title: RoughRider wheelchair

abstract: The RoughRider wheelchair is a low-cost, durable and appropriate technology wheelchair designed for use in developing countries. The design of the RoughRider originally was open-source and has been revised with input from wheelchair users in over 40 countries since 1980. The RoughRider was created to fill the demand for a reliable wheelchair for over 20 million disabled people in the developing world who need a wheelchair and do not have one.

text:
# RoughRider wheelchair

The **RoughRider** wheelchair is a low-cost, durable and appropriate technology wheelchair designed for use in developing countries. The design of the RoughRider originally was open-source and has been revised with input from wheelchair users in over 40 countries since 1980. The RoughRider was created to fill the demand for a reliable wheelchair for over 20 million disabled people in the developing world who need a wheelchair and do not have one.

## History

The earliest recorded history of a wheelchair was inscribed in stone on a Chinese Sarcophagus in the 6th century A.D. There have been many variations on the basic design since then but standard features always included rear wheels, front caster wheels, footrests, side frames and seating features. Until recently wheelchairs were designed for relatively smooth surfaces and paved streets and were not designed for rugged environments. Thirty years ago, Ralf Hotchkiss, an engineer with paraplegia and a frequent traveler to developing countries, saw the need for a high quality and rugged chair that could withstand conditions in rough terrain. He began a thirty-year process of collaborative design using locally available parts with a cost low enough to be affordable to disabled persons in developing regions. For many years, Ralf and a team would travel to small machine shops in developing countries to teach the technical skills necessary for local production of the RoughRider model. Several of these shops are developing to scale in parts of Africa, Asia, Latin America and the former Soviet Union.

## Design features

RoughRider functional design features include: low armrests to enable easy lateral transfers from chair to other surfaces, Pneumatic rear tires which are replaceable in bicycle shops worldwide, and adjustable rear wheel position which optimizes mechanical stability and performance for riders of different abilities. The design includes a long wheelbase with extra-wide front caster wheels that fit under the footrests and prevents tipping forward and is easier to push than standard wheelchair models. The extra wide "Zimbabwe" caster wheels provide a smooth ride over rough ground surfaces while still being able to "float" over soft surfaces like sand without getting stuck. The foldable X-brace allows for storage and transport and allows the seat width to be adjustable. Additional modifications to shorten or lengthen the seat depth and back height are accomplished by adding foam cushions under or behind the seat cushion. Footrest adjustments are made by loosening one bolt on the footrest arm.

## Problems and future design improvements

Due to the 7/8" steel tubing used for the sideframes, chosen for low cost and universal availability, the RoughRider weighs about 40 lbs which may be too heavy for some newly injured riders to navigate up steep hills. The RoughRider does have an optional anti-tip bar which makes the rider safer during a backwards wheelie and has only recently added wheelguards that reduce mud and water splatter on the rider. Both of these features are currently under development. There is also a need for a rugged active chair for disabled children in developing countries and a child's version of the RoughRider is currently being tested in South Africa.


title: Emlen Etting

abstract: Emlen Pope Etting Jr. was an American painter, sculptor, filmmaker, and member of Philadelphia's elite Main Line Society.

text:
# Emlen Etting

**Emlen Pope Etting Jr.** (August 24, 1905 – July 20, 1993) was an American painter, sculptor, filmmaker, and member of Philadelphia's elite Main Line Society.

## Early life and education

He attended schools in Lausanne, Switzerland, and St. George's School in Middletown, Rhode Island. After graduating from Harvard in 1928, he studied with the artist Andre Lhote in Paris. During World War II, Etting served in the psychological warfare division of the Office of War Information. He was present at the liberation of Paris and he collaborated with Orson Welles to record the event.

## Family

Emlen Pope Etting Jr. was born to Florence Lucas Etting and Emlen Pope Etting Sr., a failed stockbroker, in 1905. Both Emlen's mother and aunt were proud members of Philadelphia's Main Line society. An earlier son was born to the Ettings on August 15, 1903, and given the name Emlen Pope Etting Jr. The child died just three days prior to his first birthday, on August 18, 1904. The following August 24, 1905, Florence gave birth to her second son and, once again, gave him the name of Emlen Pope Etting Jr. On October 23, 1905, when young Emlen was only two months old, his father died of a heart attack. Florence Etting died on April 13, 1951. Both his parents and the first Emlen Jr. are buried in West Laurel Hill Cemetery in Bala Cynwyd, Pennsylvania.

