau vs Adem*.

## Track listing

All tracks are written by Kris Drever, Martin Green and Aidan O'Rourke

| No. | Title | Length |
| --- | --- | --- |
| 1. | "First Homecoming" | 4:38 |
| 2. | "The Death of the Dining Car" | 4:39 |
| 3. | "Back in Love Again" | 6:45 |
| 4. | "Tiger Hill (Armoured Man)" | 6:02 |
| 5. | "The Bell That Never Rang" | 17:01 |
| 6. | "Ghosts" | 4:48 |

## InfoBox

| The Bell That Never Rang | |
| --- | --- |
|  | |
| Studio album by Lau | |
| Released | 4 May 2015 |
| Recorded | Castlesound Studios, Scotland |
| Genre | Folk |
| Length | 43:53 |
| Label | Reveal Records |
| Producer | Joan Wasser |
| Lau chronology | |
| *Race the Loser*
(2012) ***The Bell That Never Rang***
(2015) | |


title: Dennis Stewart (judoka)

abstract: Dennis C. Stewart is a retired male judoka from Great Britain, who competed at the 1988 Summer Olympics in Seoul, South Korea.

text:
# Dennis Stewart (judoka)

**Dennis C. Stewart** (born 12 May 1960) is a retired male judoka from Great Britain, who competed at the 1988 Summer Olympics in Seoul, South Korea.

## Judo career

Stewart became a four times champion of Great Britain, winning the light-heavyweight division at the British Judo Championships in 1980, 1981, 1982 and 1983. In 1986, he won the bronze medal in the 95kg weight category at the judo demonstration sport event as part of the 1986 Commonwealth Games.

In 1988, he was selected to represent Great Britain at the 1988 Olympic Games. Competing in the men's half-heavyweight ( 95 kg) division, he won a bronze medal after being defeated in the semi-finals by Brazil's eventual gold medalist Aurélio Miguel.

## Post retirement

After retiring from competition, he established a judo club, and coaches at the GB Judo Centre of Excellence, where he coaches, among others, his sons Max Stewart and Elliot Stewart.

## InfoBox

Dennis Stewart
| Personal information | |
| --- | --- |
| Nationality | British (English) |
| Born | (1960-05-12) 12 May 1960<br>West Bromwich, Staffordshire, England |
| Occupation | Judoka |
| Sport | |
| Country | Great Britain |
| Sport | Judo |
| Weight class | –95 kg |
| Achievements and titles | |
| Olympic Games | (1988) |
| World Champ. | 7th (1987) |
| European Champ. | 5th (1987, 1988) |
| Medal record      Men's judo   Representing   Great Britain   Olympic Games   1988 Seoul  95 kg | |
|  | |
| Profile at external databases | |
| IJF | 17056 |
| JudoInside.com | 5003 |
|  | |
| Updated on 18 June 2023 | |


title: Sportivo Belgrano

abstract: Sportivo Belgrano is an Argentine football club, which home town is located in San Francisco, Córdoba. The team currently plays in the Primera B Nacional, the second division of the Argentine football league system.

text:
# Sportivo Belgrano

**Sportivo Belgrano** is an Argentine football club, which home town is located in San Francisco, Córdoba. The team currently plays in the Primera B Nacional, the second division of the Argentine football league system.

## History

On 15 April 1914, a group of young people decided to establish a social club in the city of San Francisco, Córdoba. The name was chosen as a tribute to Manuel Belgrano, the creator of the flag of Argentina.

In 2008, during a match against Mendocino team Deportivo Maipú, several Belgrano players and their coach Cristian Domizzi attacked referee Héctor Sosa. A disciplinary panel deducted 9 points from the club, costing them the chance of promotion. The verdict also banned Sperdutti from management for one year and several Belgrano players were suspended for 30 games. In addition, the disciplinary panel set a number of restrictions on the stadium, which included 3 home games of the 2008/09 season being played behind closed doors and five more games with limited tickets for sale.

In June 2013, the club secured promotion to play at Primera B Nacional after a 1–1 tie against Deportivo Santamarina at the playoff's second time (the first had ended 0–0).

## Current squad

As of 3 September 2019 Note: Flags indicate national team as defined under FIFA eligibility rules. Players may hold more than one non-FIFA nationality.

| No. Pos. Nation Player  GK  ARG Leonardo Martina  GK  ARG Fernando Vijande  DF  ARG Daniel Abello  DF  ARG Matías Barbero  DF  ARG Cristian Belucci  DF  ARG Braian Camisassa  DF  ARG Jonathan Gallardo  DF  ARG Pablo Mattalia  DF  ARG Fernando Moreyra  DF  ARG Mauro Orué  MF  ARG Alex Aguirre  MF  ARG Tobias Ballari  MF  ARG Sebastián Balmaceda | No. Pos. Nation Player  MF  ARG Enzo Bertero  MF  ARG Juan Capurro  MF  BRA Walter De Souza  MF  ARG Miguel Escobar  MF  ARG Juan Pablo Francia  MF  ARG Leonardo Lopez  MF  ARG Tomas Rossi  FW  ARG Marcelo Argüello  FW  ARG Enzo Avaro  FW  ARG Fernando Catube  FW  COL Wilson Palacios  FW  ARG Facundo Scocco |
| --- | --- |

## InfoBox

Sportivo Belgrano
|  | |
| --- | --- |
| Full name | Sportivo Belgrano |
| Nickname(s) | *Verde* |
| Founded | 15 April 1914 (1914-04-15) |
| Ground | Estadio Oscar C.Boero, San Francisco, Córdoba <br>Córdoba Province, Argentina |
| Capacity | 9,200 |
| Chairman | Rubén Boetto |
| Manager | Cristian Domizzi |
| League | Torneo Federal A |
| 2018–19 |  |
| Website | Club website |
|  | |
|  | |
|  | |


title: Ergan, Erzincan

abstract: Ergan is a village in the Erzincan District, Erzincan Province, Turkey. The village is populated by Kurds of the Aşuran, Demenan and Keçelan tribes and had a population of 211 in 2021. The hamlet of Gelinsi is attached to the village.

text:
# Ergan, Erzincan

**Ergan** (formerly **Oğulcuk**) is a village in the Erzincan District, Erzincan Province, Turkey. The village is populated by Kurds of the Aşuran, Demenan and Keçelan tribes and had a population of 211 in 2021. The hamlet of Gelinsi is attached to the village.

## InfoBox

| Ergan | |
| --- | --- |
| Village | |
| ErganLocation in Turkey | |
| Coordinates: 39°36′50″N 39°33′14″E / 39.614°N 39.554°E / 39.614; 39.554 | |
| Country | Turkey |
| Province | Erzincan |
| District | Erzincan |
| Population (2021) | 211 |
| Time zone | UTC+3 (TRT) |


title: Edinburgh Film Guild

abstract: The Edinburgh Film Guild (EFG) is a film society based in Edinburgh, Scotland. Founded in 1929, it is notable as the oldest continuously running film society in the world.

text:
# Edinburgh Film Guild

The **Edinburgh Film Guild (EFG)** is a film society based in Edinburgh, Scotland. Founded in 1929, it is notable as the oldest continuously running film society in the world.

## Summary

The Edinburgh Film Guild is a community organization dedicated to promoting and showcasing independent and international films. The guild has a long history of organizing film festivals, screenings, and educational events, and has played a vital role in bringing cinema of all genres to the people of Edinburgh and the surrounding area.

Over the years, the Film Guild has adapted and evolved, always striving to bring the best in film to its members and the community. Today, the guild offers a wide range of programming, including film screenings, and educational events. The EFG screens films at several venues including the French Institute for Scotland.

The Guild attracts film enthusiasts who are interested in independent and international films, and who are looking for a community of like-minded individuals to share their passion for film in its many forms and cultural origins.

Members of the Film Guild include people of all ages and backgrounds, from students and young professionals to retirees and older film lovers. They may be avid fans of cinema, academics and filmmakers.

In addition to its regular membership, the Film Guild may also attract visitors and film lovers from outside the local area, who are interested in experiencing the unique programming and events offered by the organization.

The Guild has a strong sense of community and inclusivity. As a community-based organization, the Guild has a long history of working with local schools and community groups to bring film screenings and educational events to underserved areas in the community. The Guild is committed to making film accessible to everyone, regardless of their background or circumstances.

## History

Though pre-dated by the original (London) Film Society, founded five years earlier, it has outlasted it, with the Film Society having ceased operation in 1939. The EFG is also of note for having established the Edinburgh International Film Festival in 1947.

According to Scottish film theorist and documentarian John Grierson the EFG was of particular importance for promoting a wide view of cinema. Writing in 1951 he commented:

"The old London Film Society was the first to break from somewhat exclusive attention to the avant-garde and take the longer and harder way of the Russians and more purposive users of the cinema. But it was the Edinburgh Film Guild which completed the movement - as the London Film Society did not - and saw the infinite variety of a Film Society's obligations to all categories of the medium".

From 1980 until 2022, the EFG was based in the Filmhouse Cinema in Lothian Road, Edinburgh, where it has its clubrooms, offices and cinema. Since the Filmhouse entered administration the Guild has continued to offer screenings and its educational programme.

