title: Packers and Stockyards Act

abstract: The Packers and Stockyards Act of 1921 regulates meatpacking, livestock dealers, market agencies, live poultry dealers, and swine contractors to prohibit unfair or deceptive practices, giving undue preferences, apportioning supply, manipulating prices, or creating a monopoly. It was enacted following the release in 1919 of the Report of the Federal Trade Commission on the meatpacking industry.

text:
# Packers and Stockyards Act

The **Packers and Stockyards Act of 1921** (7 U.S.C. §§ 181-229b; **P&S Act**) regulates meatpacking, livestock dealers, market agencies, live poultry dealers, and swine contractors to prohibit unfair or deceptive practices, giving undue preferences, apportioning supply, manipulating prices, or creating a monopoly. It was enacted following the release in 1919 of the Report of the Federal Trade Commission on the meatpacking industry.

## History and passage

As the outbreak of World War I occurred and the cost of living rose, President Woodrow Wilson ordered the FTC to investigate the industry from the "hoof to the table" to determine whether or not there were any "manipulations, controls, trusts, combinations, or restraints out of harmony with the law or the public interest."

The FTC reported packers were manipulating markets, restricting flow of foods, controlling the price of dressed meat, defrauding producers and consumers of food and crushing competition. The FTC, in fact, recommended governmental ownership of the stockyards and their related facilities.

The meat packing industry had also become a prime concern of Wilson's Attorney General Alexander Mitchell Palmer. After threatening an antitrust suit, in February 1920 Palmer managed to force the "Big Five" packers (Armour, Cudahy, Morris, Swift and Wilson) to agree to a consent decree under the Sherman Antitrust Act (1890) which drove the packers out of all non-meat production, including stockyards, warehouses, wholesale and retail meat.

Agitation for legislation to regulate the packers persisted into the Warren Harding administration despite the decree. The United States Congress sought to protect farm profits through the Emergency Tariff of 1921 on May 27. Congress passed the Packers and Stockyards Act on August 15, 1921, as **H.R. 6320** and the law went into effect in September 1921. Congress would go on to pass the Future Trading Act the next week and granted farmers' co-ops broad antitrust immunity in the Capper–Volstead Act on February 18, 1922.

The Act's purpose at the time it was passed was to "regulate interstate and foreign commerce in live stock, live-stock produce, dairy products, poultry, poultry products, and eggs, and for other purposes." It prohibited packers from engaging in unfair and deceptive practices, giving undue preferences to persons or localities, apportioning supply among packers in restraint of commerce, manipulating prices, creating a monopoly or conspiring to aid in unlawful acts. The Act also made stockyards quasi-public utilities and required yard officers, agents and employees to register with the government. Stockyards were forbidden from dealing in the livestock they handled, and required them to maintain accurate weights and measures and pay shippers promptly. However, not all stockyards were under the jurisdiction of the Act. Only those with pen space larger than twenty thousand square feet were regulated.

Today, the Act's scope has expanded to regulate the activity of livestock dealers, market agencies, live poultry dealers and swine contractors as well as meatpackers.

## Interpretation

### Court interpretation

The Supreme Court of the United States upheld the act in *Stafford v. Wallace* (1922). Chief Justice William Howard Taft reasoned the act was a valid exercise under the interstate Commerce Clause because it addressed the same problem as the injunction upheld in *Swift & Co. v. United States* (1905).

In 1996, a group of cattle feeders brought a class action lawsuit under the P&S Act against Iowa Beef Packers for captive supply agreements. In 2004, a jury delivered a verdict for the plaintiffs, finding damages of $1.2 billion. The verdict was then thrown out by the United States Court of Appeals for the Eleventh Circuit in *Pickett v. Tyson Fresh Meats Inc.* (2005) because it found the meatpacker had a legitimate business reason to limit competition.

In 2008, a federal district court found that Pilgrim's Pride had given undue advantages to Lonnie "Bo" Pilgrim, its founder and chairman. Judge Emilio M. Garza of United States Court of Appeals for the Fifth Circuit affirmed, over a dissent by Judge Thomas Morrow Reavley. The Fifth Circuit en banc then reversed, voting 9-7 in *Wheeler v. Pilgrim's Pride Corp.* (2009). Judge Reavley wrote that all claims under the P&S Act must prove adverse impact to competition, over a dissent by Judge Garza.

### Agency interpretation

The P&S Act is administered by the Grain Inspection, Packers and Stockyards Administration (GIPSA) of the United States Department of Agriculture. In 2010, GIPSA Administrator J. Dudley Butler and United States Assistant Attorney General for Antitrust Christine A. Varney held a series of hearing on monopsony, market manipulation, and market concentration in agriculture. On June 22, 2010, GIPSA published a proposed rule that would have reduced the legal standard for anti-competitive practices, forbidden unfair practices and undue advantages even without harm to competition, and ensured producers had access to arbitration. In addition, the proposed rule sought to combat price fixing by prohibiting packers from selling to other packers and preventing multiple packers from using a single buyer.

The proposed rule was supported by the National Farmers Union and the U.S. Cattlemen's Association but opposed by the National Cattlemen's Beef Association and the National Chicken Council. USDA estimated the rule would cost between $21.3 million to $72.1 million. The American Meat Institute estimated the rule would cost $14 billion.

On November 3, 2011, GIPSA announced it would publish the final rule, but without the controversial price fixing measures. On November 18, 2011, Congress defunded USDA's implementation of most of the rest of the rule. Assistant AG Varney and Administrator Butler had both resigned by the end of January 2012.

Congress continued defunding the rule in riders to the 2013, 2014, and 2015 appropriation bills. An amendment to permanently repeal the GIPSA rule in the Agricultural Act of 2014 failed after meatpackers' opposition to the rule was lampooned on *Last Week Tonight with John Oliver*.

## Amendment

The Act has been updated several times to keep pace with a changing and dynamic industry.

The first major amendment to the Act was in 1958, when Congress expanded the jurisdiction of the United States Department of Agriculture (USDA) to include all auction markets operating in commerce. Before 1958, only auction markets with an area of 20,000 square feet (1,858 m2) or more were covered. In addition, jurisdiction over market agencies and dealers was expanded to include all of their livestock activities in commerce, including those away from stockyards.

In 1976, the Act was amended to increase financial protection to livestock producers and to expand USDA jurisdiction. This amendment:

1. required meat packers with annual livestock purchases of over $500,000 to be bonded;
2. provided trust protection for producers in the event of nonpayment for livestock by a meat packer;
3. expanded USDA's jurisdiction over wholesale brokers, dealers, and distributors marketing meat in commerce and
4. authorized the Agency to assess civil penalties of not more than $10,000 per violation.

In subsequent legislation that amount was increased to $11,000 for packers, swine contractors, stockyard owners, market agencies, or dealers, and $27,000 for live poultry dealers.

In 1987, the Act was amended to provide trust protection to live poultry sellers and contract growers in the event of nonpayment for poultry by live poultry dealers and in 2000 it was amended to require P&SP to perform an annual assessment of the cattle and hog industries.

The Farm Security and Rural Investment Act of 2002 (2002 Farm Bill) amended the Act to regulate certain activities of swine contractors who enter into swine production contracts with contract growers.

In general, the amendment made swine contractors subject to certain provisions of the Packers and Stockyards Act. The amendment prohibited certain activities of swine contractors, required swine contractors to maintain certain records, and held them responsible for the acts of their employees, officers, and agents. The amendment also gave swine production contract growers the right to sue swine contractors in federal district court. The amendment did not impose any new bonding or registration requirements, establish a trust for swine production contract growers, or establish any prompt payment requirements for swine contractors.

### Amendments to 1921 Act

Chronological amendments and revisions to the Packers and Stockyards Act of 1921.

| Date of Enactment | Public Law Number | U.S. Statute Citation | U.S. Legislative Bill | U.S. Presidential Administration |
| --- | --- | --- | --- | --- |
| May 5, 1926 | Pub. L.Tooltip Public Law (United States) 69–180 | 44 Stat. 397 | H.R. 7818 | Calvin Coolidge |
| August 14, 1935 | Pub. L.Tooltip Public Law (United States) 74–272 | 49 Stat. 648 | S. 12 | Franklin D. Roosevelt |
| August 10, 1939 | Pub. L.Tooltip Public Law (United States) 76–376 | 53 Stat. 1351 | H.R. 4998 | Franklin D. Roosevelt |
| June 19, 1942 | Pub. L.Tooltip Public Law (United States) 77–615 | 56 Stat. 372 | H.R. 5204 | Franklin D. Roosevelt |
| September 2, 1958 | Pub. L.Tooltip Public Law (United States) 85–909 | 72 Stat. 1749 | H.R. 9020 | Dwight D. Eisenhower |
| July 8, 1963 | Pub. L.Tooltip Public Law (United States) 88–61 | 77 Stat. 79 | H.R. 5860 | John F. Kennedy |
| July 31, 1968 | Pub. L.Tooltip Public Law (United States) 90–446 | 82 Stat. 474 | H.R. 10673 | Lyndon B. Johnson |
| September 13, 1976 | Pub. L.Tooltip Public Law (United States) 94–410 | 90 Stat. 1249 | H.R. 8410 | Gerald R. Ford |
| October 2, 1978 | Pub. L.Tooltip Public Law (United States) 95–409 | 92 Stat. 886 | S. 3272 | Jimmy E. Carter |
| November 23, 1987 | Pub. L.Tooltip Public Law (United States) 100–173 | 101 Stat. 917 | H.R. 3457 | Ronald W. Reagan |

## InfoBox

Packers and Stockyards Act
|  | |
| --- | --- |
| Other short titles | * Packers' Bill * Packers and Stockyards Act, 1921 |
| Long title | An Act to regulate interstate and foreign commerce in live stock, live-stock products, dairy products, poultry, poultry products, and eggs, and for other purposes. |
| Acronyms (colloquial) | PSA |
| Nicknames | Packers and Stockyards Act of 1921 |
| Enacted by | the 67th United States Congress |
| Effective | August 15, 1921 |
| Citations | |
| Public law | Pub. L.Tooltip Public Law (United States) 67–51 |
| Statutes at Large | 42 Stat. 159 |
| Legislative history | |
| * **Introduced** in the House as H.R. 6320 by Gilbert N. Haugen (IA) on May 18, 1921 * **Committee consideration** by House Agriculture, Senate Agriculture and Forestry * **Passed the House** on June 2, 1921 (passed) * **Passed the Senate** on June 17, 1921 (passed) * **Reported by the joint conference committee** on June 24, 1921; **agreed to by the Senate** on August 4, 1921 (50-11) and by the **House** on August 9, 1921 (agreed) * **Signed into law** by President Warren G. Harding on August 15, 1921 | |


title: Packers Run

abstract: Packers Run is a tributary of the Susquehanna River in Northumberland County, Pennsylvania, in the United States. It is approximately 2.2 miles (3.5 km) long and flows through Point Township. The watershed of the stream has an area of 1.58 square miles (4.1 km⁲). The stream is designated as a Coldwater Fishery and a Migratory Fishery. There is at least one bridge in its watershed.

text:
# Packers Run

**Packers Run** is a tributary of the Susquehanna River in Northumberland County, Pennsylvania, in the United States. It is approximately 2.2 miles (3.5 km) long and flows through Point Township. The watershed of the stream has an area of 1.58 square miles (4.1 km2). The stream is designated as a Coldwater Fishery and a Migratory Fishery. There is at least one bridge in its watershed.

## Course

Packers Run begins on Montour Ridge in Point Township. It flows west-southwest, passing near the Devils Feather Bed. After a few tenths of a mile, the stream turns southwest and then south, leaving Montour Ridge and entering a plain. Some distance further downstream, it receives an unnamed tributary and turns southwest a short distance later. After several tenths of a mile, the stream crosses US Route 11. A short distance further downstream, it reaches its confluence with the Susquehanna River.