## Organisation

Run by volunteers on a non-profit basis, and is a company with charitable status. The programme is organised on the basis of mini-seasons linked by some common element, of director, performer, country, genre or theme.

* A history of the Edinburgh Film Guild by critic Philip French, emphasising its distinctive contributions to Scottish and UK film culture
* Newspaper obituary for Forsyth Hardy, a co-founder of the Edinburgh Film Guild and the Edinburgh International Film Festival


title: Žurkov Dol

abstract: Žurkov Dol is a settlement in the hills above Sevnica in central Slovenia. The area is part of the historical region of Styria. The Municipality of Sevnica is now included in the Lower Sava Statistical Region.

text:
# Žurkov Dol

**Žurkov Dol** (pronounced \[ˈʒuːɾkɔu̯ ˈdoːl\]) is a settlement in the hills above Sevnica in central Slovenia. The area is part of the historical region of Styria. The Municipality of Sevnica is now included in the Lower Sava Statistical Region.

## InfoBox

| Žurkov Dol | |
| --- | --- |
| Žurkov DolLocation in Slovenia | |
| Coordinates: 46°1′27.31″N 15°19′55.47″E / 46.0242528°N 15.3320750°E / 46.0242528; 15.3320750 | |
| Country | Slovenia |
| Traditional region | Styria |
| Statistical region | Lower Sava |
| Municipality | Sevnica |
| Area | |
| Total | 2.58 km2 (1.00 sq mi) |
| Elevation | 239.7 m (786.4 ft) |
| Population (2002) | |
| Total | 193 |
|  | |


title: Bravo Lake Formation

abstract: The Bravo Lake Formation is a mafic volcanic belt and large igneous province located at the northern margin of the Trans-Hudson orogeny on central Baffin Island, Nunavut, Canada. It is exposed along a nearly continuous east–west passage for 120 km (75 mi) and changes in stratigraphic thickness from 1 to 2.5 kilometers. The formation is a rare alkaline-suite that formed as a result of submarine rifting during the Paleoproterozoic period. The Bravo Lake Formation is surprisingly undeformed by the Himalayan-scale forming event during the Trans-Hudsonian orogeny. The stratigraphy of the Bravo Lake Formation starts with a basic section of iron-oxide rich sandstones, psammites, and semi-pelites which cover a series of deformed pillow lavas which expand in viscosity towards the west, and volcanic/clastic deposits and ultramafic sills. The lower volcanic section is covered by garnet and diopside bearing calc–silicate layers and finely layered metasediments composed of coarse-grained actinolite, hornblende and biotite followed by pelites and semi-pelites that are intruded by separate sills. In the Ridge Lake area, the volcanic belt includes an interlayered series of amphibolite, gabbro, iron formation, sulfidic schist and metasediments. Geochemical results of pillow lavas and chill boundaries along five transects across the volcanic belt suggest the existence of three chemically different magma types within the Bravo Lake Formation. Lavas of the volcanic belt display geochemical characteristics similar to modern ocean-island–basalt groups. They range from moderately to intensely fractionated. REE-profiles are similar to those from tholeiitic basalts to extremely alkaline lavas in Hawaii.

text:
# Bravo Lake Formation

The **Bravo Lake Formation** is a mafic volcanic belt and large igneous province located at the northern margin of the Trans-Hudson orogeny on central Baffin Island, Nunavut, Canada. It is exposed along a nearly continuous east–west passage for 120 km (75 mi) and changes in stratigraphic thickness from 1 to 2.5 kilometers. The formation is a rare alkaline-suite that formed as a result of submarine rifting during the Paleoproterozoic period. The Bravo Lake Formation is surprisingly undeformed by the Himalayan-scale forming event during the Trans-Hudsonian orogeny.

The stratigraphy of the Bravo Lake Formation starts with a basic section of iron-oxide rich sandstones, psammites, and semi-pelites which cover a series of deformed pillow lavas which expand in viscosity towards the west, and volcanic/clastic deposits and ultramafic sills. The lower volcanic section is covered by garnet and diopside bearing calc–silicate layers and finely layered metasediments composed of coarse-grained actinolite, hornblende and biotite followed by pelites and semi-pelites that are intruded by separate sills. In the Ridge Lake area, the volcanic belt includes an interlayered series of amphibolite, gabbro, iron formation, sulfidic schist and metasediments.

Geochemical results of pillow lavas and chill boundaries along five transects across the volcanic belt suggest the existence of three chemically different magma types within the Bravo Lake Formation.

Lavas of the volcanic belt display geochemical characteristics similar to modern ocean-island–basalt groups. They range from moderately to intensely fractionated. REE-profiles are similar to those from tholeiitic basalts to extremely alkaline lavas in Hawaii.

68°31′N 073°18′W / 68.517°N 73.300°W / 68.517; -73.300 (Bravo Lake Formation)


title: Buiksloot

abstract: Buiksloot is a former village in the Dutch province of North Holland. It is now a neighbourhood of Amsterdam-Noord. Buiksloot was a separate municipality from 1811 until 1921, when it was merged with Amsterdam. From 1888 to 1956, Buiksloot had a tram connection with Amsterdam-Noord and Waterland. The Waterland tram had a stop in Buiksloot, near today's Nieuwe Leeuwarderweg. Since 2018, Buiksloot has been cut in half by the Noord/Zuidlijn metro.

text:
# Buiksloot

**Buiksloot** is a former village in the Dutch province of North Holland. It is now a neighbourhood of Amsterdam-Noord. Buiksloot was a separate municipality from 1811 until 1921, when it was merged with Amsterdam.

From 1888 to 1956, Buiksloot had a tram connection with Amsterdam-Noord and *Waterland*. The *Waterland* tram had a stop in Buiksloot, near today's *Nieuwe Leeuwarderweg*. Since 2018, Buiksloot has been cut in half by the *Noord/Zuidlijn* metro.

## Location

The old village center lies along the *Buiksloterdijk* (a dyke), more specifically at the Northern *IJdijk*, between Nieuwendam and Oostzaan. The Buiksloot church, built in 1609, is located behind the dyke. To the west of the village, behind the dyke is the *Buiksloterbreek*, formed after a dyke breach. A part of the present Nieuwendammerdijk (part of Nieuwendam) belonged to Buiksloot. A part of this has been called *Leeuwarderweg* since 1935. The *Buiksloterdijk* is intersected by the *Nieuwe Leeuwarderweg* (a road), which opened in 1968.

## History

### Waterland

Buiksloot is a (former) polder. The village was formed along the Waterland Sea Dyke, erected from the 13th onwards. Buiksloot was first named in 1275, later becoming a linear village. Due to a dyke breach in 1514 south of the (not yet reclaimed) Buikslotermeer, a large amount of the original buildings were washed away and contact between the settlements of Buiksloot and Schellingwoude was broken off. Here, the settlement of Zunderdorp founded the new linear village Nieuwendam.

In 1532, Charles V founded the *Hoogheemraadschap* (High Water Authority) Waterland for water management north of Buiksloot, from Monnickendam to Purmerend. This merged into the *Hoogheemraadschap Noordhollands Noorderkwartier* in 1919. From then on, the settlement Buiksloot fell under the jurisdiction of the bailiwick Waterland. From the 17th century onwards, the population of Buiksloot exceeded that of the Schellingwoude settlement, of which it was part until the French era. Between the 17th and 19th century, Buiksloot had between 500 and 800 inhabitants.

### Polders of Buiksloot

North of *Buiksloterdijk* was the Buiksloot polder and north of it the *Zuiderpolder* (South polder), which extended into the neighbouring municipality of Landsmeer, until the municipal boundary was changed in 1966. To the northeast was the partly Buiksloot-owned Buikslotermeer, a polder from 1627. Created in 1851 south of Buiksloot, the Buiksloterham polder initially belonged to Buiksloot, but since 1877 it belongs to the municipality of Amsterdam. Buiksloot has been bisected by the Noordhollands Kanaal since 1824, with a movable bridge at *Buiksloterdijk* level.

### Settlement

The settlement of Buiksloot was traditionally one of the six settlements into which the Waterland bailiwick was divided. This designated a particular area where a bailiff could exercise his authority and administer justice. This term survived the Batavian Revolution, but it only kept its meaning in the polder. It was not until 1936 that the Waterland settlements were disbanded.

### Accessibility of Amsterdam

From as early as the 14th century there was a ferry line to Amsterdam, *Buiksloterveer*. Since 1556, this line is owned by Amsterdam. In 1659, five cities (Amsterdam, Hoorn, Edam, Monnickendam and Purmerend) agreed to build a network of tow-canals (*Zesstedenweg*) with a regular trekschuit service. In Buiksloot there was a crossroad from the IJ to the tow-canal northwards, which uses the western ring canal from the reclaimed Buikslotermeer in 1627. This reclaimed land became part of the Noordhollandsch Kanaal in 1824.

### Eighty Years' War

Throughout the 16th century, Buiksloot experienced multiple floods, including the All Saints' Flood of 1570. Because of these floods, certain parts of the village were lost in the waves. At the start of the Eighty Years' War/Dutch Revolt (1568-1648) *hagepreken* (sermons) were held in Buiksloot, among other places. As early as 1572, Waterland assumed a pro-prince stance, while Amsterdam remained loyal to the Spanish king until 1578. Several battles between the Geuzen (Beggars) and Alva's army take place around the vicinity. Trade begins to flourish after 1585, and Buiksloot benefited greatly from this. The village belonged to the settlement of Schellingwoude until 1811, after which it became a separate municipality.

### Merger with Amsterdam

As Buiksloot was already strongly connected with Amsterdam (see **Accessibility of Amsterdam**), they requested to join the city to benefit from the superior facilities in 1913. It took eight years to officialise the merger between Buiksloot and Amsterdam. The municipality was severely impoverished after the flood of 1916, when a large area north of Amsterdam flooded. On the first of January 1921, Buiksloot merged into the municipality of Amsterdam along with Nieuwendam, Ransdorp, Sloten and Watergraafsmeer.

After the merger, the village underwent some major expansions north of the *Buiksloterdijk* and west of the Noordhollandsch Kanaal with garden village *Buiksloterham*. This garden village was one of the new garden villages in Amsterdam-Noord. East of the canal, you'll find garden village Buiksloot.

### New housing estates

In the 1960s-70s, a new district called *Banne Buiksloot* was built north of the village. It consists of two parts, *Banne-Noord* (northern part) and *Banne-Zuid* (southern part). During the 90s, *Banne-Oost* (eastern part) was added.

In Buikslotermeer, from the 1960s onwards, many new houses and a mall were built. Old village buildings of Buiksloot on the dyke of the Buikslotermeer, alongside the ring canal, were demolished for this purpose. Also in the western part of the village, between the Buiksloot church and the *Buiksloterbreek*, many old dyke structures disappeared. Part of the Buiksloot dyke was also excavated for the construction of the *Nieuwe Purmerweg* (a road), which never saw the light of day. Eventually, only the middle part of the village along the *Buiksloterdijk* was spared. Buiksloot, along with the garden villages dating from the 1920s, has been part of the *Rijksbeschermd gezicht Amsterdam-Noord* (state protected) since 2014.

Near Buiksloot, close to the Noordhollandsch Kanaal, lies the chalk mill *D'Admiraal* (The Admiral). This mill is the last of its kind.

## Notable people from Buiksloot

1. Ad van der Meer and Onno Boonstra, Repertorium van Nederlandse gemeenten, KNAW, 2011.

52°24′N 4°55′E / 52.400°N 4.917°E / 52.400; 4.917

Content in this edit is translated from the existing Dutch Wikipedia article at nl:Buiksloot; see its history for attribution.

## InfoBox

| Buiksloot | |
| --- | --- |
| Map of Buiksloot | |
| Coordinates: 52°23′59″N 4°54′59″E / 52.39972°N 4.91639°E / 52.39972; 4.91639 | |
| Country | Netherlands |
| Province | North Holland |
| Municipality | Amsterdam |


title: Oriaku Njoku

abstract: Oriaku Njoku is an American activist for reproductive rights. In 2022, they were appointed executive director of the National Network of Abortion Funds. Njoku goes by she and they pronouns. Njoku's parents moved to the U.S. from Nigeria. During childhood, Njoku lived in Michigan, Indiana, and Bowling Green, Kentucky. They attended the University of Kentucky, where they came out as queer. Njoku co-founded and served as executive director of Access Reproductive Care-Southeast, an abortion fund based in Atlanta. Njoku was included in the Time 100 Next 2022 List.

text:
# Oriaku Njoku

**Oriaku Njoku** is an American activist for reproductive rights. In 2022, they were appointed executive director of the National Network of Abortion Funds. Njoku goes by *she* and *they* pronouns.

Njoku's parents moved to the U.S. from Nigeria. During childhood, Njoku lived in Michigan, Indiana, and Bowling Green, Kentucky. They attended the University of Kentucky, where they came out as queer.

Njoku co-founded and served as executive director of Access Reproductive Care-Southeast, an abortion fund based in Atlanta.

Njoku was included in the Time 100 Next 2022 List.

## Publications

* Thompson, Terri-Ann Monique; Young, Yves-Yvette; Bass, Tanya M; Baker, Stephanie; Njoku, Oriaku; Norwood, Jessica; Simpson, Monica (February 2022). "Racism Runs Through It: Examining The Sexual And Reproductive Health Experience Of Black Women In The South". *Health Affairs*. **41** (2): 195–202. doi:10.1377/hlthaff.2021.01422. PMID 35130060. S2CID 246650969.

## InfoBox

| Oriaku Njoku | |
| --- | --- |
| Born | 1984 or 1985 (age 39) |
| Alma mater | University of Kentucky |
| Occupation | Executive director |
| Organization | National Network of Abortion Funds |


title: Eldon C. Hall

abstract: Eldon Hall was the leader of hardware design efforts for the Apollo Guidance Computer (AGC) at MIT, and advocated the use of integrated circuits for this task. He wrote extensively of the development of the AGC, culminating in his 1996 book, Journey to the Moon: The History of the Apollo Guidance Computer (ISBN 1-56347-185-X) He pursued his undergraduate education at the Eastern Nazarene College in Quincy, Massachusetts, his graduate education at Boston University, and his doctoral degree at Harvard University.

text:
# Eldon C. Hall

**Eldon Hall** was the leader of hardware design efforts for the Apollo Guidance Computer (AGC) at MIT, and advocated the use of integrated circuits for this task. He wrote extensively of the development of the AGC, culminating in his 1996 book, *Journey to the Moon: The History of the Apollo Guidance Computer* (ISBN 1-56347-185-X)

He pursued his undergraduate education at the Eastern Nazarene College in Quincy, Massachusetts, his graduate education at Boston University, and his doctoral degree at Harvard University (though he did not complete the PhD).

## Awards

## Publications

* Eldon C. Hall (2000). *From the Farm to Pioneering with Digital Computers: An Autobiography.*
* Eldon C. Hall (1996). *Journey to the Moon: The History of the Apollo Guidance Computer*

## InfoBox

| Eldon C. Hall | |
| --- | --- |
| Eldon C. Hall, 2004 | |
| Born | Eldon Conrad Hall
(1923-06-15)June 15, 1923
Payette, Idaho, United States |
| Died | May 25, 2022(2022-05-25) (aged 98) |
| Education | University of Washington, Rutgers University, Eastern Nazarene College, Boston University (Masters Degree), Massachusetts Institute of Technology, and Harvard University (doctoral program in physics) |
| Occupation | Computer engineering |
| Known for | Leader of hardware design efforts for the Apollo Guidance Computer |
| Spouse | Grace White (m. 1948) |
| Children | 4 |
| Parent(s) | William Baker Hall and Elsie Nodle Hall |


title: Edinburgh Festival Fringe Society

abstract: The Edinburgh Festival Fringe Society is the organisation that supports the running of the Edinburgh Festival Fringe, the largest arts festival in the world. The Society was established in 1958 to provide a centralised information and box office service for the Fringe, which had grown in numbers since eight theatre companies had effectively "created" the Fringe by performing uninvited alongside the Edinburgh International Festival in 1947. Phoebe Waller-Bridge, whose show Fleabag was performed at the Fringe in 2013, was named President of the Edinburgh Festival Fringe Society in 2021.

text:
# Edinburgh Festival Fringe Society

The **Edinburgh Festival Fringe Society** is the organisation that supports the running of the Edinburgh Festival Fringe, the largest arts festival in the world. The Society was established in 1958 to provide a centralised information and box office service for the Fringe, which had grown in numbers since eight theatre companies had effectively "created" the Fringe by performing uninvited alongside the Edinburgh International Festival in 1947.

Phoebe Waller-Bridge, whose show Fleabag was performed at the Fringe in 2013, was named President of the Edinburgh Festival Fringe Society in 2021.

## History

The first formal discussions regarding the establishment of a central body for the Fringe took place in 1954. By that year, the Fringe was attracting around a dozen companies, and a meeting was held to discuss creating "a small organisation to act as a brain for the Fringe", or what The Scotsman called an "official unofficial festival".

However, it was not until 1958 when the idea of a Festival Fringe Society was properly established, by Michael Imison, director of Oxford Theatre Group. A constitution was drawn up, in which the policy of not vetting or censoring shows was set out, and the Society was officially launched at the Fringe of 1959.

On May 22, 1969, the Fringe Society was incorporated as a company limited by guarantee with a board of directors and Edinburgh solicitors' firm, Bell and Scott, Bruce and Kerr as Company Secretaries. William Grant, Lord Grant was the first chairman.

It is also a registered charity.

## Purpose

The Society performs no curatorial role for the Fringe. Rather, it formalises the process of event registration, promotion and ticket selling, while also acting in an advisory and advocacy capacity. A founding principle of the Fringe was that no single individual or committee should determine who can appear. It remains an open access arts festival, accommodating anyone with a desire to perform and a venue willing to host them.

The Society therefore has no artistic director, only administrators. For some years the lead (or only) official in the Fringe Society was known as the Fringe Administrator. Only in recent years has the term Chief Executive been used to describe the head of the Fringe Society.