Packers Run joins the Susquehanna River 131.62 miles (211.82 km) upstream of its mouth.

## Geography and watershed

The elevation near the mouth of Packers Run is 420 feet (130 m) above sea level. The elevation of the stream's source is between 840 feet (260 m) and 860 feet (260 m) above sea level.

Packers Run is located near the Devils Feather Bed, which is a geographical feature on Montour Ridge.

At least one bridge crosses a tributary of Packers Run. This bridge crosses T-576. A bridge replacement operation was planned for the bridge in 1989, with an estimated total cost of $425,000.

The watershed of Packers Run has an area of 1.58 square miles (4.1 km2). The stream is in the United States Geological Survey quadrangle of Riverside.

## History

According to staff from the Pennsylvania Fish and Boat Commission, Packers Run was inadvertently left out of the Chapter 93.9 Drainage List, along with several other streams in its vicinity. This error was proposed for correction of February 25, 2013. However, the streams were not added to the list and were instead listed as "tributaries to the Susquehanna River". They remain listed as such as of 2013.

Packers Run was entered into the Geographic Names Information System on August 2, 1979. Its identifier in the Geographic Names Information System is 1183176.

## Biology

Packer Run is designated as a Coldwater Fishery and a Migratory Fishery. All of the tributaries of the Susquehanna River between the West Branch Susquehanna River and Mahoning Creek also have these designations.

## InfoBox

| Packers Run | |
| --- | --- |
| Packers Run, mostly obscured by vegetation | |
| Physical characteristics | |
|  | |
| Source |  |
| location | Montour Ridge in Point Township, Northumberland County, Pennsylvania |
| elevation | between 840 and 860 feet (260 and 260 m) |
|  | |
| Mouth |  |
| location | Susquehanna River in Point Township, Northumberland County, Pennsylvania |
| coordinates | 40°55′56″N 76°42′09″W / 40.93231°N 76.70261°W / 40.93231; -76.70261 |
| elevation | 420 ft (130 m) |
| Length | 2.2 mi (3.5 km) |
| Basin size | 4.58 sq mi (11.9 km2) |
| Basin features | |
| Progression | Susquehanna River → Chesapeake Bay |


title: Dantebad

abstract: Dantebad is an aquatics venue located in the greater Munich, Germany area. During the 1972 Summer Olympics, it hosted preliminaries for the water polo competition. The venue was considered as host for the swimming and diving competition when Munich was awarded the games in 1966, but was not up to standards for FINA who only allowed those competitions to be indoors.

text:
# Dantebad

**Dantebad** is an aquatics venue located in the greater Munich, Germany area. During the 1972 Summer Olympics, it hosted preliminaries for the water polo competition.

The venue was considered as host for the swimming and diving competition when Munich was awarded the games in 1966, but was not up to standards for FINA who only allowed those competitions to be indoors.

48°10′01″N 11°31′51″E / 48.16694°N 11.53083°E / 48.16694; 11.53083


title: Palazzo Loredan Cini

abstract: The Palazzo Loredan Cini is a Gothic-style palace located between the Palazzo Balbi Valier and the Rio San Vio on the Grand Canal, in the sestiere of Dorsoduro, Venice, Italy. The palace was formed from the amalgamation of the former Palazzo Foscari-Loredan with the adjacent Palazzo Grimani. The narrow facade on the Canal has no entrance, but the facade to the north on the Rio, has a single water door, and is connected to the adjacent campo by a bridge. The facade is decorated with two poliforas.

text:
# Palazzo Loredan Cini

The **Palazzo Loredan Cini** is a Gothic-style palace located between the Palazzo Balbi Valier and the Rio San Vio on the Grand Canal, in the sestiere of Dorsoduro, Venice, Italy. The palace was formed from the amalgamation of the former Palazzo Foscari-Loredan with the adjacent Palazzo Grimani. The narrow facade on the Canal has no entrance, but the facade to the north on the Rio, has a single water door, and is connected to the adjacent campo by a bridge. The facade is decorated with two poliforas.

## History

The Foscari palace, also called Loredan palace, was built on a site belonging to the Giustinian in the 14th-15th centuries. In 1428 it was purchased by the Republic for 6,500 ducats, and transferred to the Marquis of Mantua. A decade later, it was confiscated and given to Francesco Sforza. Nearly a decade later, it was again appropriated and sold by public auction to Doge Francesco Foscari. The Foscari, under Elisabetta Venier Foscari rebuilt it in the mid-1560s. In 1797 the palace was still occupied by descendants of the family, Nicolo Foscari and his brothers. During the Austrian occupation it was used as a barrack for the Croatian soldiers. During the 19th century, it served as the Scuola Superiore di Commercio.

From 1564 to 1567, the Grimani palace had been originally built for Vincenzo, of the Santa Maria Formosa branch of the Grimani family. In the 19th-20th century, it was the residence of Prince Carlos of Bourbon-Two Sicilies.

In 1920, after his marriage to the actress Lyda Borelli, the industrial tycoon Vittorio Cini acquired the Palazzo Foscari on the Grand Canal. He merged it with the adjoining palace. In 1934, under the fascist rule of Mussolini, Cini was named Senator of Italy. Despite the upheavals that occurred at the end of Italy's involvement with the Axis in World War II, Cini remained a major collector of Italian art. After Vittorio's son Giorgio died in 1949, he created in 1951 the Giorgio Cini Foundation, based on the island of San Giorgio Maggiore. This foundation was engaged in the protection, patronage, and research regarding cultural and artistic legacy of Venice.

From 1956 to 1958, the architect Tommaso Buzzi was commissioned to redesign the interior of the palace. Vittorio Cini died in 1977. In 1984, his daughter, Yana Cini Alliata di Montereale, donated his collections to the Palazzo Cini Gallery, under the ownership by the Fondazione Giorgio Cini.

The collection of artworks, including porcelain and ivories, was increased when the Cini Guglielmi di Vulci heirs permanently loaned a large collection of Ferrarese paintings. Among the works on permanent display in the first floor of the palace are:

45°25′52″N 12°19′47″E / 45.4311°N 12.3298°E / 45.4311; 12.3298

## InfoBox

| Palazzo Loredan Cini | |
| --- | --- |
| Rio San Vio Façade with Grand Canal to the right | |
|  | |
| General information | |
| Location | Venice,  Italy |
| Address | Campo San Vio 864, Dorsoduro |
| Completed | 14th century |


title: Daphne odora

abstract: Daphne odora, winter daphne, is a species of flowering plant in the family Thymelaeaceae, native to China, later spread to Japan and Korea. It is an evergreen shrub, grown for its very fragrant, fleshy, pale-pink, tubular flowers, each with four spreading lobes, and for its glossy foliage. It rarely fruits, producing red berries after flowering. The Latin specific epithet odora means "fragrant". In Korea, the plant is also poetically called "chullihyang" – a thousand-mile scent – referring to the delightful fragrance of the flowers. In Japan, the plant is more commonly known as "jinchōge". It grows best in fertile, slightly acid, peaty, well-drained soils. It grows in full sun or partial shade, and is hardy to −10 °C (14 °F), possibly lower. Plants are not long lived, usually lasting eight to ten years. Daphne generally do not react well to root disturbance, and may transplant badly. D. odora is also susceptible to virus infection, which causes leaf mottling. All parts of the plant are poisonous to humans and to a range of domestic animals. Some people experience dermatitis from contact with the sap. Daphne odora may be propagated by semi-ripe cuttings in summer.

text:
# Daphne odora

***Daphne odora***, **winter daphne**, is a species of flowering plant in the family Thymelaeaceae, native to China, later spread to Japan and Korea. It is an evergreen shrub, grown for its very fragrant, fleshy, pale-pink, tubular flowers, each with four spreading lobes, and for its glossy foliage. It rarely fruits, producing red berries after flowering.

The Latin specific epithet *odora* means "fragrant". In Korea, the plant is also poetically called "chullihyang" – a thousand-mile scent – referring to the delightful fragrance of the flowers. In Japan, the plant is more commonly known as "jinchōge".

It grows best in fertile, slightly acid, peaty, well-drained soils. It grows in full sun or partial shade, and is hardy to −10 °C (14 °F), possibly lower.

Plants are not long lived, usually lasting eight to ten years. *Daphne* generally do not react well to root disturbance, and may transplant badly. *D. odora* is also susceptible to virus infection, which causes leaf mottling.

All parts of the plant are poisonous to humans and to a range of domestic animals. Some people experience dermatitis from contact with the sap.

*Daphne odora* may be propagated by semi-ripe cuttings in summer.

## Cultivars

* *D. odora* f. *rosacea* has white and pink flowers.
* *D. odora* f. *rubra* has dark red-pink flowers with reduced fragrance.
* *D. odora* 'Aureomarginata' has yellow edged leaves, and is hardier and more suitable to cultivation than the plain-leaved forms.

## InfoBox

| *Daphne odora* | |
| --- | --- |
|  | |
|
| Scientific classification | |
| Kingdom: | Plantae |
| *Clade*: | Tracheophytes |
| *Clade*: | Angiosperms |
| *Clade*: | Eudicots |
| *Clade*: | Rosids |
| Order: | Malvales |
| Family: | Thymelaeaceae |
| Genus: | *Daphne* |
| Species: | ***D. odora*** |
| Binomial name | |
| ***Daphne odora***<br>Thunb. | |
|


title: Daphne modesta

abstract: Daphne modesta is a shrub, of the family Thymelaeaceae. It is native to China, specifically Sichuan and Yunnan.

text:
# Daphne modesta

***Daphne modesta*** is a shrub, of the family Thymelaeaceae. It is native to China, specifically Sichuan and Yunnan.

## Description

*Daphne modesta* is small and deciduous. It grows to 30 to 50 cm in height, with small elliptical leaves about 1.5 to 3.5 cm in length and 0.3 to 0.7 cm in width. It has small long flowers, usually golden-yellow in color.

## InfoBox

| *Daphne modesta* | |
| --- | --- |
|
| Scientific classification | |
| Kingdom: | Plantae |
| *Clade*: | Tracheophytes |
| *Clade*: | Angiosperms |
| *Clade*: | Eudicots |
| *Clade*: | Rosids |
| Order: | Malvales |
| Family: | Thymelaeaceae |
| Genus: | *Daphne* |
| Species: | ***D. modesta*** |
| Binomial name | |
| ***Daphne modesta***<br>Rehder | |
|


title: Daphne pseudomezereum

abstract: Daphne pseudomezereum is a shrub, of the family Thymelaeaceae. It is native to Japan, specifically Honshu, and Korea.

text:
# Daphne pseudomezereum

***Daphne pseudomezereum*** is a shrub, of the family Thymelaeaceae. It is native to Japan, specifically Honshu, and Korea.

## Description

The shrub is wintergreen, and grows to about 1 m tall. It flowers green in March and April and is deciduous in the summer. Some variants found in Korea are deciduous in the winter instead.

## InfoBox

| *Daphne pseudomezereum* | |
| --- | --- |
|  | |
|
| Scientific classification | |
| Kingdom: | Plantae |
| *Clade*: | Tracheophytes |
| *Clade*: | Angiosperms |
| *Clade*: | Eudicots |
| *Clade*: | Rosids |
| Order: | Malvales |
| Family: | Thymelaeaceae |
| Genus: | *Daphne* |
| Species: | ***D. pseudomezereum*** |
| Binomial name | |
| ***Daphne pseudomezereum***<br>A.Gray | |
|


title: Pacific Coast Rambler

abstract: Pacific Coast Rambler is the second album by the Original Harmony Ridge Creekdippers, released in 1998. As with their first release, it is a home-made recording with the focus on Mark Olson. Pacific Coast Rambler was re-released in 2001 by Koch Records.

text:
# Pacific Coast Rambler

***Pacific Coast Rambler*** is the second album by the Original Harmony Ridge Creekdippers, released in 1998. As with their first release, it is a home-made recording with the focus on Mark Olson.