The Society has a board of directors, which oversees the core Fringe staff. The first chair of the board was Lord Grant. In 1970, the actor Andrew Cruickshank became chair, to be succeeded in 1983 by Jonathan Miller, and then by Elizabeth Smith, Baroness Smith, widow of former Labour Leader John Smith. The current chair is Benny Higgins, who succeeded Professor Sir Timothy O'Shea 2021.

The first full-time Fringe chief was John Milligan, a former teacher who left in 1976 to run the Craigmillar Festival. He was succeeded by writer and historian Alistair Moffat, who left in 1981 to become Head of Arts at Scottish Television. In turn, he was replaced by Michael Dale, who departed in 1986 to become Head of Events for the Glasgow Garden Festival. He was succeeded by his deputy, Mhairi Mackenzie-Robinson, who left in 1993 to pursue a career in business. Hilary Strong served in the position until 1999, when she then became director of the Greenwich Theatre. She was followed by Paul Gudgin (2000–2007), Jon Morgan (2007–2008), and Kath Mainland (2008-2015). In November 2015, Mainland announced her decision to step down as chief executive in order to take on the role of executive director of the Melbourne Festival, and in early 2016 it was announced that her successor would be Shona McCarthy, who had headed up the 2013 Derry-Londonderry UK City of Culture. She took up the position in March 2016.

Membership of the Fringe Society is open to anyone.

The Society has three specified core objectives:

> * providing support, advice and encouragement to all the amazing artists, producers and venues who create the Fringe each year, from help with choosing a venue or writing a press release, to advice on touring, free access to rehearsal space, and professional development activities and events
> * assisting the audiences who come to Edinburgh by helping you navigate what’s on offer with comprehensive, accurate and up-to-date information and ticketing
> * celebrating this wonderful and unique festival around the world

### Vision and values

In 2022, the festival's 75th anniversary year, the Fringe Society consulted with stakeholders from across the festival – from artists to venues, residents to government bodies – to create a shared vision and set of values. The vision was “to give anyone a stage and everyone a seat”. Rooted in equality and inclusiveness, it was designed inspire all Fringe stakeholders to pull in the same direction.

Three values were also established to guide the behaviours and decisions of everyone involved with the Fringe; the Fringe Society said they will “live by them, champion them and uphold them where necessary”. The three values are:

• Celebrate performing arts

• Be open to all

• Look out for each other

## Premises

The Fringe Society is based at offices on the Royal Mile. It is designated as "Venue 1" in Fringe listings. The building also serves as the Fringe Shop and, during August, as a box office. The shop stocks Fringe memorabilia and copies of the brochure. The strip of the Royal Mile outside is closed to traffic during the Fringe, and becomes an area for street performers, often giving snippets of shows which can be seen in full elsewhere.

During August, the Society also operates Fringe Central (designated "Venue 2"), a hub for press and performers. In 2019, this was based at Appleton Tower on Crichton Street.

## Heads of the Festival Fringe Society

NB: The title of the lead officer of the Society has varied throughout its existence.

* 1970-76 John Milligan
* 1976-81 Alistair Moffat
* 1981-86 Michael Dale
* 1986-93 Mhairi Mackenzie-Robinson
* 1993-99 Hilary Strong
* 2000-07 Paul Gudgin
* 2007-08 Jon Morgan
* 2008-15 Kath Mainland
* 2016- Shona McCarthy

## Bibliography


title: The Boatman's Call

abstract: The Boatman's Call is the tenth studio album by Nick Cave and the Bad Seeds, released in 1997. The album is entirely piano-based, alternately somber and romantic in mood, making it a marked departure from the bulk of the band's post-punk catalogue up to that point. The Boatman's Call remains one of the most critically acclaimed releases of Nick Cave's career.

text:
# The Boatman's Call

***The Boatman's Call*** is the tenth studio album by Nick Cave and the Bad Seeds, released in 1997. The album is entirely piano-based, alternately somber and romantic in mood, making it a marked departure from the bulk of the band's post-punk catalogue up to that point. *The Boatman's Call* remains one of the most critically acclaimed releases of Nick Cave's career.

## Background and production

Recording for the album began at Sarm West Studios in London, United Kingdom in mid-1996, with "The Garden Duet", one of the album's outtakes, being the first song recorded. Though the bulk of *The Boatman's Call* was recorded at Sarm West, further recordings—including overdubs—were later done at Abbey Road Studios.

Musically, the album's tone is considered sombre and minimalist and marks a major departure for Cave and The Bad Seeds. Moving away from full-band arrangements and character-based narratives, the album's music and lyrics move towards the more intimate sound of Cave's solo voice accompanied by piano or a few other instruments. The tempo is also generally slow, reflecting many of the moods of the songs. Many of the lyrics seem to reflect on Cave's personal relationships and spiritual yearnings at the time of writing. Some songs are thought to be directed at either the mother of Cave's oldest son Luke, Viviane Carneiro (in "Where Do We Go Now But Nowhere?") or singer PJ Harvey, with whom he had a brief relationship around that time (as referenced in "West Country Girl", "Black Hair" and "Green Eyes"). "Green Eyes" includes a line from "Sonnet 18" by Louise Labé (*Kiss me, rekiss me, & kiss me again*).

Cave performed "Into My Arms" at the 1997 funeral of INXS vocalist Michael Hutchence, an old friend from Cave's youth, and requested that the TV cameras be shut off for his performance out of respect for Hutchence. The song "People Ain't No Good" was also featured in the movie *Shrek 2*. The song "There Is A Kingdom" was featured in the movie *Zack Snyder's Justice League*. In October 2010, the album was listed in the top 30 in the book, *100 Best Australian Albums*.

## Critical reception

Professional ratings
| Review scores | |
| --- | --- |
| Source | Rating |
| AllMusic |  |
| *Entertainment Weekly* | B+ |
| *The Guardian* |  |
| *Los Angeles Times* |  |
| *NME* | 8/10 |
| *Pitchfork* | 6.6/10 (1997)
9.3/10 (2011) |
|  |  |
| *Rolling Stone* |  |
| *Select* | 4/5 |
| *Uncut* |  |

*The Boatman's Call* received almost unanimous critical acclaim upon release with many reviewers citing it as Cave's most poignant album. Writing in *NME*, James Oldham concluded that the album is "a stark look at all that he's been through, recounted with withering bleakness and arid humour", noting "Cave's magnificent lyrics, riddled with comic misanthropy and New Gospel humanity", and "their starkly beautiful accompaniments". The magazine rated it as the 23rd best album of 1997. The album was also included in the book *1001 Albums You Must Hear Before You Die*.

## Track listing

All tracks are written by Nick Cave.

| No. | Title | Length |
| --- | --- | --- |
| 1. | "Into My Arms" | 4:15 |
| 2. | "Lime Tree Arbour" | 2:56 |
| 3. | "People Ain't No Good" | 5:42 |
| 4. | "Brompton Oratory" | 4:06 |
| 5. | "There Is a Kingdom" | 4:52 |
| 6. | "(Are You) The One That I've Been Waiting For?" | 4:05 |
| 7. | "Where Do We Go Now But Nowhere?" | 5:46 |
| 8. | "West Country Girl" | 2:45 |
| 9. | "Black Hair" | 4:14 |
| 10. | "Idiot Prayer" | 4:21 |
| 11. | "Far from Me" | 5:33 |
| 12. | "Green Eyes" | 3:32 |
| Total length: | | 52:07 |

### Bonus tracks

2011 Remaster
| No. | Title | Music | Words | Length |
| --- | --- | --- | --- | --- |
| 13. | "Little Empty Boat" | Nick Cave, Blixa Bargeld, Martyn Casey, Mick Harvey | Cave |  |
| 14. | "Right Now I'm A-Roaming" | Cave, Casey, Harvey, Conway Savage, Thomas Wydler | Cave |  |
| 15. | "Black Hair" (Band version) |  |  |  |
| 16. | "Come Into My Sleep" |  |  |  |
| 17. | "Babe, I Got You Bad" |  |  |  |

### Outtakes and other songs

A number of other songs were recorded at *The Boatman's Call* sessions, some of which were later released as B-sides to the album's two singles and also on Nick Cave and the Bad Seeds 2005 compilation album, *B-Sides and Rarities*.

* "The Garden Duet"
* "I Do, Dear, I Do"
* "Opium Tea" (released on *B-Sides & Rarities*)
* "Sheep May Safely Graze" (released on *B-Sides & Rarities*)
* "Wake Up My Lover"
* "Farewell, Goodbye, So Long"
* "I Got Another Woman Now, Dear"
* "Little Empty Boat" (released as a B-side on "Into My Arms")
* "Right Now I'm A-Roaming" (released as a B-side on "Into My Arms")
* "Come Into My Sleep" (released as a B-side on "(Are You) The One That I've Been Waiting For?")
* "Babe, I Got You Bad" (released as a B-side on "(Are You) The One That I've Been Waiting For?"')

## Personnel

Nick Cave and the Bad Seeds Technical personnel

## Charts

### Weekly charts

| Chart (1997) | Peak
position |
| --- | --- |
| Australian Albums (ARIA) | 5 |
| Austrian Albums (Ö3 Austria) | 18 |
| Belgian Albums (Ultratop Flanders) | 4 |
| Belgian Albums (Ultratop Wallonia) | 18 |
| Dutch Albums (Album Top 100) | 58 |
| Finnish Albums (Suomen virallinen lista) | 17 |
| French Albums (SNEP) | 26 |
| German Albums (Offizielle Top 100) | 19 |
| New Zealand Albums (RMNZ) | 4 |
| Norwegian Albums (VG-lista) | 2 |
| Scottish Albums (OCC) | 35 |
| Swedish Albums (Sverigetopplistan) | 3 |
| Swiss Albums (Schweizer Hitparade) | 32 |
| UK Albums (OCC) | 22 |

### Year-end charts

| Chart (1997) | Position |
| --- | --- |
| Belgian Albums (Ultratop Flanders) | 62 |

## Certifications

| Region | Certification | Certified units/sales |
| --- | --- | --- |
| Denmark (IFPI Danmark) | Platinum | 20,000 |
| United Kingdom (BPI)
*2011 release* | Gold | 100,000* |
| United States |  | 50,000 |
| Summaries | | |
| Worldwide |  | 500,000 |
| * Sales figures based on certification alone.
Sales+streaming figures based on certification alone.
 | | |

## InfoBox

| The Boatman's Call | |
| --- | --- |
|  | |
| Studio album by Nick Cave and the Bad Seeds | |
| Released | 3 March 1997 |
| Recorded | June–August 1996 |
| Studio | Sarm West, London |
| Length | 52:07 |
| Label | Mute/Reprise |
| Producer | Flood, Nick Cave and the Bad Seeds |
| Nick Cave and the Bad Seeds chronology | |
| *Murder Ballads*
(1996) ***The Boatman's Call***
(1997) *The Best of Nick Cave & The Bad Seeds*
(1998) | |
|  | |
| Singles from  *The Boatman's Call* | |
| 1. "Into My Arms"
Released: 27 January 1997 2. "(Are You) The One That I've Been Waiting For?"
Released: 19 May 1997 | |
|  | |


title: Sport toplumy (Mary)

abstract: Mary Sport Toplumy is a multi-purpose stadium in Mary, Turkmenistan. It is currently used mostly for football matches and serves as the home stadium for Merw Mary. The stadium holds 10,000 people.

text:
# Sport toplumy (Mary)

**Mary Sport Toplumy** is a multi-purpose stadium in Mary, Turkmenistan. It is currently used mostly for football matches and serves as the home stadium for Merw Mary. The stadium holds 10,000 people.

## History

The sports complex opened in May 2009. First match was played between Merw Mary and Afghan FC Esteghlal Herat, ended in 6–0. Construction works carried out by Turkish company Kılıç İnşaat. The project cost $20 million.

## InfoBox

Mary Sport Toplumy
|  | |
| --- | --- |
| Location | Mary, Turkmenistan |
| Coordinates | 37°36′26″N 61°50′44″E / 37.607191°N 61.845672°E / 37.607191; 61.845672 |
| Owner | Mary city Administration |
| Capacity | 10,000 |
| Surface | Grass |
| Construction | |
| Opened | 2009 |
| General contractor | Kılıç İnşaat |
| Tenants | |
| FC Merw | |


title: Ergamenes

abstract: Ergamenes is the hellenized name of a Nubian king of Meroë reported by Agatharchides in Diodorus Siculus. According to this account, Ergamenes reigned in Meroë during the friendly Egyptian reign of Ptolemy II Philadelphus to Ptolemy IV Philopator, was instructed in Greek philosophy, favored Greek art and its way of life, although it could be rather intended as a cultural influence from a Ptolemaic-governed Egypt. He resented the tradition of ancient Egypt and the Ethiopian priests' control over the King's power and preferred the absolute power of his neighbor, Ptolemy II: A death of the kings, is still more extra-ordinary. The priests at Meroë have acquired great power. When they form a resolution, they send a courier to the king, with an order to him to die. They tell him that the gods had thus decreed, and that he would be guilty of crime if he violated an order from them. They added many other reasons, which would easily influence a simple man, aware of ancient custom, and who has no strength of the mind sufficient to resist such an unjust command. The first kings submitted to this cruel sentence. Ergamenes, who reigned at the time of the second Ptolemy, and who was instructed in the philosophy of Greece, was the first who dared to throw off this ridiculous yoke. He went with his army to the place difficult to get to, or fortress, when was formally the temple of gold of the Ethiopians, and caused all the priests to be massacred, and instituted himself a new religion.

text:
# Ergamenes

**Ergamenes** is the hellenized name of a Nubian king of Meroë reported by Agatharchides in Diodorus Siculus (3.2.6, FHN II No. 142). According to this account, Ergamenes reigned in Meroë during the friendly Egyptian reign of Ptolemy II Philadelphus to Ptolemy IV Philopator, was instructed in Greek philosophy, favored Greek art and its way of life, although it could be rather intended as a cultural influence from a Ptolemaic-governed Egypt. He resented the tradition of ancient Egypt and the Ethiopian priests' control over the King's power and preferred the absolute power of his neighbor, Ptolemy II:

> A death of the kings, is still more extra-ordinary. The priests at Meroë have acquired great power. When they form a resolution, they send a courier to the king, with an order to him to die. They tell him that the gods (or oracles) had thus decreed, and that he would be guilty of crime if he violated an order from them. They added many other reasons, which would easily influence a simple man, aware of ancient custom, and who has no strength of the mind sufficient to resist such an unjust command. The first kings submitted to this cruel sentence. Ergamenes, who reigned at the time of the second Ptolemy, and who was instructed in the philosophy of Greece, was the first who dared to throw off this ridiculous yoke. He went with his army to the place difficult to get to, or fortress, when was formally the temple of gold of the Ethiopians, and caused all the priests to be massacred, and instituted himself a new religion.
>
> Diodorus Siculus, *Story of Ergamenes*

## Identification

Ergamenes was tentatively identified with many archaeologically known king of Meroë, above all two kings with similar names, Arakamani and Arqamani. This situation has led to cause these two kings to be called Ergamenes I (Arakamani) and Ergamenes II (Arqamani). Although it is possible that – in a way similar to the semi-mythological Sesostris – Greeks conflated several rulers into a single figure named *Ergamenes*, Egyptologist Fritz Hintze and Meroitologist László Török believes that the original Ergamenes should be identified with Arakamani.

* László Török, *Between Two Worlds: The Frontier Region Between Ancient Nubia and Egypt 3700 BC – 500 AD*, Brill, 2008, ISBN 978-90-04-17197-8.


title: Cycladic art

abstract: The ancient Cycladic culture flourished in the islands of the Aegean Sea from c. 3300 to 1100 BCE. Along with the Minoan civilization and Mycenaean Greece, the Cycladic people are counted among the three major Aegean cultures. Cycladic art therefore comprises one of the three main branches of Aegean art. The best known type of artwork that has survived is the marble figurine, most commonly a single full-length female figure with arms folded across the front. The type is known to archaeologists as a "FAF" for "folded-arm figure(ine)". Apart from a sharply-defined nose, the faces are a smooth blank, although there is evidence on some that they were originally painted. Considerable numbers of these are known, although most were removed illicitly from their unrecorded archaeological context, which seems usually to be a burial.

text:
# Cycladic art

Cycladic artCycladic figurines, of the FAF type below, in the National Archaeological Museum of Athens

The ancient Cycladic culture flourished in the islands of the Aegean Sea from c. 3300 to 1100 BCE. Along with the Minoan civilization and Mycenaean Greece, the Cycladic people are counted among the three major Aegean cultures. **Cycladic art** therefore comprises one of the three main branches of Aegean art.

The best known type of artwork that has survived is the marble figurine, most commonly a single full-length female figure with arms folded across the front. The type is known to archaeologists as a "FAF" for "folded-arm figure(ine)". Apart from a sharply-defined nose, the faces are a smooth blank, although there is evidence on some that they were originally painted. Considerable numbers of these are known, although most were removed illicitly from their unrecorded archaeological context, which seems usually to be a burial.

## Neolithic art

Almost all information known regarding Neolithic art of the Cyclades comes from the excavation site of Saliagos off Antiparos. Pottery of this period is similar to that of Crete and the Greek mainland. Sinclair Hood writes: "A distinctive shape is a bowl on a high foot comparable with a type which occurs in the mainland Late Neolithic."

## Cycladic sculptures

The best-known art of this period are the marble figures usually called "idols" or "figurines", though neither name is exactly accurate: the former term suggests a religious function which is by no means agreed on by experts, and the latter does not properly apply to the largest figures, which are nearly life size. These marble figures are seen scattered around the Aegean, suggesting that these figures were popular amongst the people of Crete and mainland Greece. Perhaps the most famous of these figures are musicians: one a harp-player the other a pipe-player. Dating to approximately 2500 BCE, these musicians are sometimes considered “the earliest extant musicians from the Aegean.”