*Pacific Coast Rambler* was re-released in 2001 by Koch Records.

## Reception

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

Writing for Allmusic, music critic Brian Beatty wrote of the album; "This is intimate music that recalls old-time traditions and manages to avoid the cloying earnestness that often afflicts folkies and unplugged rockers."

## Track listing

1. "Give My Heart To You" (Mark Olson) – 3:00
2. "Kai's Bristlecone Waltz" (Mike Russell) – 2:50
3. "Pacific Coast Rambler" (Mabel Allbright, Olson, Tennessee Williams) – 3:50
4. "Owen's Valley Day" (Olson) – 2:21
5. "Bellflower" (Olson) – 2:34
6. "Prayer Of The Changing Leaf" (Allbright, Tennessee Williams) – 2:26
7. "Elijah" (Allbright, Marc Ford) – 2:10
8. "Welcome Home Jim" (Olson) – 2:45
9. "Golden Street Locker" (Allbright, Olson) – 3:15
10. "Call The Light" (Olson) – 2:48

## Personnel

* Mark Olson – vocals, guitar, dulcimer, banjo, conga
* Victoria Williams (credited as "Mabel Allbright") – background vocals
* Mike Russell – organ, bass, fiddle, harmonica, accordion, bongos, viola, vocals
* Marc Ford – lead and rhythm guitars

## Production notes

* Mark Olson – producer
* Joe Gastwirt – mastering
* Tony Mason – photography

## InfoBox

| Pacific Coast Rambler | |
| --- | --- |
|  | |
| Studio album by The Original Harmony Ridge Creekdippers | |
| Released | 1998 |
| Recorded | 1998, Joshua Tree, California |
| Genre | Alternative country, folk |
| Length | 27:59 |
| Label | Creek Dippers |
| Producer | Mark Olson |
| The Original Harmony Ridge Creekdippers chronology | |
| *The Original Harmony Ridge Creek Dippers*
(1997) ***Pacific Coast Rambler***
(1998) *Zola and the Tulip Tree*
(1999) | |


title: Pacific Coast Railway

abstract: The Pacific Coast Railway was a 3 ft (914 mm) narrow gauge railway on the Central Coast of California. The original 10-mile (16 km) link from San Luis Obispo to Avila Beach and Port Harford was later built southward to Santa Maria and Los Olivos, with branches to Sisquoc and Guadalupe.

text:
# Pacific Coast Railway

The **Pacific Coast Railway** was a 3 ft (914 mm) narrow gauge railway on the Central Coast of California. The original 10-mile (16 km) link from San Luis Obispo to Avila Beach and Port Harford was later built southward to Santa Maria and Los Olivos, with branches to Sisquoc and Guadalupe.

## Origins

The Santa Maria Valley of the central California coast was isolated by the Santa Lucia Range to the north and the Santa Inez Range to the south. *El Camino Real* traversed the difficult Cuesta Pass to reach San Francisco via the Salinas Valley or San Marcos Pass to reach Los Angeles via Santa Barbara. The 1,800-foot (550 m) People's Wharf was built at Port Harford in 1869 to transfer freight and passengers from Pacific Coast Steamships *Mohongo*, *Orizaba* and *Gypsy* operating between San Francisco and San Diego. Goodall, Nelson and Perkins steamships *Ventura* and *Constantine* began weekly service to Port Harford in 1873; and Ah Louis built a horse-powered, 2 ft 6 in (762 mm) narrow gauge tramway in 1873 to transport passengers and freight between Port Harford and a wagon road at Avila Beach.

In 1875, Pacific Coast Steamship Company replaced the tram with the 3 ft (914 mm) narrow gauge steam-powered San Luis Obispo & Santa Maria Valley Railroad to San Luis Obispo. Operations began with ten boxcars and one coach pulled by a 2-4-2T called the "Avila" and a 4-4-0 called the "John Harford" built by Baldwin Locomotive Works. San Luis Obispo rail yard warehouses became a commercial center for inbound merchandise and outgoing shipments of hay, grain, dairy products, sheep and cattle. The rail line was extended from San Luis Obispo to Arroyo Grande in 1881 and to Santa Maria in 1882. Grant Locomotive Works built another 4-4-0 and two 2-6-0 locomotives to pull a fleet of 120 new flatcars. A new 3,000-foot (910 m) wharf at Port Harford was 80 feet (24 m) wide with tracks extending the full length.

## Reorganization

Oregon Improvement Company obtained controlling interest in the Pacific Coast Steamship Company in late 1882, reorganized the railroad as the Pacific Coast Railway, and extended the line to Los Alamos. The next project was to replace the heavy grade of the original tramway alignment with a deep rock cut and long fill. The line was then extended to Los Olivos in 1887. A fire in 1892 destroyed the San Luis Obispo car shops, grain warehouse, loaded freight cars, half of the railroad's passenger cars and all the cabooses while heavily damaging the station and freight warehouse. Operations were profitable enough to promptly repair the damage. Passenger traffic though Port Harford declined when Southern Pacific reached San Luis Obispo from San Francisco in 1894. Southern Pacific freight rates were high enough to keep most Santa Maria Valley freight on the steamboats; but the loss of passenger traffic put the Oregon Improvement Company into receivership. The reorganized railroad built a 4 miles (6.4 km) branch line in 1899 from Santa Maria to a new Union Sugar Company beet refinery in Betteravia.

## Boom years

The increased agricultural business was shortly overshadowed by discovery of oil in the Santa Maria Valley. By 1902 the railroad had converted its engines to burn oil and was strapping tanks from standard gauge cars onto their flatcars at the rate of ten per month. The railway's three 2-6-0 locomotives were inadequate to move all the oil to storage tanks near San Luis Bay. Five new Baldwin 2-8-0s were delivered by 1906 as the freight car fleet expanded to two hundred cars. The Betteravia branch was electrified in 1906 and extended to Guadalupe in 1909. Another electrified branch was built in 1910 to serve an oil refinery near Sisquoc. Three center-cab electric locomotives worked the branches with a center-door interurban car built by Cincinnati Car Company in 1912.

## Decline

The 4 ft 8+12 in (1,435 mm) standard gauge Santa Maria Valley Railroad was built parallel to the electrified branch of the narrow gauge. Santa Maria Valley agriculture slowly shifted from sugar beets to produce which could be loaded directly onto Southern Pacific refrigerator cars. The sugar beet factory closed in 1927, and electric operations ended in 1928, although steam locomotives still worked the branches occasionally. Profits peaked in 1921 and declined as automobiles became more common, but the railroad saw a brief increase in business hauling gravel for construction of U.S. Route 101 in 1928 and '29. The gravel business required purchase of two 2-8-0s from the recently standard-gauged Nevada–California–Oregon Railway to replace Pacific Coast 2-8-0s dismantled for parts to keep the other engines running. Service to Los Olivos was reduced to a twice-weekly mixed train by 1930 and ended in 1933. A used Plymouth Locomotive Works gasoline switcher was purchased in 1936. The line beyond Los Alamos was dismantled in 1936, and the branch lines were dismantled in 1937. In 1938 locomotive number 106 was destroyed in a grade crossing collision with a gasoline truck, and the last three coaches and a baggage car were sold to the White Pass and Yukon Route. A single combine car numbered 106 was the last piece of passenger equipment. The United States Navy bought the boxcars for use at Naval Station Pearl Harbor when operations ended in 1941; and locomotive number 111 went to the Oahu Railway and Land Company. Bell Oil Company briefly used the railway north of Santa Maria until the line was dismantled in 1942. Most of the remaining equipment was cut up for scrap by 1948, but caboose number 2 has been preserved at the California State Railroad Museum. The remaining Right of Way in Santa Maria was taken over by SMV and converted to standard Gauge.

## Locomotives

### Steam Locomotives

| Number | Type | Builder | SN | Built | Disposition | Notes |
| --- | --- | --- | --- | --- | --- | --- |
| 1 | 2-4-2t | Baldwin Locomotive Works | 3371 | 8/1875 | Sold to Columbia & Puget Sound. | Tender added in 1882. |
| 2 | 4-4-0 | Baldwin Locomotive Works | 3968 | 8/1876 | Burned 1896, scrapped 1900. |  |
| 3 | 4-4-0 | Thos. Paul & Sons |  | 4/1881 | Rebuilt to #104 in 1899. |  |
| 4 | 2-6-0 | Thos. Paul & Sons |  | 4/1881 | Rebuilt to #102 in 1898. |  |
| 5 | 2-6-0 | Thos. Paul & Sons |  | 4/1881 | Rebuilt to #103 in 1898. |  |
| 6 | 4-4-0 | Baldwin Locomotive Works | 6921 | 6/1883 | Blew up and scrapped in 1904. |  |
| 101 | 2-6-0 | Baldwin Locomotive Works | 13732 | 9/1893 | Scrapped 1924. |  |
| 102 | 2-6-0 | Rebuilt 1898 |  |  | Scrapped 1912. | Built as #2. |
| 103 | 2-6-0 | Rebuilt 1898 |  |  | Scrapped 1905. | Built as #4. |
| 104 | 4-4-0 | Rebuilt 1899 |  |  | Scrapped 1912. | Built as #3. |
| 105 | 2-8-0 | Baldwin Locomotive Works | 23968 | 9/1904 | Scrapped 1943. |  |
| 106 | 2-8-0 | Baldwin Locomotive Works | 24696 | 8/1904 | Destroyed in a wreck in 1938 and scrapped. |  |
| 107 | 2-8-0 | Baldwin Locomotive Works | 24848 | 12/1904 | Retired 1935, used for parts, scrapped 1948. |  |
| 108 | 2-8-0 | Baldwin Locomotive Works | 25043 | 1/1905 | Retired 1935, scrapped 1940. |  |
| 109 | 2-8-0 | Baldwin Locomotive Works | 27225 | 1/1906 | Retired and scrapped in 1935. |  |
| 110 | 4-6-0 | Baldwin Locomotive Works | 34528 | 4/1910 | Scrapped 1948. | Purchased in 1929 from the Nevada-California-Oregon #10. |
| 111 | 4-6-0 | Baldwin Locomotive Works | 27394 | 12/1911 | Sold to Oahu Railway #11 in 1942. | Purchased in 1929 from the Nevada-California-Oregon #11. |

### Electric Locomotives

| Number | Description | Builder | Built | Disposition | Notes |
| --- | --- | --- | --- | --- | --- |
| "Dinky" | Single Truck Locomotive | Unknown |  | Dismantled 1907. | Truck used to build #E1. |
| E1 | 26 feet, Double truck, steeple cab locomotive, one powered truck | Pacific Coast Railway | 1907 | Scrapped 1938. | Truck from "Dinky", non powered truck and cab from steam locomotive #2. Truck replaced in 1927. |
| E2 | 31 feet, Double truck, steeple cab locomotive, both trucks powered | Pacific Coast Railway | 1909 | Scrapped 1938. | Wooden cab came from steam locomotive #103. Later replaced with steel cab. |
| E3 | 55 feet, closed, center entrance, combination passenger/baggage | Cincinnati Car Company | 1912 | Scrapped 1942. | Used a Dodge gasoline engine between 1938 and 1942. |

### Gasoline Locomotives

| Number | Description | Builder | Disposition | Notes |
| --- | --- | --- | --- | --- |
| 120 | 2-4-2 arrangement. Switcher. | Plymouth Locomotive Works | Sold in 1942 to Aaron Feher & Sons Company of Los Angeles. | Purchased used in 1936. |
| 4000 | Built from a 1918 Ford Model T. Light freight service. | Pacific Coast | Scrapped by 1942. |  |
| None | Passenger service. | Pacific Coast | Never operated on PC, sold to Davenport Portland Cement Company. |  |
| Railcars | At least 6, no records. | Unknown | All gone by 1942. |  |

### Further reading

* Best, Gerald (1964). Ships and narrow gauge rails; the story of the Pacific Coast Company. Howell-North.
* Westcott, Kenneth & Johnson, Curtiss (1998). The Pacific Coast Railway: Central California's Premier Narrow Gauge. Benchmark Publications.