The majority of these figures, however, are highly stylized representations of the female human form, typically having a flat, geometric quality that influenced some 20th-century modern art. However, this may be a modern misconception as there is evidence that the sculptures were originally brightly painted. A majority of the figurines are female, depicted nude, and with arms folded across the stomach, typically with the right arm held below the left. Some writers who view these artifacts from their own anthropological or psychological viewpoint have assumed that they are representative of a Great Goddess of nature, perhaps in a tradition continuous with that of Neolithic female figures such as the Venus of Willendorf. There is no consensus on their significance. They have been variously interpreted as cult images of the gods, images of death, children's dolls, and other things. One authority feels they were "more than dolls and probably less than sacrosanct idols."

Suggestions that these images were idols in the strict sense—cult objects which were the focus of ritual worship—are unsupported by any archeological evidence. What the archeological evidence does suggest is that these images were regularly used in funerary practice: they have all been found in graves. Yet at least some of them show clear signs of having been repaired, implying that they were objects valued by the deceased during life and were not made specifically for burial. Larger figures were also sometimes broken up so that only part of them was buried, a phenomenon for which there is no explanation. These figures apparently were buried equally with both men and women. Such figures were not found in every grave. While the sculptures are most frequently found laid on their backs in graves, larger examples may have been set up in shrines or dwelling places.

## Early Cycladic art

Early Cycladic art is divided into three periods: EC I (2800–2500 BCE), EC II (2500–2200 BCE), and EC III (2200–2000 BCE). The art is by no means strictly confined to one of these periods, and in some cases, even representative of more than one of the Cycladic islands. The art of EC I is best represented on the islands of Paros, Antiparos, and Amorgos, while EC II is primarily seen on Syros, and EC III on Melos.

### Early Cycladic I (Grotta-Pelos Culture, 3300–2700 BCE)

The most important earliest groups of the Grotta–Pelos culture are Pelos, Plastiras and Louros. Pelos figurines are of schematic type. Both males and females, in standing position with a head and face, compose the Plastiras type; the rendering is naturalistic but also strangely stylized. The Louros type is seen as transitional, combining both schematic and naturalistic elements. Schematic figures are more commonly found and are very flat in profile, having simple forms and lack a clearly defined head. Naturalistic figures are small and tend to have strange or exaggerated proportions, with long necks, angular upper bodies, and muscular legs.

#### Pelos type (schematic)

The Pelos type figurines are different from many other Cycladic figurines as for most the gender is undetermined. The most famous of the Pelos type figurines are the "violin"-shaped figurines. On these figurines there is an implied elongated head, no legs and a violin-shaped body. One particular "violin" figurine, has breasts, arms under the breasts, and a pubic triangle. Since not all the figurines share these characteristics, no accurate conclusion can be made regarding their use at this time.

#### Plastiras type (naturalistic)

The Plastiras type is an early example of Cycladic figurines, named after the cemetery on Paros where they were found. The figures retain the violin-like shape, stance, and folded arm arrangement of their predecessors but differ in notable ways. The Plastiras type is the most naturalistic type of Cycladic figurine, marked by exaggerated proportions. An ovoid head with carved facial features, including ears, sits atop an elongated neck that typically takes up a full third of the figure's total height. The legs were carved separately for their entire length, often resulting in breakages. On female figures the pubic area is demarcated by an incision and the breasts are modeled. Representations of males differ in structure, but not remarkably, possessing narrower hips and carved representations of the male sexual organs. The figures are typically no larger than thirty centimeters, and are not able to stand on their own, as the feet are pointed. Surviving figurines have been carved from marble, but it is suggested by some that they may also have been carved from wood.

#### Louros type (schematic and naturalistic)

The Louros type is a category of Cycladic figurines from the Early Cycladic I phase of the Bronze Age. Combining the naturalistic and schematic approaches of earlier figure styles, the Louros type have featureless faces, a long neck, and a simple body with attenuated shoulders that tend to extend past the hips in width. The legs are shaped carefully but are carved to separation no further than the knees or mid-calves. Though breasts are not indicated, figures of this type are still suggestive of the female form and tend to bear evidence of a carved pubic triangle.

### Early Cycladic II (Keros-Syros culture, 2800–2300 BCE)

#### Kapsala variety

The Kapsala variety is a type of Cycladic figure of the Early Cycladic II period. This variety is often thought to precede or overlap in period with that of the canonical Spedos variety of figures. Kapsala figures differ from the canonical type in that the arms are held much lower in the right-below-left folded configuration and the faces lack sculpted features other than the nose and occasionally ears.

Kapsala figures show a tendency to slenderness, especially in the legs, which are much longer and lack the powerful musculature suggested in earlier forms of the sculptures. The shoulders and hips are much narrower as well, and the figures themselves are rarely larger than 30 cm in length. Evidence suggests that paint is now regularly used to demarcate features such as the eyes and pubic triangle, rather than carving them directly. One characteristic of note of the Kapsala variety is that some figures seem to suggest pregnancy, featuring bulging stomachs with lines drawn across the abdomen. Like other figures of the Early Cycladic II period, the most defining feature of the Kapsala variety is their folded-arm position.

#### Spedos variety

The Spedos type, named after an Early Cycladic cemetery on Naxos, is the most common of Cycladic figurine types. It has the widest distribution within the Cyclades as well as elsewhere, and the greatest longevity. The group as a whole includes figurines ranging in height from miniature examples of 8 cm to monumental sculptures of 1.5 m. With the exception of a statue of a male figure, now in the Museum of Cycladic Art Collection, all known works of the Spedos variety are female figures. Spedos figurines are typically slender elongated female forms with folded arms. They are characterized by U-shaped heads and a deeply incised cleft between the legs.

#### Dokathismata variety

The Dokathismata type is a Cycladic figure from the end of the Early Cycladic II period of the Bronze Age. With characteristics that are developed from the earlier Spedos variety, the Dokathismata figures feature broad, angular shoulders and a straight profile. Dokathismata figures are considered the most stylized of the folded-arm figures, with a long, elegant shape that displays a strong sense of geometry that is especially evident in the head, which features an almost triangular shape. These figures were somewhat conservatively built compared to earlier varieties, with a shallow leg cleft and connected feet. Despite this, the figures were actually quite fragile and prone to breakage. The return of an incised pubic triangle is also noted in the Dokathismata variety of figures.

#### Chalandriani variety

The Chalandriani variety is a type of Cycladic figure from the end of the Early Cycladic II period of the Bronze Age. Named for the cemetery on the island of Syros on which they were found, these figures are somewhat similar in style and mannerism to the Dokathismata variety that preceded them. Chalandriani figures, however, feature a more truncated shape in which the arms are very close to the pubic triangle and the leg cleft is only indicated by a shallow groove.

One feature of note with the Chalandriani variety is that the strict right-below-left configuration found in previous figures seemed to have relaxed, as some sculptures have reversed arms or even abandonment of the folded position for one or both arms. The reclining position of previous figures is also challenged, as the feet are not always inclined and the legs are somewhat rigid. The shoulders were expanded even further from the Dokathismata variety and were quite susceptible to damage as the upper arms and shoulders are also the thinnest point of the sculpture. The head is triangular or shield-shaped with few facial features other than a prominent nose, connected to the body by a pyramidal-shaped neck. Like figures of the Dokathismata variety, some Chalandriani figures appear to be presented as pregnant. The defining feature of these figures is their bold and exaggerated indication of the shoulders and upper arms.

## Early Minoan examples

### Koumasa variety

Koumasa figurines, from the Early Minoan II cemetery at Koumasa on Crete, are very small and flat. The folded-arm figures typically have short legs and broad shoulders, and were prone to breakage given their delicate build.

## Pottery

The local clay proved difficult for artists to work with, and the pottery, plates, and vases of this period are seldom above mediocre. Of some importance are the so-called 'frying pans', which emerged on the island of Syros during the EC II phase. These are round decorated disks, which were not used for cooking, but perhaps as fertility charms or mirrors. Some zoological figurines and pieces depicting ships have also been found.

Besides these, other forms of functional pottery have been found. All pottery of early Cycladic civilization was made by hand, and typically was a black or reddish color, though pottery of a pale buff has also been found. The most common shapes are cylindrical boxes, known as pyxides, and collared jars. They are crude in construction, with thick walls and crumbling imperfections, but sometimes feature naturalistic designs reminiscent of the sea-based culture of the Aegean islands. There are also figurines of animals.

* Doumas, Christos (1969). *Early Cycladic Art.* Frederick A. Praeger, Inc.
* Higgins, Reynold (1967). *Minoan and Mycenaean Art.* Thames and Hudson.
* Hood, Sinclair (1978). *The Arts in Prehistoric Greece.* Penguin Books.

* The Cycladic Sculptures
* *Greek art of the Aegean Islands*, Issued in connection with an exhibition held November 1, 1979 – February 10, 1980, Metropolitan Museum of Art, New York, sponsored by the Government of the Republic of Greece, complemented by a loan from the Musée du Louvre

## InfoBox

| External videos | |
| --- | --- |
|  | |
| Male harp player from Keros (EC II, c. 2600–2300 BC; National Archaeological Museum, Athens), Smarthistory | |


title: Cychropsis tryznai

abstract: Cychropsis tryznai is a species of ground beetle in the subfamily of Carabinae. It was described by Haeckel & Sehnal in 2007.

text:
# Cychropsis tryznai

***Cychropsis tryznai*** is a species of ground beetle in the subfamily of Carabinae. It was described by Haeckel & Sehnal in 2007.