## InfoBox

Pacific Coast Railway
|  | |
| --- | --- |
| Overview | |
| Headquarters | San Luis Obispo |
| Locale | California |
| Dates of operation | 18731941 |
| Technical | |
| Track gauge | 3 ft (914 mm) |
| Length | 76 miles (122 km) |


title: Page Wood baronets

abstract: The Wood, later Page Wood Baronetcy, of Hatherley House in the County of Gloucester, is a title in the Baronetage of the United Kingdom. It was created on 16 December 1837 for Matthew Wood, Lord Mayor of London from 1815 to 1817 and Whig Member of Parliament for the City of London from 1817 to 1843. The fifth Baronet assumed the additional surname of Page. Two other members of the family have also gained distinction. William Wood, 1st Baron Hatherley, Lord High Chancellor of Great Britain from 1868 to 1872, was the second son of the first Baronet while Field Marshal Sir Evelyn Wood was the fifth son of the second Baronet. Also, Katharine O'Shea, known for her relationship with Charles Stewart Parnell, was the daughter of the second Baronet. The theosophist and political activist Annie Besant, was the great-granddaughter of the 1st Baronet's father. The 1st Baronet was descended from the Wood family of Hareston in the parish of Brixton in Devon, which the family had inherited by marriage to the heiress of the Carslake family. The Page-Wood baronets quarter the arms of Carslake Argent, a bull's head erased sable.

text:
# Page Wood baronets

The **Wood**, later **Page Wood Baronetcy**, of Hatherley House in the County of Gloucester, is a title in the Baronetage of the United Kingdom. It was created on 16 December 1837 for Matthew Wood, Lord Mayor of London from 1815 to 1817 and Whig Member of Parliament for the City of London from 1817 to 1843. The fifth Baronet assumed the additional surname of Page. Two other members of the family have also gained distinction. William Wood, 1st Baron Hatherley, Lord High Chancellor of Great Britain from 1868 to 1872, was the second son of the first Baronet while Field Marshal Sir Evelyn Wood was the fifth son of the second Baronet. Also, Katharine O'Shea, known for her relationship with Charles Stewart Parnell, was the daughter of the second Baronet. The theosophist and political activist Annie Besant (born Annie Wood), was the great-granddaughter of the 1st Baronet's father.

The 1st Baronet was descended from the Wood family of Hareston in the parish of Brixton in Devon, which the family had inherited by marriage to the heiress of the Carslake family. The Page-Wood baronets quarter the arms of Carslake *Argent, a bull's head erased sable*.

## Wood baronets, of Hatherley House (1837)

The heir presumptive is Mark William Wood (born 1940), a kinsman of the present holder. His heir apparent is his only son, Martin Wood (born 1963).


title: Page address register

abstract: A page address register (PAR) contains the physical addresses of pages currently held in the main memory of a computer system. PARs are used in order to avoid excessive use of an address table in some operating systems. A PAR may check a page's number against all entries in the PAR simultaneously, allowing it to retrieve the pages physical address quickly. A PAR is used by a single process and is only used for pages which are frequently referenced. An example computer which made use of PARs is the Atlas.

text:
# Page address register

A **page address register** (**PAR**) contains the physical addresses of pages currently held in the main memory of a computer system. PARs are used in order to avoid excessive use of an address table in some operating systems. A PAR may check a page's number against all entries in the PAR simultaneously, allowing it to retrieve the pages physical address quickly. A PAR is used by a single process and is only used for pages which are frequently referenced (though these pages may change as the process's behaviour changes in accordance with the principle of locality). An example computer which made use of PARs is the Atlas.


title: Padraic Kenney

abstract: Padraic Jeremiah Kenney is an American writer, historian, and educator. He is a professor of history and International Studies at Indiana University. He currently serves as an Associate Dean for Social and Historical Sciences and Graduate Education in the College of Arts and Sciences at Indiana University. He served a two-year tenure as director of Collins Living-Learning Center from 2018-2020. Previously, he was Professor of History at the University of Colorado, Boulder. He graduated from Harvard College (BA), University of Toronto (MA), and the University of Michigan (PhD). He is the author of several books on East European history and politics; his area of specialization is social change and political change in the contemporary world, in particular civil resistance to authoritarian regimes and democratic revolutions. His most recent book, Dance in Chains: Political Imprisonment in the Modern World, examines political prisoners and imprisoning regimes from the mid-19th century, in particular in Ireland, Northern Ireland, Poland, and South Africa, as well as the men detained at Guantanamo Bay. His 2002 work, A Carnival of Revolution: Central Europe, 1989 (Princeton), has been translated into Polish, Ukrainian, Romanian, and Czech. A history of post-communism, Burdens of Freedom: Eastern Europe Since 1989, was translated into Croatian and Italian. In 2016, he was president of the Association for Slavic, East European, and Eurasian Studies (ASEEES). He is a frequent contributor to the Polish online weekly Kultura liberalna. Other essays have appeared in The New York Times, The Boston Globe, and The Denver Post. He was awarded a grant under the Fulbright Program in 2005.

text:
# Padraic Kenney

**Padraic Jeremiah Kenney** (born March 29, 1963) is an American writer, historian, and educator. He is a professor of history and International Studies at Indiana University. He currently serves as an Associate Dean for Social and Historical Sciences and Graduate Education in the College of Arts and Sciences at Indiana University. He served a two-year tenure as director of Collins Living-Learning Center from 2018-2020. Previously, he was Professor of History at the University of Colorado, Boulder. He graduated from Harvard College (BA), University of Toronto (MA), and the University of Michigan (PhD).

He is the author of several books on East European (particularly Polish) history and politics; his area of specialization is social change and political change in the contemporary world, in particular civil resistance to authoritarian regimes and democratic revolutions. His most recent book, *Dance in Chains: Political Imprisonment in the Modern World* (Oxford, 2017), examines political prisoners and imprisoning regimes from the mid-19th century, in particular in Ireland, Northern Ireland, Poland, and South Africa, as well as the men detained at Guantanamo Bay. His 2002 work, *A Carnival of Revolution: Central Europe, 1989* (Princeton), has been translated into Polish, Ukrainian, Romanian, and Czech. A history of post-communism, *Burdens of Freedom: Eastern Europe Since 1989* (Zed Books), was translated into Croatian and Italian.

In 2016, he was president of the Association for Slavic, East European, and Eurasian Studies (ASEEES).

He is a frequent contributor to the Polish online weekly *Kultura liberalna*. Other essays have appeared in *The New York Times*, *The Boston Globe*, and *The Denver Post*.

He was awarded a grant under the Fulbright Program in 2005.

## Selected publications

* *Dance in Chains: Political Imprisonment in the Modern World*, Oxford University Press, 2017, ISBN 978-0-199-37574-5
* *The Burdens of Freedom: Eastern Europe Since 1989*, Zed Books, 2006, ISBN 1-84277-663-0
* *Partisan Histories: The Past in Contemporary Global Politics* (coeditor), Palgrave Macmillan, 2005, ISBN 1-4039-6456-4
* *A Carnival of Revolution: Central Europe 1989*, Princeton University Press, 2002, ISBN 0-691-05028-7
* *Rebuilding Poland: Workers and Communists, 1945-1950*, Cornell University Press, 1996, ISBN 0-8014-3287-1


title: Dannielle Tegeder

abstract: Dannielle Tegeder is a contemporary artist who works with installation, animation and sound and is best known for her abstract paintings and drawings. She lives in Brooklyn, New York and maintains a studio at The Elizabeth Foundation in Times Square, Manhattan.

text:
# Dannielle Tegeder

**Dannielle Tegeder** is a contemporary artist who works with installation, animation and sound and is best known for her abstract paintings and drawings. She lives in Brooklyn, New York and maintains a studio at The Elizabeth Foundation in Times Square, Manhattan.

## Life and work

Tegeder was born in Peekskill, New York. She received her BFA from the State University of New York at Purchase, and an MFA in Painting and Drawing from The Art Institute of Chicago. Tegeder’s work employs strategies connected to Post-Minimalism and Twentieth-Century abstraction, often utilizing mathematical, architectural or demographic data to produce an ever-evolving visual vocabulary. Her work is influenced by the mechanical drawings she observed as a child growing up in a family of steam fitters.

Tegeder's work is mainly abstract paintings and drawings and in recent years has expanded to include installation, wall drawings, and sound. She has had solo gallery exhibitions, both nationally and internationally in Paris, Houston, Los Angeles, Berlin, Chicago, and New York. She has participated in numerous group exhibitions at various museums such as PS1/MoMA, The New Museum of Contemporary Art, The Brooklyn Museum of Art, and Museum of Contemporary Art in Chicago.

She has been the recipient of many residencies and grants, including Yaddo, the Pollock-Krasner Foundation, SmackMellon Studio Program, and the Marie Walsh Sharpe Studio Fellowship. In 2011, she was an artist in residence on Governor's Island as part of the Lower Manhattan Cultural Council's Swing Space program. She has been a visiting artist at Cornell University, RISD, Pratt Institute, San Francisco Art Institute, Princeton University, Purchase College and others. She is currently an associate professor at Lehman College in the City University of New York.

In 2013 Tegeder will have her first major museum survey at the Wellin Museum of Art, at Hamilton College. A fully illustrated hardcover catalog will accompany the exhibition with essays by Barry Schwabsky, and Claire Gilman, the curator from the Drawing Center in NYC.

Her works are in the permanent collection of the Museum of Modern Art, the Museum of Contemporary Art Chicago, and The Weatherspoon Museum of Art in Greensboro, NC.

In 2016, she had a large-scale structure open at the Montclair Art Museum.

Tegeder is married to Mexican artist Pablo Helguera and their daughter Estela was born in 2009.


title: Padmavyooham (1973 film)

abstract: Padmavyooham is a 1973 Indian Malayalam-language film directed by J. Sasikumar and produced by C. C. Baby and V. M. Chandi. The film stars Prem Nazir, Vijayasree, Sukumari, Adoor Bhasi and Jose Prakash. The film has musical score by M. K. Arjunan.

text:
# Padmavyooham (1973 film)

***Padmavyooham*** is a 1973 Indian Malayalam-language film directed by J. Sasikumar and produced by C. C. Baby and V. M. Chandi. The film stars Prem Nazir, Vijayasree, Sukumari, Adoor Bhasi and Jose Prakash. The film has musical score by M. K. Arjunan.

## Cast

## Soundtrack

The music was composed by M. K. Arjunan, with lyrics written by Sreekumaran Thampi.

| No. | Song | Singers | Lyrics | Length (m:ss) |
| --- | --- | --- | --- | --- |
| 1 | "Aadaaminte Santhathikal" | S. Janaki | Sreekumaran Thampi |  |
| 2 | "Aattum Manammele" | P. Madhuri, K. P. Brahmanandan, Chorus | Sreekumaran Thampi |  |
| 3 | "Kuyilinte Maninaadam" | K. J. Yesudas | Sreekumaran Thampi |  |
| 4 | "Nakshathrakkannulla" | K. J. Yesudas | Sreekumaran Thampi |  |
| 5 | "Paalaruvikkarayil" | K. J. Yesudas | Sreekumaran Thampi |  |
| 6 | "Panchavadiyile" | P. Jayachandran, P. Leela | Sreekumaran Thampi |  |
| 7 | "Sindoorakiranamaay" | K. J. Yesudas, P. Madhuri | Sreekumaran Thampi |  |

## InfoBox

| Padmavyooham | |
| --- | --- |
| Directed by | J. Sasikumar |
| Written by | J. Sasikumar
S. L. Puram Sadanandan (dialogues) |
| Screenplay by | S. L. Puram Sadanandan |
| Produced by | C. C. Baby
V. M. Chandi |
| Starring | Prem Nazir
Vijayasree
Sukumari
Adoor Bhasi
Jose Prakash |
| Cinematography | T. N. Krishnankutty Nair |
| Music by | M. K. Arjunan |
| Production
company | MS Productions |
| Distributed by | MS Productions |
| Release date | * 21 December 1973 (1973-12-21) |
| Country | India |
| Language | Malayalam |


title: Pale, Dharwad

abstract: Pale, Dharwad is a village in Dharwad district of Karnataka, India.

text:
# Pale, Dharwad

**Pale, Dharwad** is a village in Dharwad district of Karnataka, India.

## Demographics

As of the 2011 Census of India there were 229 households in Pale and a total population of 1,077 consisting of 552 males and 525 females. There were 128 children ages 0-6.

## InfoBox

| Pale | |
| --- | --- |
| Village | |
| Country | India |
| State | Karnataka |
| District | Dharwad |
| Government | |
| Type | Panchayat raj |
| Body | Gram panchayat |
| Population (2011) | |
| Total | 1,077 |
| Languages | |
| Official | Kannada |
| Time zone | UTC+5:30 (IST) |
| ISO 3166 code | IN-KA |
| Vehicle registration | KA |
| Website | karnataka.gov.in |


title: Dark Light (MacLeod novel)

abstract:
Dark Light is a science fiction novel by Scottish writer Ken MacLeod, published in 2001.
It is the second book in the Engines of Light Trilogy and a 2002 nominee for the Campbell Award. The novel continues the plot from Cosmonaut Keep, but this time is set on the "Second Sphere", a number of clustered solar systems artificially seeded with intelligent life forms by a mysterious and transcendent alien species. Within this system, the main character, Matt Cairns, develops a form of interstellar travel and sets out to discover the motivation of the aliens.

text:
# Dark Light (MacLeod novel)

***Dark Light*** is a science fiction novel by Scottish writer Ken MacLeod, published in 2001. It is the second book in the Engines of Light Trilogy and a 2002 nominee for the Campbell Award.

The novel continues the plot from *Cosmonaut Keep*, but this time is set on the "Second Sphere", a number of clustered solar systems artificially seeded with intelligent life forms by a mysterious and transcendent alien species. Within this system, the main character, Matt Cairns, develops a form of interstellar travel and sets out to discover the motivation of the aliens.

## Literary significance and reception

*Publishers Weekly* had a mixed review for the novel saying:

> This middle book in what will be at least a trilogy doesn't stand well on its own, so readers are advised to begin with Cosmonaut Keep. The novel features several interesting alien species, some fascinating speculations on the relationship between sex and gender, and MacLeod's trademark mix of radical socialist and libertarian politics. Both novels are worth reading but not quite up to the high mark established by his previous series, The Fall Revolution.


title: Darwinia grandiflora

abstract: Darwinia grandiflora is a flowering plant in the family Myrtaceae. It is a dense, mat forming, prostrate shrub with clusters of tubular red flowers and is endemic to New South Wales.

text:
# Darwinia grandiflora

***Darwinia grandiflora*** is a flowering plant in the family Myrtaceae. It is a dense, mat forming, prostrate shrub with clusters of tubular red flowers and is endemic to New South Wales.

## Description

*Darwinia grandiflora* is a prostrate, mat forming, dense shrub up to 50 cm (20 in) high and stems up to 2.5 m (8 ft 2 in) long with smaller branches growing upright. The leaves are flattened, up to 8–18 mm (0.31–0.71 in) long and smooth. The flowers are borne in clusters of four to six, tubular, 7–12 mm (0.28–0.47 in) long, 1.5–2 mm (0.059–0.079 in) in diameter, white when young, turning red with age, style 12–20 mm (0.47–0.79 in) long, red, peduncle about 1 mm (0.039 in) long. The bracts leaf-like or triangular shaped, dry and 3–16 mm (0.12–0.63 in) long, bracteoles oblong-shaped, 4–8 mm (0.16–0.31 in) long and yellowish green or yellow brown. Flowering occurs usually from July to October and the fruit is a small 2.4 mm (0.094 in) in diameter single seed.

## Taxonomy and naming

This darwinia was described in 1867 by English botanist George Bentham as *Darwinia taxifolia* var.  *grandiflora*. In 1917 Richard Thomas Baker & Henry George Smith raised the variety to species status to *Darwinia grandiflora* and the description was published in *Journal and Proceedings of the Royal Society of New South Wales*. The specific epithet (*grandiflora*) refers to the "large flowers".

## Distribution and habitat

*Darwinia grandiflora* grows in wet heath, damp sandy soil and rocky outcrops south of Sydney on the Woronora Plateau and in the Illawarra region.

## InfoBox

| *Darwinia grandiflora* | |
| --- | --- |
|  | |
|
| Scientific classification | |
| Kingdom: | Plantae |
| *Clade*: | Tracheophytes |
| *Clade*: | Angiosperms |
| *Clade*: | Eudicots |
| *Clade*: | Rosids |
| Order: | Myrtales |
| Family: | Myrtaceae |
| Genus: | *Darwinia* |
| Species: | ***D. grandiflora*** |
| Binomial name | |
| ***Darwinia grandiflora***<br>R.T.Baker & H.G.Sm. | |
|
|  | |


title: Darwinia ferricola

abstract: Darwinia ferricola, commonly known as the Scott River darwinia, is a plant in the myrtle family Myrtaceae and is endemic to a small area in Western Australia. It is a rounded, densely branched shrub with crowded, linear leaves mostly only on younger branches. The flowers are greenish-yellow and red, and arranged in groups on the ends of the branches, with a long white or reddish style protruding from the petal tube.

text:
# Darwinia ferricola

***Darwinia ferricola***, commonly known as the **Scott River darwinia**, is a plant in the myrtle family Myrtaceae and is endemic to a small area in Western Australia. It is a rounded, densely branched shrub with crowded, linear leaves mostly only on younger branches. The flowers are greenish-yellow and red, and arranged in groups on the ends of the branches, with a long white or reddish style protruding from the petal tube.

## Description

Scott River darwinia is a densely-branched shrub which grows to a height of 1.5 metres (5 ft) and a width of 1 metre (3 ft). Its youngest branches are greenish brown and the older ones are rough due to part of the leaf bases remained after the leaves drop. The leaves are crowded on the younger branches whilst the older ones are mostly leafless. They are linear in shape, triangular in cross-section, glabrous and mostly 2–5 millimetres (0.08–0.2 in), somewhat longer as they age.

The flowers are arranged in heads of 20 to 40 flowers at the ends of the branches, the heads 20–30 millimetres (0.8–1 in) wide. The heads are surrounded by layers of bracts, the outer ones green or greenish-red and 5–7 millimetres (0.2–0.3 in) long and shorter than the flowers. The petal lobes are about 3 millimetres (0.1 in) long and 1–2 millimetres (0.04–0.08 in) wide, enclosing the stamens, staminodes and the lower part of the style. The style is often reddish and 12–15 millimetres (0.5–0.6 in) long with a ring of hairs near its tip. Flowering occurs from mainly in spring but also from late winter to early summer.

## Taxonomy

*Darwinia ferricola* was first formally described in 2009 by Greg Keighery and the description was published in *Nuytsia*. The specific epithet (*ferricola*) is derived from the Latin words *ferrum* meaning "iron" and *-cola* meaning "dweller", referring to the habitat preference of this species.

## Distribution and habitat

This darwinia is only known from the Scott Coastal Plain, east of Augusta where it grows in scrubland in sand or clay over ironstone.

## Ecology

Scott River darwinia is killed by fire but regenerates from seed. It is pollinated by birds.

## Conservation

*Darwinia ferricola* is classified as "Threatened Flora (Declared Rare Flora — Extant)" by the Western Australian Government Department of Parks and Wildlife and a Recovery Plan has been prepared. It has also been listed as "Endangered" (EN) under the Australian Government Environment Protection and Biodiversity Conservation Act 1999 (EPBC Act). There are many threats to the species, including mineral exploration, grazing and trampling, and dieback disease. Translocation of Scott River Darwinia and three other limestone species to old mine sites at Beenup has been successful, even where the soil conditions were apparently poor. It is able to propagate vegetatively when wind-blown sand partly covers the plant.

## InfoBox

| Scott River darwinia | |
| --- | --- |
|  | |
| In the Australian National Botanic Gardens | |
| Conservation status | |
|
Endangered  (EPBC Act) | |
| Scientific classification | |
| Kingdom: | Plantae |
| *Clade*: | Tracheophytes |
| *Clade*: | Angiosperms |
| *Clade*: | Eudicots |
| *Clade*: | Rosids |
| Order: | Myrtales |
| Family: | Myrtaceae |
| Genus: | *Darwinia* |
| Species: | ***D. ferricola*** |
| Binomial name | |
| ***Darwinia ferricola***
Keighery | |
|


title: Darwinia foetida

abstract: Darwinia foetida, commonly known as Muchea bell, is a plant in the myrtle family Myrtaceae, and is endemic to Western Australia. It is a small upright shrub with greenish coloured nodding flowers at the apex of the stems, that have an unpleasant odour. This is a very restricted species, known from only a couple of locations.

text:
# Darwinia foetida

***Darwinia foetida***, commonly known as **Muchea bell**, is a plant in the myrtle family Myrtaceae, and is endemic to Western Australia. It is a small upright shrub with greenish coloured nodding flowers at the apex of the stems, that have an unpleasant odour (hence the Latin specific epithet *foetida*, "smelly"). This is a very restricted species, known from only a couple of locations.

## Description

*Darwinia foetida* is a spreading upright shrub to 0.7 metres (2 ft) tall, often straggling over other plants for support. The young branches are green-brown and slender, with prominent decurrent leaf bases that become grey and woody. The green leaves are smooth, narrow and triangular in cross-section. The leaves are sharply bent forward and 3–5 mm (0.12–0.20 in) long, ending in a sharp point. The inflorescence consists of 12-15 flowers usually nodding at the end of the stem. The flower bracts are in rows, leaf-like and wider at the base. Individual flowers have two floral brown dry elongated bracts 2–3 mm (0.079–0.12 in) long tapering to a point. The longest bracts are red with green edges, hairs are 18–27 mm (0.71–1.1 in) long. Flowers are brown and tubular with ribs 3 mm (0.12 in) long. The sepals are a small triangle shape about 1 mm (0.039 in) long. Petals are egg-shaped to angled, about 1 mm (0.039 in) long and sharply pointed. The curved red style is wider at the base and 12–16 mm (0.47–0.63 in) long and tapering with hairs. It blooms between in late spring from October to November producing green flowers that have a foetid aroma.

## Taxonomy and naming

*Darwinia foetida* was first formally described in 2010 by Gregory John Keighery and published in the *Australian Plant Census*. The specific epithet *(foetida)* refers to the distinctive foetid smell of the flowers.

## Distribution and habitat

Muchea bell is found in a small area on the Swan Coastal Plain, with three locations recorded around Muchea about 70 kilometres (43 mi) north of Perth, Western Australia occupying a total area of about 1.2 square kilometres (0.5 sq mi). It grows on sandy grey-black mounds where there are seasonally moist winters to wet clay situations in either tall or low scrubland and areas where water collects.

## Conservation status

*Darwinia foetida* is classified as "critically endangered" under the Australian Government *Environment Protection and Biodiversity Conservation Act* 1999 and as "endangered" under the *Biodiversity Conservation Act 2016* in Western Australia. The species has a restricted area of distribution in the Muchea area. The present main threat is grazing by rabbits, also weed invasion, inappropriate fire regimes and disease caused by *Phytophthora cinnamomi*.