## InfoBox

| *Cychropsis tryznai* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Coleoptera |
| Family: | Carabidae |
| Genus: | *Cychropsis* |
| Species: | ***C. tryznai*** |
| Binomial name | |
| ***Cychropsis tryznai***<br>Haeckel & Sehnal, 2007 | |
|


abstract: The Men's scratch race at the 2018 Commonwealth Games, as part of the cycling programme, took place on 7 April 2018.

text:
# Cycling at the 2018 Commonwealth Games – Men's scratch race

The **Men's scratch race at the 2018 Commonwealth Games**, as part of the cycling programme, took place on 7 April 2018.

## Schedule

The schedule was as follows:

All times are Australian Eastern Standard Time (UTC+10)

| Date | Time | Round |
| --- | --- | --- |
| Saturday 7 April 2018 | 15:21 | Qualifying Heat 1 |
| | 16:10 | Qualifying Heat 2 |
| | 21:47/22:03 | Finals |

## Results

### Qualification

First 12 riders in each heat qualify to final.

Heat 1

| Rank | Rider | Laps Down | Notes |
| --- | --- | --- | --- |
| 1 | John Archibald (SCO) |  | Q |
| 2 | Ethan Hayter (ENG) |  | Q |
| 3 | Sam Welsford (AUS) |  | Q |
| 4 | Cameron Meyer (AUS) |  | Q |
| 5 | Jon Mould (WAL) |  | Q |
| 6 | Nicholas Kergozou (NZL) | –1 | Q |
| 7 | Dylan Kennett (NZL) | –1 | Q |
| 8 | Rhys Britton (WAL) | –1 | Q |
| 9 | Mark Stewart (SCO) | –1 | Q |
| 10 | Aidan Caves (CAN) | –1 | Q |
| 11 | Xeno Young (NIR) | –1 | Q |
| 12 | Marc Potts (NIR) | –1 | Q |
| 13 | Muhamad Afiq Hunzie Othman (MAS) | –1 |  |
| 14 | Adam Jamieson (CAN) | –1 |  |
| 15 | Nolan Hoffman (RSA) | –1 |  |
|  | Oshane Williams (JAM) | DNF |  |
|  | Stephen Belle (SEY) | DNF |  |

Heat 2

| Rank | Rider | Laps Down | Notes |
| --- | --- | --- | --- |
| 1 | Christopher Latham (ENG) |  | Q |
| 2 | Oliver Wood (ENG) |  | Q |
| 3 | Leigh Howard (AUS) |  | Q |
| 4 | Mark Downey (NIR) |  | Q |
| 5 | Joe Holt (WAL) |  | Q |
| 6 | Campbell Stewart (NZL) |  | Q |
| 7 | Matthew Bostock (IOM) |  | Q |
| 8 | David Maree (RSA) |  | Q |
| 9 | Michael Foley (CAN) |  | Q |
| 10 | Kyle Gordon (SCO) |  | Q |
| 11 | Eiman Firdaus Mohd Zamri (MAS) |  | Q |
| 12 | Matthew Draper (IOM) |  | Q |
|  | Manjeet Singh (IND) |  |  |
|  | Irwandie Lakasek (MAS) | DNF |  |
|  | Joshua Van Wyk (RSA) | DNF |  |
|  | Christopher Gerry (SEY) | DNF |  |

### Final

| Rank | Rider | Laps Down |
| --- | --- | --- |
|  | Sam Welsford (AUS) |  |
|  | Campbell Stewart (NZL) |  |
|  | Christopher Latham (ENG) |  |
| 4 | Oliver Wood (ENG) |  |
| 5 | Ethan Hayter (ENG) |  |
| 6 | Matthew Bostock (IOM) |  |
| 7 | Mark Stewart (SCO) |  |
| 8 | John Archibald (SCO) |  |
| 9 | Jon Mould (WAL) |  |
| 10 | Cameron Meyer (AUS) |  |
| 11 | Kyle Gordon (SCO) |  |
| 12 | Mark Downey (NIR) |  |
| 13 | David Maree (RSA) |  |
| 14 | Rhys Britton (WAL) |  |
| 15 | Dylan Kennett (NZL) |  |
| 16 | Joe Holt (WAL) | –1 |
| 17 | Nicholas Kergozou (NZL) | –1 |
|  | Leigh Howard (AUS) | DNF |
|  | Aidan Caves (CAN) | DNF |
|  | Michael Foley (CAN) | DNF |
|  | Matthew Draper (IOM) | DNF |
|  | Eiman Firdaus Mohd Zamri (MAS) | DNF |
|  | Marc Potts (NIR) | DNF |
|  | Xeno Young (NIR) | DNF |

## InfoBox

| Cycling Track – Men's scratch race <br>at the 2018 Commonwealth Games | |
| --- | --- |
|  | |
| Venue | Anna Meares Velodrome |
| Dates | 7 April 2018 |
| Competitors | 34 from 13 nations |
| Medalists | |
| Australia  New Zealand  England | |
|


title: Ormenaria

abstract: Ormenaria is a genus of flatid planthoppers in the family Flatidae. There are at least two described species in Ormenaria.

text:
# Ormenaria

***Ormenaria*** is a genus of flatid planthoppers in the family Flatidae. There are at least two described species in *Ormenaria*.

## Species

These two species belong to the genus *Ormenaria*:

Data sources: i = ITIS, c = Catalogue of Life, g = GBIF, b = Bugguide.net

## Further reading

* Media related to Ormenaria at Wikimedia Commons

## InfoBox

| *Ormenaria* | |
| --- | --- |
|  | |
| *Ormenaria rufifascia* | |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Hemiptera |
| Suborder: | Auchenorrhyncha |
| Infraorder: | Fulgoromorpha |
| Family: | Flatidae |
| Tribe: | Nephesini |
| Genus: | *Ormenaria*<br>Metcalf & Bruner, 1948 |
|


title: Organic growth

abstract: Organic business growth is related to the growth of natural systems and organisms, societies and economies, as a dynamic organizational process, that for business expansion is marked by increased output, customer base expansion, or new product development, as opposed to mergers and acquisitions, which is inorganic growth. Organic business growth is growth that comes from a company's existing businesses, as opposed to growth that comes from buying new businesses. It may be negative. Through Growth planning, businesses are able to achieve organic growth by selecting the best strategies available to them. For example, by examining Ansoff's matrix, businesses can select from market penetration, market development, product development and diversification to grow their revenue organically. In addition, organic business growth can be achieved using content marketing efforts, which drive organic search traffic. Organic business growth does include growth over a period that results from investment in businesses the company owned at the beginning of the period. What it excludes is the boost to growth from acquisitions, and the decline from sales and closures of whole businesses. When a company does not disclose organic growth numbers, it is usually possible to estimate them by estimating the numbers for acquisitions made in the period being looked at and in the previous year. It is useful to break down organic sales growth into that coming from market growth and that coming from gains in market share: this makes it easier to see how sustainable growth is. Relating to organic input in an organisation, it can also relate to the act of closing down cost centers through established organic methods instead of waiting for a Finance list. The mechanisms and rate of growth of firms experiencing organic growth was extensively studied by Edith Penrose in her 1958 book The Theory of the Growth of the Firm. An early reference to "organic growth" appeared in Inazo Nitobe's 1899 book The Soul of Japan. Organic Growth is evolving to a new concept within the social media marketing of the 21st century. Social networks also do organic growth in terms of followers and social presence.

text:
# Organic growth

**Organic business growth** is related to the growth of natural systems and organisms, societies and economies, as a dynamic organizational process, that for business expansion is marked by increased output, customer base expansion, or new product development, as opposed to mergers and acquisitions, which is inorganic growth.

Organic business growth is growth that comes from a company's existing businesses, as opposed to growth that comes from buying new businesses. It may be negative. Through Growth planning, businesses are able to achieve organic growth by selecting the best strategies available to them. For example, by examining Ansoff's matrix, businesses can select from market penetration, market development, product development and diversification to grow their revenue organically. In addition, organic business growth can be achieved using content marketing efforts, which drive organic search traffic.

Organic business growth does include growth over a period that results from investment in businesses the company owned at the beginning of the period. What it excludes is the boost to growth from acquisitions, and the decline from sales and closures of whole businesses.

When a company does not disclose organic growth numbers, it is usually possible to estimate them by estimating the numbers for acquisitions made in the period being looked at and in the previous year. It is useful to break down organic sales growth into that coming from market growth and that coming from gains in market share: this makes it easier to see how sustainable growth is.

Relating to organic input in an organisation, it can also relate to the act of closing down cost centers through established organic methods instead of waiting for a Finance list.

The mechanisms and rate of growth of firms experiencing organic growth was extensively studied by Edith Penrose in her 1958 book *The Theory of the Growth of the Firm*.

An early reference to "organic growth" appeared in Inazo Nitobe's 1899 book *The Soul of Japan*.