## InfoBox

| Muchea bell | |
| --- | --- |
|  | |
| *Darwinia foetida* near Bullsbrook | |
| Conservation status | |
|
Critically endangered  (EPBC Act) | |
| Scientific classification | |
| Kingdom: | Plantae |
| *Clade*: | Tracheophytes |
| *Clade*: | Angiosperms |
| *Clade*: | Eudicots |
| *Clade*: | Rosids |
| Order: | Myrtales |
| Family: | Myrtaceae |
| Genus: | *Darwinia* |
| Species: | ***D. foetida*** |
| Binomial name | |
| ***Darwinia foetida***
Keighery | |
|
|  | |
| Occurrence data from AVH | |


title: Paenibacillus koreensis

abstract: Paenibacillus koreensis is a bacterium. It produces an iturin-like antifungal antibiotic. It is facultatively anaerobic and its type strain is YC300T.

text:
# Paenibacillus koreensis

***Paenibacillus koreensis*** is a bacterium. It produces an iturin-like antifungal antibiotic. It is facultatively anaerobic and its type strain is YC300T (= KCTC 2393T, KCCM 40903T).

## Further reading

## InfoBox

| *Paenibacillus koreensis* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Bacteria |
| Phylum: | Bacillota |
| Class: | Bacilli |
| Order: | Bacillales |
| Family: | Paenibacillaceae |
| Genus: | *Paenibacillus* |
| Species: | ***P. koreensis*** |
| Binomial name | |
| ***Paenibacillus koreensis***<br>Chung et al., 2000 | |
|


title: Darasuram

abstract: Darasuram or Dharasuram is a neighbourhood in the city of Kumbakonam, Tamil Nadu, India. The area is known for the Airavateswara temple constructed by the Rajaraja Chola II in the 12th century CE. The temple is a recognised UNESCO World Heritage monument.

text:
# Darasuram

**Darasuram** or **Dharasuram** is a neighbourhood in the city of Kumbakonam, Tamil Nadu, India. The area is known for the Airavateswara temple constructed by the Rajaraja Chola II in the 12th century CE. The temple is a recognised UNESCO World Heritage monument.

## Demographics

As of 2001 India census, Darasuram had a population of 13,027. Males constitute 50% of the population and females 50%. Dharasuram has an average literacy rate of 70%, higher than the national average of 59.5%: male literacy is 77% and, female literacy is 63%. In Dharasuram, 11% of the population is under six years of age.

## Airavatesvara temple

This temple is a storehouse of art and architecture. The *vimana* is 85 feet high. The front mandapam itself is in the form of a huge chariot drawn by horses. The temple has some exquisite stone carvings.

The main deity's consort Periya Nayaki Amman temple is situated adjacent to Airavateshwarar temple.

The Great Living Chola Temples. (a UNESCO World Heritage Site) at Thanjavur, Gangaikonda Cholapuram and Kumbakonam were built by the Cholas between the 10th and 12th centuries CE and have a lot of similarities.

### Legend

According to regional legend, Airavata, the white elephant of Indra, worshipped Shiva in this temple; so did also the god of death, Yama. Tradition has it that the presiding deity Airavatesvarar cured Yama himself who was suffering under a sage's curse from a burning sensation all over the body. Yama took a bath in the sacred tank and was rid of the burning sensation. Since then the tank is known as Yamateertham. It gets its supply of fresh water from the river Kaveri and is 228 feet in width. Pilgrims make a point to bathe in the tank. In the recent past Raja Raja Chola worshipped the lingam in this temple. Volume II of the South Indian Temple Inscriptions deals with a number of endowments of the Pandya Kings also (see pages 556 to 562). On the temple walls these inscriptions are given, from which it is seen that the temple was known in those days as Raja Rajeswararen and Raja Rajapuram. Two such inscriptions are copied here.

Inscription No. 563 at page 557. No. 23 of 1908 on the inner Gopura of the temple, right of entrance. Record dated in the 10th Year, Tai 11, of the reign of the Pandya King Maravarman alias Tribhuvana Chakravartin Srivallabhadeva registering the provision made for repairs and for celebrating festivals in the temple of XXXI Ra (ja) ra (ja) isuram Udaiyanayanar, by the residents of Uttattur-nadu, a sub-division of Kulottungasola-valanadu.

Inscription No. 564 at page 558. Record dated in the 31st Year, Makara, Ba. Dvitiya, Uttarashada (probably a mistake for Uttaraphalguna) of the reign of the Chola king Tribhuvana Ghakravartin Sri Rajarajadeva registering the grant of land (Irandu Ma mukkani araikkani) 23/160 of a veli to meet the expenses of worship, offerings, etc., to the God by a native of Peruchchalipuram, a village in Kilar-kurram, a sub-division of Pandyakulapati-valanadu.

The goddess in this temple is known as Deva Nayaki. Whatever remains of the sculptural part of the temple is on the inside wall of the outer *prakaram* (outer courtyard), about a foot from floor level. 'The carvings contain different poses of gymnastic feats seen in the modern circus, shown by females keeping their head at the centre and legs interwoven in such a skillful way as to form the circumference of a circle. It may be a depiction of the present-day gypsy tribe entertaining villagers with gymnastic shows and dancing poses. Such gypsies are still to be seen visiting the interior villages of the country. Many styles of physical feats shown by both men and women have been carved in the stone.

### Architecture

The main mantapa is called Raja Gambira as the elephant draws the chariot. The wheels were put back by the ASI at a later date. The ceiling has a beautiful carving of Shiva and Parvathi inside an open lotus.

All the dancing poses of Bharatanatyam are carved in the stone. They are referred to as the Sodasa Upasaras. There is a carving showing the village womenfolk helping in the delivery of another female, who has both her hands on the shoulders of the two ladies, who are pressing their hands and the abdomen of the lady to help her deliver. 'These are very skillful and artistic works of superb style. This may give a glimpse into the social conditions of the past. The stone image of Ravana carrying Kailas is a fine specimen of workmanship. One finds sculptures of Buddha, Bhikshatana, Saraswathi without her Veena, and a sculpture of Ardhanarishvara, Brahma and Surya.

The paintings on the walls have been repainted during the Nayak periods.

At the very entrance to the temple two Dwarapalakas, Sankhanidhi and Padmanidhi, are imposing figures, giving vivid anatomical expressions of the exuberance of youth. In front of the temple, there is a small mandapa, which can be reached by three steps in the form of a ladder. The steps are stones, which give different musical sounds when tapped. All the seven swaras can be had at different points. It is feared that if proper care is not taken soon, village children will damage the stones. Now these stone steps have been completely covered with metal grills to save them from deterioration. Meanwhile, Archeology department has taken many steps to prevent this monument from public viewers and local villagers.

## Inundation

Airavateswara Temple faces problems of inundation after every downpour. Unimaginative municipal planning has resulted in the temple being at a lower elevation than the surrounding roads. This results in inundation during rains.

## InfoBox

| Darasuram Dharasuram | |
| --- | --- |
| Suburban | |
| Airavateshwarar Temple, Kumbakonam | |
| DarasuramLocation in Tamil Nadu, IndiaDarasuramDarasuram (India) | |
| Coordinates: 10°57′05″N 79°21′22″E / 10.951483°N 79.356222°E / 10.951483; 79.356222 | |
| Country | India |
| State | Tamil Nadu |
| District | Thanjavur |
| Population (2001) | |
| Total | 13,027 |
| Languages | |
| Official | Tamil |
| Time zone | UTC+5:30 (IST) |


title: Pallak Lalwani

abstract: Palak Lalwani is an Indian actress who appears in Tamil and Telugu-language films.

text:
# Pallak Lalwani

**Palak Lalwani** (born 1 January 1998) is an Indian actress who appears in Tamil and Telugu-language films.

## Early life

Her father Jiten Lalwani is an Indian television actor who works in Hindi language television series.

## Career

She made her debut with the Telugu film *Abbayitho Ammayi* with Naga Shourya. In 2018, Palak Lalwani featured in a music video *Dil Zaffran* along with Rahat Fateh Ali Khan, composed by Ravi Shankar and directed by Kamal Chandra.

In March 2019, Lalwani starred in *Crazy Crazy Feeling* with Viswant Duddumpudi. She made her Tamil debut in Baba Bhaskar's *Kuppathu Raja* in 2019. Lalwani played a North Madras girl in the film. Later that year, she played a journalist in *Sixer* with Vaibhav. She starred in *Sinam* (2022) with Arun Vijay and *Partner* (2023) with Aadhi Pinisetty and Hansika Motwani.

## Filmography

Key
|  | Denotes films that have not yet been released |
| --- | --- |

| Year | Film | Role | Language | Ref. |
| --- | --- | --- | --- | --- |
| 2016 | *Abbayitho Ammayi* | Prardhana | Telugu |  |
| 2018 | *Juvva* | Shruthi | |  |
| 2019 | *Crazy Crazy Feeling* | Spandana | |  |
| | *Kuppathu Raja* | Kamala | Tamil |  |
| | *Sixer* | | Krithika |  |
| 2022 | *Sinam* | | Madhangi |  |
| | *Faraaz* | Tarika | Hindi |  |
| 2023 | *Thalainagaram 2* | Sitara | Tamil |  |
| | *Partner* | Priya | |  |
| | *Bhagavanth Kesari* | Reporter | Telugu |  |
|

### Music videos

| Year | Title | Music | Language | Ref. |
| --- | --- | --- | --- | --- |
| 2018 | *Dil Zaffran* | Ravi Shankar | Hindi |  |
|

## InfoBox

| Palak Lalwani | |
| --- | --- |
| Born | (1998-01-01) 1 January 1998
Allahbad |
| Nationality | Indian |
| Occupation | Actor |
| Years active | 2016–present |
| Parent(s) | Jiten Lalwani
Dipika Lalwani |


title: Palace Theatre, Calgary

abstract: The Palace Theatre is a historic building in Calgary, Alberta. It is Calgary's oldest surviving movie theatre and one of only three surviving Canadian examples of the work of American architect C. Howard Crane. Built by the Allen family, the building served as a theatre from 1921 to 1990. Located in Calgary's Stephen Avenue Mall, it operated as a nightclub from 1998 to 2004 and has been used as a sports bar and special event centre since 2007. The building was designated as a Provincial Historic Resource in 1996 and as a National Historic Site of Canada in 1997.

text:
# Palace Theatre, Calgary

The **Palace Theatre** is a historic building in Calgary, Alberta. It is Calgary's oldest surviving movie theatre and one of only three surviving Canadian examples of the work of American architect C. Howard Crane. Built by the Allen family, the building served as a theatre from 1921 to 1990. Located in Calgary's Stephen Avenue Mall, it operated as a nightclub from 1998 to 2004 and has been used as a sports bar and special event centre since 2007. The building was designated as a Provincial Historic Resource in 1996 and as a National Historic Site of Canada in 1997.

## History

The Palace Theatre was designed by American architect C. Howard Crane in 1921. It is Calgary's oldest surviving movie theatre and one of only three surviving Canadian examples of Crane's work. The theatre was built by the Allen family who, at the time, operated the largest cinema chain in Canada. Crane was the principal architect for Allen Theatres. The theatre opened on October 25, 1921 as the Allen's Palace Theatre. With 1,951 seats, it was the largest theatre in the city at the time. It was sold to Famous Players in 1923 when the Allen theatre circuit went bankrupt.

The theatre's early programs varied heavily in terms of content and included both films and live entertainment. The theatre served as the first home for the Calgary Philharmonic Orchestra. According to the Alberta Register of Historic Places, the theatre was the site of Calgary's first radio broadcast in 1922. From 1925 to 1927, William Aberhart, who would later become the founder of the Alberta Social Credit Party and premier of Alberta, broadcast his radio sermons about the Bible from the theatre's stage.

In the 1980s, the City of Calgary attempted to designate the building as a historic site. Calgary's Heritage Advisory Board spent several years studying the matter, but political priorities shifted amid the early 1980s recession and the endeavour was abandoned. The City of Calgary Heritage Advisory Board applied to the province for a designation in 1990; however, the designation was not granted since the owners at the time – Parkview Properties Ltd. – were opposed.

The building functioned as a movie theatre until February 8, 1990. The last film shown in the theatre was Tango & Cash. The 1,000 seats on the first floor of the auditorium were removed by Famous Players and sold to other businesses throughout the city. In 1993, the building was used as a movie set for Legends of the Fall.

Several attempts were made to re-purpose the building in the 1990s. In September 1994, Dancers' Studio West announced a plan to raise $7 million to purchase the building from Capital Life Insurance of Colorado and convert it into a performing arts centre. However, the company failed to raise the necessary funds. In January 1996, Opus Development Ltd. announced a plan to purchase the building and lease it to Winners, with the intent of opening the store on October 25, exactly 75 after the building first opened its doors. However, the building was designated a Provincial Historic Resource in May 1996, meaning no changes could be made to the building without government approval. The company's plans included removing the theatre's balcony to accommodate two stories of retail space, which the province's heritage officials rejected and the proposal ultimately fell through. The building was designated as a National Historic Site of Canada on September 22, 1997.

The building remained vacant until it was acquired by a consortium of business owners known as the Pharaoh's Group in 1998. It re-opened on May 13, 1998, as a 1,200-patron nightclub called the Palace. During the $4.1 million renovation, a wallet belonging to one of the theatre's patrons that had been lost 42 earlier was found and returned to the owner's family. The nightclub closed down in February 2004 and the building remained vacant for another three years.

The building was later acquired by Atlas Development Corp. The building was leased to Concorde Entertainment Group and, in 2007, the company partnered with the Calgary Flames to convert the theatre into a 1,200-capacity sports bar and special event facility called Flames Central. Following another $2 million renovation, Flames Central opened in March 2007. In 2017, the establishment's name was changed to Palace Theatre.

## Architecture and style

The building was designed in the Neoclassical style and features a symmetrical façade with evenly spaced fluted pilasters capped with Corinthian capitals, an oversized cornice, and classical detailing in the window surrounds. Other ornamentation includes the carved stones above the second-storey windows, and the faux wrought iron balconies.

51°02′43″N 114°04′00″W / 51.04541°N 114.06655°W / 51.04541; -114.06655

## InfoBox

| Palace Theatre | |
| --- | --- |
| Palace Theatre in 2008 | |
|  | |
| Former names | Allen's Palace Theatre |
| General information | |
| Architectural style | Neoclassical |
| Address | 219 8th Avenue Southwest |
| Town or city | Calgary, Alberta |
| Country | Canada |
| Completed | 1921 |
| Design and construction | |
| Architect(s) | C. Howard Crane |
| Website | |
| www.thepalacetheatre.ca | |
|  | |
| National Historic Site of Canada | |
| Official name | Palace Theatre National Historic Site of Canada |
| Designated | September 22, 1997 (1997-09-22) |
|  | |
|  | |


title: Palace Theatre, Kilmarnock

abstract: The Palace Theatre & Grand Hall Complex is a multi-purpose entertainment arena complex in Green Street, Kilmarnock, Scotland. The structure, which was originally opened as a corn exchange, is a Category A listed building.

text:
# Palace Theatre, Kilmarnock

The **Palace Theatre & Grand Hall Complex** is a multi-purpose entertainment arena complex in Green Street, Kilmarnock, Scotland. The structure, which was originally opened as a corn exchange, is a Category A listed building.

## History

### Corn Exchange

In the mid-19th century, a group of local businessmen formed a company, The Corn Exchange Company, to finance and erect a corn exchange for the town. The site they selected on Green Street had originally been a public bleaching green before being occupied by the local fish market.

The Corn Exchange opened on 16 September 1863 and served as the principal business space in Kilmarnock for farmers and merchants. The facade of the building is dominated by a 110-foot-tall clock tower which was named in order to commemorate Prince Albert, the Prince Consort, who died in 1861. To allow for the construction of the tower to take place, the tower was funded through a public subscription of £600. After securing funds, the clock was designed and constructed by John Cameron, jeweller and watchmaker situated on King Street. The sculpted heads over the main entrance represent Prince Albert, Sir James Shaw, the Kilmarnock-born Lord Mayor of London, and Lord Clyde, a Scottish hero of the Crimean War and Indian Mutiny.

The ground floor of the Corn Exchange which looked towards Green Street consisted of a number of shops and also housed a public library on the upper floor of the building. The upper floor which faces towards London Road contained the Athenaeum reading room. The final cost for the construction of the Corn Exchange was estimated to be just over £6,000. The opening of the Corn Exchange was commemorated by two performances conducted by the Kilmarnock Philharmonic Society of *Judas Maccabaeus (Handel)* by Thomas Morell. Other events to mark the occasion were a ball for 200 persons and a celebration dinner for 350.

It was always originally intended that the Corn Exchange was also to be a place of entertainment, as well as business, and it was available for concerts, bazaars, political meetings and other activities. The main hall of the Corn Exchange could accommodate 1,200 people, and the main hall also housed a pipe organ at one end of the hall.

### Design and opening

The building was designed by James Ingram in the Italianate style, built in red sandstone and was officially opened on 16 September 1863. The design involved an asymmetrical main frontage on the corner of London Road and Green Street. It featured a four stage tower, known as the "Albert Tower", at the corner with wings of nine bays extending down London Road and of thirteen bays extending down Green Street. The tower featured three round headed doorways in the first stage, three round headed windows with architraves, keystones and a balcony in the second stage, the burgh coat of arms and a cornice inscribed with the motto "The Earth is the Lords and the Fullness Thereof" in the third stage, and a belfry in the fourth stage, all surmounted by a dome. The wings were fenestrated by segmental headed windows on the ground floor and by round headed windows with architraves and keystones on the first floor. At roof level, the wings were surmounted by balustraded parapets which were decorated by urns.

### Redevelopment

The building was extended along London Road by extra eight bays to a design by Robert Ingram in 1886. The use of the building as a corn exchange declined significantly in the wake of the Great Depression of British Agriculture in the late 19th century, and it was therefore converted into a music hall in 1903.

In the 1940s, extensive internal alterations were carried out to a design by Gabriel Steel to create the Grand Hall.

### Cinema and theatre

The first films were shown at the Corn Exchange as early as 1897, and by 1911, they were a regular feature of the programme of entertainment offered at the venue. By the 1930s, the venue had become used exclusively a cinema under the name Palace Picture House. A state- of-the-art sound system was installed in order for the new ‘talkies’ system to be used which saw a recording of the film soundtrack being played over a gramophone which was synchronised with the projector.

Following World War II, the Palace Picture House failed to compete with more modern and more comfortable cinemas in Kilmarnock, such as the Regal Cinema and the Plaza. As a result, it closed in 1949.

The venue was vacant until a gift of £5,000 towards its refurbishment prompted the Council to spend a further £30,000 in order to redevelop the venue and bring it back into public use. By 1951, the venue re–opened as the 625-seater Exchange Theatre, with Mr Kurt Lewenhak being appointed manager of the Exchange Theatre, at a salary of £650. Originally, The Exchange was intended to be a civic theatre that would feature programmes which would showcase local talent. Early shows included the Kilmarnock Amateur Opera Society’s production of *Rio Rita*, the Saxone Dramatic Club’s production of Allan Ramsay’s 1725 play *The Gentle Shepherd*, Kilmarnock Combined Dramatic Clubs’ production of *Dear Brutus*, and Henry Cotton’s *Golf Show*. The first major production was a variety show entitled *Merry-go-Round – ‘the show with a swing to it’* which opened on 20th June 1951, and ran for a total of eight weeks with regular changes of content. Despite a successful opening night, the show was deemed to be unsuccessful and saw the Exchange Theatre operating on a loss of an average of £372 a week.

In 1979, the theatre was severely damaged by fire, and eventually re–opened to the public on 4 September 1982 following a programme of repairs costing £190,000, with a variety show for charity starring Johnny Beattie, Joe Gordon and Sally Logan. Following further improvements, the Palace was formally re-opened on 31 August 1985 by comedian Billy Connolly.

## Cultural Kilmarnock project

In December 2023, the Palace Theatre closed temporarily in order for the complex to undergo restoration work as part of the Cultural Kilmarnock Project following allocation of £20 million in funding from the UK Government as part of the Levelling Up Programme funds, along with the Dick Institute and the Grand Hall. The project consists of a process of major reimagining of the Palace Theatre and Grand Hall in order to create a "regional concert hall and theatre with extensive improvements to the accessibility and energy efficiency".

The glam rock band The Sweet wrote their song "The Ballroom Blitz" about an incident, in January 1973, when they were bottled off the stage during a performance in the building. After a serious fire in 1979, the building was restored and re-opened by Billy Connolly in August 1985. In 2022, the Grand Hall hosted an episode of the 2022 BBC New Comedy Award.

## Events

The Palace Theatre and/or the Grand Hall has played host to shows by the following:

## InfoBox

Palace Theatre
| ***The Palace*** | |
| --- | --- |
| The Palace Theatre (2019) | |
|  | |
| Full name | The Palace Theatre and Grand Hall Complex |
| Former names | *The Corn Exchange, Variety Theatre, Palace Picture House, Exchange Theatre* |
| Address | 9 Green Street
Kilmarnock, East Ayrshire
Scotland |
| Coordinates | 55°36′35″N 4°29′40″W / 55.6096°N 4.4944°W / 55.6096; -4.4944 |
| Owner | East Ayrshire Council |
| Type | Theatre, Entertainment arena |
| Capacity | 500 seated, approx 200 standing |
| Construction | |
| Built | Early 1860s |
| Opened | 16 September 1863 (1863-09-16) |
| Renovated | 1951, 1982, 2023–2025 |
| Years active | 1863–present |
| Construction cost | £6,000 |
| Architect | James Ingram |
| Website | |
| Palace Theatre | |
|  | |
| Listed Building – Category A | |
| Official name | Green Street, Palace Theatre, Former Corn Exchange |
| Designated | 3 July 1980 |
| Reference no. | LB35903 |
|  | |
|  | |


title: Dario Violi

abstract: Dario Violi is an Italian politician.

text:
# Dario Violi

**Dario Violi** (Costa Volpino, 4 May 1985) is an Italian politician.

## Biography

He served as Lombard regional councilor from 2013 to 2018 in the 10th term of the Regional Council as a member of Five Star Movement (M5S). Violi ran for the Presidency of Lombardy in the 2018 regional election, against Attilio Fontana (LN, supported by the center-right coalition) and Giorgio Gori (PD, supported by center-left coalition). On 4 March Fontana won 50% (Gori 29%, Violi 17%) in the Regional election. Violi was compared by media with Alessandro Di Battista and called "il Dibba lombardo" (the lombard Di Battista). Viola was confirmed as Lombard regional councilor in the 11th term (2018-2023). Dario Viola is married with Laura and they have 2 children. He is graduated in Political Science and lives in Bergamo.


title: Pan American Weightlifting Federation

abstract: The Pan American Weightlifting Federation (PAWF) was established in 1951. The federation is the body that governs and oversees weightlifting sports in North America, Central America, South America and the Caribbean.

text:
# Pan American Weightlifting Federation

The **Pan American Weightlifting Federation** (PAWF) was established in 1951. The federation is the body that governs and oversees weightlifting sports in North America, Central America, South America and the Caribbean.