Organic Growth is evolving to a new concept within the social media marketing of the 21st century. Social networks also do organic growth in terms of followers and social presence.


title: Organic form

abstract: In romantic literature, a work has organic form if the structure has originated from the materials and subjects used by the author. Using the organic metaphor, the structure is seen to grow as a plant. It stands in contrast to a mechanical form, a work which has been produced in accordance with artificial rules. The lack of rules in Shakespeare's works led some critics to claim that they lacked form; Samuel Taylor Coleridge leapt to his defence with the concept of organic form.

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# Organic form

In romantic literature, a work has **organic form** if the structure has originated from the materials and subjects used by the author. Using the organic metaphor, the structure is seen to grow as a plant. It stands in contrast to a **mechanical form**, a work which has been produced in accordance with artificial rules. The lack of rules in Shakespeare's works led some critics to claim that they lacked form; Samuel Taylor Coleridge leapt to his defence with the concept of organic form.

## Overview

Coleridge, an English poet, philosopher, literary critic, and founder of the Romantic movement, suggested that the concept of organic form meant that a poem or literary piece was shaped, rather than structured, from within. The use of the form allowed a piece to uniquely develop itself as it unfolded, and ultimately revealed an emphasis on the whole outcome of the piece, including the connections of each development to each other. In contrast to the more mechanical processes and rules which many critics believed were necessary for the formation of poetry and works, S.T. Coleridge determined that a more subconscious approach was possible through the ‘‘imagination of the artist’’, whereby the outcome is an organic form where ‘‘content and form have coalesced and fused.’’

Coleridge's explanation can be found in Vol. 2 of *Twentieth Century Literature in English*

The form is mechanic when on any given material we impress a predetermined form, not necessarily arising out of the properties of the material-as when to a mass of wet clay we give whatever shape we wish it to retain when hardened. The organic form, on the other hand, is innate; it shapes as it develops itself from within, and the fullness of its development is one and the same with the perfection of its outward form.

In R.A. Foake’s Introduction to "*Coleridge’s criticism of Shakespeare: a selection*", he defines Coleridge’s defense of Shakespeare’s works as ‘’an act of sympathetic imagination, to enter into the spirit of each work, to reveal its inner organizing principle, and to show how Shakespeare, properly understood, was always in control and exercising judgement.’’

Regarding Shakespeare’s much criticized erratic form, Coleridge further imposed the possibilities of organic form:

...each exterior is the physiognomy of the being within, its true image reflected and thrown out from the concave mirror; and even such is the appropriate excellence of her chosen poet, our own Shakespeare-himself a nature humanized, a genial understanding directing self-consciously a power and implicit wisdom deeper than consciousness.

Following on from Coleridge’s 18th-century ideas on organic form, was Gerard Manley Hopkins, one of the most revered poets of the Victorian era Hopkins introduced the terms “inscape” and “instress”. “Inscape” was the core components in individual objects, allowing him to then home in on its relation to other objects and their perception as a whole. “Instress” focussed on the assimilating the immediate apperception and the sensory processes of perception .

20th-century American poet Denise Levertov was an artist of organic form. In ‘Some notes on organic form’ she gives credit to Gerard Manley Hopkins' influence on her own ideas and poetic form:

A partial definition, then, of organic poetry might be that it is a method of apperception, i.e., of recognizing what we perceive, and is based on an intuition of an order, a form beyond forms, in which forms partake, and of which man’s creative works are analogies, resemblances, natural allegories. Such poetry is exploratory.

Levertov believed that in order to achieve organic form in literature, the artist must be ‘brought to speech’ through a demanding sensory experience which renders them no choice but to put pen to paper. In her own work, Levertov concentrated on various techniques such as enjambment, popular with much of Shakespeare’s work, and ‘juxtaposition of key words’ for effect. Avenues were carefully sought and deliberated upon to create the ‘right words, the right image, the right arrangement of the lines on the page’. Many artists of organic form believed that a reader or audience were not immediately, if ever, considered during the construction of a poem or piece. Levertov, included, felt it was essential that a poem be produced from the ‘inner being of the poet’.

Organic form in literature was also theorized by Schelling. Bruce Matthews suggests that, insofar as Schelling understands life according to a schema of freedom of thinking, representations are not absolutely different, and subjects and objects are grounded in an identity that links them together. Matthews argues that Schelling’s organic philosophy strives to support an integrated framework where conceptual ideas are scrutinized, challenging ideas and concepts in hopes to create a more significant understanding of the world.


title: Organic geochemistry

abstract: Organic geochemistry is the study of the impacts and processes that organisms have had on the Earth. It is mainly concerned with the composition and mode of origin of organic matter in rocks and in bodies of water. The study of organic geochemistry is traced to the work of Alfred E. Treibs, "the father of organic geochemistry." Treibs first isolated metalloporphyrins from petroleum. This discovery established the biological origin of petroleum, which was previously poorly understood. Metalloporphyrins in general are highly stable organic compounds, and the detailed structures of the extracted derivatives made clear that they originated from chlorophyll.

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# Organic geochemistry

**Organic geochemistry** is the study of the impacts and processes that organisms have had on the Earth. It is mainly concerned with the composition and mode of origin of organic matter in rocks and in bodies of water. The study of organic geochemistry is traced to the work of Alfred E. Treibs, "the father of organic geochemistry." Treibs first isolated metalloporphyrins from petroleum. This discovery established the biological origin of petroleum, which was previously poorly understood. Metalloporphyrins in general are highly stable organic compounds, and the detailed structures of the extracted derivatives made clear that they originated from chlorophyll.

## Applications

### Energy

#### Petroleum

The relationship between the occurrence of organic compounds in sedimentary deposits and petroleum deposits has long been of interest. Studies of ancient sediments and rock provide insights into the origins and sources of oil and petroleum, as well as the biochemical antecedents of life. Oil spills in particular have been of interest to geochemists in regards to the impact of petroleum and oil on the current geological environment. Following the Exxon Valdez Oil Spill, organic geochemistry knowledge on oil-spill chemistry bloomed with the analyses of samples from the spill.

Geochemists study petroleum-inclusions in geological samples to compare present-day fluid-inclusions to dated samples. This analysis provides insight into the age of the petroleum samples and the surrounding rock. Spectrographic, optical, destructive, and nondestructive methods are used to analyze samples via mass spectrometry or Raman spectroscopy. The discovered differences in samples, such as oil-to-gas ratio or viscosity are typically attributed to the rock source of the sample. Other characteristics typically noted are pressure/volume/temperature properties, sample texture, and sample composition. Complications in analysis arise when the source rock is near or in a water source.

Petroleum is also studied via carbon isotope analysis. Carbon isotopes provide insight into the Earth's carbon cycle and geological processes. Geochemists are able to discern the composition of petroleum deposits by examining the ratio of carbon isotopes and comparing this ratio to known values for carbon based structures of which the petroleum could be composed.

#### Coal

Vast knowledge about coal has been attained since the inception of its use as an energy source. However, modern geochemists are still studying how plant material changes into coal. They have determined coalification results from a selective degradation of plant materials, while other plant material is preserved. Coal macromolecules are usually made up of these degradation-resistant biopolymers contained in algae, spores, and wood. Geochemists have unraveled the mysteries behind coal formation by comparing properties of the biopolymers to properties found in existing coal macromolecules. The analytical methods of Carbon NMR and gas chromatography-mass spectrometry (GC-MS) combined with flash pyrolysis has greatly enhanced the ability of organic geochemists to analyse the minute structural units of coal.

Further knowledge into the age of coal sediments has been attained via isochron dating of uranium in the coalified samples. Examination of the parent to daughter ratio of uranium isotopes has led to the dating of select samples to the Late Cretaceous Period.

### Environmental

Modern organic geochemistry includes studies of recent sediments to understand the carbon cycle, climate change, and ocean processes. In connection with petroleum studies, petroleum-focused geochemists also examine the impact of petroleum on the geological environment. Geochemistry also examines other pollutants in geological systems, such as metabolites formed from the degradation of hydrocarbons. Organic geochemistry analytical techniques, such as GC-MS, allow chemists to determine the intricate effects of organic metabolites and human-derived waste products on the geological environment. Of specific concern are the human-derived pollutants stemming from agricultural work. The use of animal manure, in combination with general municipal and sewage waste management, has changed many physical properties of the agricultural soil involved and the surrounding soils.

Organic geochemistry is also relevant to aqueous environments. Pollutants, their metabolites, and how both enter bodies of water are of particular importance in the field. This organic matter can also be derived from geological processes in or near bodies of water, similarly influencing nearby lifeforms and protein production. Fluorescence spectroscopy has been introduced as a technique to examine organic matter in bodies of water, as dissolved organic matter is typically fluorescent.

The study of organic geochemistry also extends to the atmosphere. Particularly, geochemists in this field study the makeup of insoluble material in the lower atmosphere. They have defined certain consequences of organic aerosols including physiological toxicity, direct and indirect climate forcing, smog, rain acidification, and incorporation into the natural carbon cycle.

## Further reading

* Engel, Michael; Macko, Stephen A. (1993). *Organic Geochemistry Principles and Applications*. Boston, MA: Springer US. ISBN 9781461528906.
* Killops, Stephen D.; Killops, Vanessa J. (2013). *Introduction to Organic Geochemistry*. John Wiley & Sons. ISBN 9781118697207.