## Events organized

### Senior

1. Pan American Weightlifting Championships (since 1982)
2. Pan American Masters Weightlifting Championships (since 1998)
3. Online Pan American Weightlifting Championships (since 2020)
4. Ibero-American Weightlifting Championships
5. South American Weightlifting Championships
6. Simon Bolivar Weightlifting Championships (26th in 2010)

### Junior

1. Pan American Junior Weightlifting Championships
2. South American Junior Weightlifting Championships

### Youth

1. Pan American Youth Weightlifting Championships
2. South American Youth Weightlifting Championships


title: Panax zingiberensis

abstract: Panax zingiberensis is a species of plant in the family Araliaceae. It is endemic to China.

text:
# Panax zingiberensis

***Panax zingiberensis*** is a species of plant in the family Araliaceae. It is endemic to China.

## InfoBox

| *Panax zingiberensis* | |
| --- | --- |
| Conservation status | |
|
Endangered  (IUCN 3.1) | |
| Scientific classification | |
| Kingdom: | Plantae |
| *Clade*: | Tracheophytes |
| *Clade*: | Angiosperms |
| *Clade*: | Eudicots |
| *Clade*: | Asterids |
| Order: | Apiales |
| Family: | Araliaceae |
| Genus: | *Panax* |
| Species: | ***P. zingiberensis*** |
| Binomial name | |
| ***Panax zingiberensis***
C.Y.Wu & K.M.Feng | |
|


title: Faerie Queen (song)

abstract: Faerie Queen is a song performed by Celtic artist Alexander James Adams on his first solo album, Wanderlust. The song's credits as given in the Heather Alexander Songbook are lyrics by Philip R. Obermarck and additional lyrics & music by Heather Alexander. Wanderlust was released in 1994.

text:
# Faerie Queen (song)

**Faerie Queen** is a song performed by Celtic artist Alexander James Adams on his first solo album, *Wanderlust* (released under the name Heather Alexander). The song's credits as given in the *Heather Alexander Songbook* are lyrics by Philip R. Obermarck and additional lyrics & music by Heather Alexander. *Wanderlust* was released in 1994.

## Synopsis

The heroine, a fiddler, is riding home when the song starts. Suddenly her horse becomes spooked and throws her off. As the heroine is trying to get up, she sees a band of faeries returning home from a hunt. Among them is the heroine's fiancé; although he is under the Faerie Queen's spell, she recognizes him by his eyes.

The heroine challenges the Faerie Queen to a duel with her fiancé as the stake. The queen agrees: they will both play the fiddle, and whichever one plays best will get to keep him. The faeries then hand her a black violin, and she plays an amazing melody. The heroine is disheartened, sure that she can never match the queen's performance, but then looks into her fiancé's eyes and is inspired by her love for him.

Her song, while initially somewhat melancholy, gradually builds in speed and intensity until there can be no doubt as to who is the better fiddler. Shocked, the Faerie Queen concedes that skill alone cannot compare to love and releases the heroine's fiancé.

## Cultural references

The song references the English myth of the Faerie Queen. It is also similar in plot to The Devil Went Down to Georgia, a song by the Charlie Daniels Band, although in this case the prize for winning the contest is a person rather than an object. The story of a woman freeing her man from the Queen of the Fairies may be a reference to the legend of Tam Lin.

## He of the Sidhe (Faerie King)

Alexander James Adams debuted a companion song, *He of the Sidhe*, at Norwescon 30 in 2007. Also called *Faerie King*, *He of the Sidhe* uses the same music but a different story and different fiddle solos. The hero of the song encounters the Faerie Queen as well, who references the "red-haired girl" from *Faerie Queen*.

*He of the Sidhe* is recorded on Adams' CD *Balance of Nature*. Alexander James Adams is credited for the lyrics and Heather Alexander for the music.


title: Farmhouse in Provence

abstract: Farmhouse in Provence, also known as Entrance Gate to a Farm with Haystacks, is an oil-on-canvas painting produced in 1888 by Dutch painter Vincent van Gogh in Arles, Provence, at the height of his career. Partially due to having been inspired by painter Adolphe Monticelli, Van Gogh sought the Provence region of France to further expand his painting skill and experience. Van Gogh used several pairs of complementary colors in the Farmhouse in Provence, the color contrast bringing an intensity to his work. The painting is owned by the National Gallery of Art in Washington, D.C.

text:
# Farmhouse in Provence

***Farmhouse in Provence***, also known as ***Entrance Gate to a Farm with Haystacks***, is an oil-on-canvas painting produced in 1888 by Dutch painter Vincent van Gogh in Arles, Provence, at the height of his career. Partially due to having been inspired by painter Adolphe Monticelli, Van Gogh sought the Provence region of France to further expand his painting skill and experience. Van Gogh used several pairs of complementary colors in the *Farmhouse in Provence*, the color contrast bringing an intensity to his work. The painting is owned by the National Gallery of Art in Washington, D.C.

## Arles

At the time that Van Gogh painted *Farmhouse in Provence,* he was 35 years old. Living in Arles, in southern France, he was at the height of his career, producing some of his best work, such as fields, farmhouses and people of the Arles, Nîmes and Avignon area.

The area was quite different from what he'd known in the Netherlands and Paris. The climate was hot and dry. People had dark hair and skin and spoke a different language than Parisian French. The colors were vivid. The terrain varied from plains to mountains. Here Van Gogh found a "brilliance and light that would wash out details and simplify forms, reducing the world around him to the sort of pattern he admired in Japanese woodblocks" and where the "effect of the sun would strengthen the outlines of composition and reduce nuances of color to a few vivid contrasts."

A prolific time, in less than 444 days Vincent made about 100 drawings and produced more than 200 paintings Yet, he still wrote more than 200 letters. He described a series of seven studies of wheat fields as, "landscapes, yellow—old gold—done quickly, quickly, quickly, and in a hurry just like the harvester who is silent under the blazing sun, intent only on the reaping."

In a letter to his brother, Theo, he wrote, "Painting as it is now, promises to become more subtle—more like music and less like sculpture—and above all, it promises color."

## The painting

Van Gogh used three pairs of complementary, or contrasting, colors which when sat together intensified the brilliance and intensity of one another's colors. One pair is orange and blue. Another would be the red and green of the plants. Last, pink clouds against the turquoise sky.

Van Gogh used complementary, contrasting colors to bring an intensity to his work, which evolved over the periods of his work. Two complementary colors of the same degree of vividness and brightness placed next to one another produce an intense reaction, called the "law of simultaneous contrast."

Van Gogh mentioned the liveliness and interplay of "a wedding of two complementary colors, their mingling and opposition, the mysterious vibrations of two kindred souls."

While in Nuenen Van Gogh became familiar with Michel Eugène Chevreul's laws in weaving to maximize the intensity of colors through their contrast to adjacent colors.

In Paris he was exposed through his brother Theo to Adolphe Monticelli's still life work with flowers, which he admired. First, he saw Monticelli's use of color as an expansion of Delacroix's theories of color and contrast. Secondly he admired the effect Monticelli created by heavy application of paint. It was partially Monticelli, from Marseilles, who inspired Van Gogh's southerly move to Provence. He felt such kinship for the man, and desire to emulate his style, that he wrote in a letter to his sister Wil that he felt as if he were "Monticelli's son or his brother."

## Provenance

The National Gallery of Art reports the correct sequence of ownership for the painting is:

* Johanna van Gogh-Bonger (1862–1925), the artist's sister-in-law, of Amsterdam sold the painting in November 1890 through Julien Tanguy Gallery, Paris to the Danish art dealer, Willy Gretor. Five paintings that were sold by Johanna became part of the National Gallery of Art collection.
* Willy Gretor gifted the painting to Maria Slavona, a German painter, of Paris and Berlin. It was one of many gifts of Van Gogh paintings by Willie to Maria, with whom he had a daughter, Lilly. Maria then married Otto Ackermann (1871–1963), an art dealer of Paris and Berlin.
* From 1919 to at least 1933 Gaston Bernheim de Villers (1870–1953) of Paris owned the painting.
* The painting was sold to Capt. Edward H. Molyneux (1891–1974) of Paris.
* It was then sold August 15, 1955 to Ailsa Mellon Bruce (1901–1969) of New York.
* In 1970 it was bequeathed to the National Gallery of Art, part of the Ailsa Mellon Bruce Collection.

Another sequence of ownership was given by J.-B. de la Faille in *The Works of Vincent van Gogh, His Paintings and Drawings—*a portion of which was apparently in error (i.e., Bernheim-Jeune, Reid and Lefevre, Ackermann, Molyneux.)

## InfoBox

| Farmhouse in Provence | |
| --- | --- |
|  | |
| Artist | Vincent van Gogh |
| Year | 1888 |
| Medium | Oil on canvas |
| Movement | Post Impressionism |
| Dimensions | 46.1 cm × 60.9 cm (18.1 in × 24.0 in) |
| Location | National Gallery of Art, Washington, D.C. |


title: Exceptia sisterina

abstract: Exceptia sisterina is a moth in the family Gelechiidae. It was described by Powell and Povolný in 2001. It is found in North America, where it has been recorded from California.

text:
# Exceptia sisterina

***Exceptia sisterina*** is a moth in the family Gelechiidae. It was described by Powell and Povolný in 2001. It is found in North America, where it has been recorded from California.

## InfoBox

| *Exceptia sisterina* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Lepidoptera |
| Family: | Gelechiidae |
| Genus: | *Exceptia* |
| Species: | ***E. sisterina*** |
| Binomial name | |
| ***Exceptia sisterina***<br>Powell & Povolný, 2001 | |
|


title: Stratum corneum chymotryptic enzyme

abstract:
Stratum corneum chymotryptic enzyme is an enzyme. This enzyme catalyses the following chemical reaction
  - Cleavage of proteins with aromatic side chains in the P1 position This enzyme has wide substrate specificity.

text:
# Stratum corneum chymotryptic enzyme

**Stratum corneum chymotryptic enzyme** (EC 3.4.21.117, *kallikrein 7*, *SCCE*, *KLK7*, *PRSS6*, *hK7*) is an enzyme. This enzyme catalyses the following chemical reaction

Cleavage of proteins with aromatic side chains in the P1 position

This enzyme has wide substrate specificity.

## InfoBox

| Stratum corneum chymotryptic enzyme | |
| --- | --- |
| Identifiers | |
| EC no. | 3.4.21.117 |
| CAS no. | 155215-90-0 |
| Databases | |
| IntEnz | IntEnz view |
| BRENDA | BRENDA entry |
| ExPASy | NiceZyme view |
| KEGG | KEGG entry |
| MetaCyc | metabolic pathway |
| PRIAM | profile |
| PDB structures | RCSB PDB PDBe PDBsum |
| Search  PMC articles  PubMed articles  NCBI proteins | |


title: Stratum lucidum

abstract: The stratum lucidum is a thin, clear layer of dead skin cells in the epidermis named for its translucent appearance under a microscope. It is readily visible by light microscopy only in areas of thick skin, which are found on the palms of the hands and the soles of the feet. Located between the stratum granulosum and stratum corneum layers, it is composed of three to five layers of dead, flattened keratinocytes. The keratinocytes of the stratum lucidum do not feature distinct boundaries and are filled with eleidin, an intermediate form of keratin. They are surrounded by an oily substance that is the result of the exocytosis of lamellar bodies accumulated while the keratinocytes are moving through the stratum spinosum and stratum granulosum. The thickness of the stratum lucidum is controlled by the rate of mitosis (division) of the epidermal cells. Melanosomes in the stratum basale determine the darkness of the stratum lucidum.

text:
# Stratum lucidum

The **stratum lucidum** (Latin, 'clear layer') is a thin, clear layer of dead skin cells in the epidermis named for its translucent appearance under a microscope. It is readily visible by light microscopy only in areas of thick skin, which are found on the palms of the hands and the soles of the feet.

Located between the stratum granulosum and stratum corneum layers, it is composed of three to five layers of dead, flattened keratinocytes. The keratinocytes of the stratum lucidum do not feature distinct boundaries and are filled with eleidin, an intermediate form of keratin. They are surrounded by an oily substance that is the result of the exocytosis of lamellar bodies accumulated while the keratinocytes are moving through the stratum spinosum and stratum granulosum.

The thickness of the stratum lucidum is controlled by the rate of mitosis (division) of the epidermal cells. Melanosomes in the stratum basale determine the darkness of the stratum lucidum.