Emlen was reared in a European fashion as much as he was American. Emlen lived with his mother in Europe for much of his childhood. They returned to America in 1917 to avoid World War I.

Emlen's Aunt Harriet wanted to ensure Emlen grew to be the Philadelphia gentleman he was meant to be and enrolled him in St. George's School from 1920 to 1924. St. George's, an Episcopal boarding school, was considered at that time to be one of only two suitable options for a young man from Philadelphia's upper crust.

## Paris

Emlen studied French at Harvard University. After graduating, he traveled to Europe to study art. It was a lifestyle underwritten by his aunt, Harriet Etting Brown. He traveled to Munich but was drawn to life in Paris and into the tutelage of the artist Andre Lhote. Lhote taught his students to reduce their subjects into lines and shapes. Emlen remained influenced by Lhote, his teacher and mentor, for the rest of his life.

Paris at that time was a student's world. It was filled with myriad forms of art, philosophy, and all the passionate discussions that could accompany it. He frequented the most exclusive art shows and enjoyed the avant-garde films screened in Paris Studio 28. It was in this artistic crucible that Emlen mingled with the most influential artists of the day.

In an interview with Marina Pacini from 1988, Emlen describes his experience studying under Lhote in Paris: “No, it was fluid. People came and went in the classes. You know, sometimes people came and somebody would be very annoyed at something he destroyed, something they’d done on a canvas, and they were horrified and would never come back. It was in America, I was fascinated when I came back. It was done more like, to please the student; you’d say something was good and never touch it. But Lhote would barge right in and the students, the whole class, would follow round behind, and he would take one easel, one painting at a time, and whatever he was emphasizing that day, he would rub it in, and how! Much to the, sometimes, students’ annoyance. The reason I'm telling you this is to explain why it was so fluid. There was no point in having a method of teaching composition one day, and one day color was that you got different people and you didn't follow through with it. And with his method you eventually got all the different facets if you stayed long enough.”

## Film

Etting made several short films. His personal favorite was *Poem 8* (1932). As the name suggests the film attempts to use the cadence and narrative of the poem. From his interview with Marina Pacini:

> "Dali was doing one, two in fact, and Cocteau did *Blood of a Poet*. And I thought, how interesting it would be if we used the film in a different method. So far it had been used like a novel to tell a story, or else as a documentary and there was nothing else in between, and I wanted to use the film as a poetic medium, to do a poem like T. S. Eliot’s poems, and do it entirely visually and that’s how I came about to do my film I called Poem 8 and as far as I know it was the first film that experimented in that as a poetic medium."

Etting uses very literal images of women, modes of travel, and his own body parts. In Poem 8, Etting shows the filmmaker as a present protagonist.

According to Kenneth C. Kaleta, PhD, author of a biography on Etting titled *With the Rich and Mighty*, both *Poem 8* and Etting's other early experimental film, *Oramunde*, are “technologically unsophisticated, sometimes overly arty and labored,” but illustrate “Etting’s visionary insight into the promise of artistic expression as well as the potential of communication in cinema beyond filming linear plots.”

Etting made his mark in early film but as times changed, and he stopped working with the medium. From Ettings interview with Pacini:

> "Well, the films became so much more exciting that my little experiments were pitiful compared to the films of now, it’s all out. It isn’t that they do poems yet, but they do the experimentation that has brought the most fantastic results. I go to the movies now and am absolutely bowled \[over\] with amazement with the marvels that they do in films. I think it is the great art of today."

## During the War

During World War II, Etting served in the psychological warfare division of the Office of War Information. He was present at the liberation of Paris and made many sketches of the event that were featured in periodicals of the time.

His duty was to disseminate the news of the progress of the D-Day invasion and, more importantly, to reassure the devastated villagers he encountered that they could rely on the assistance of US forces in rebuilding their war-torn lives. He wrote, presented, and recorded a series of daily news programs for the American Broadcasting Station in Europe in the towns he visited to accomplish this. Etting's responsibilities included recording the experiences of the newly liberated French townspeople he met in the wake of the military sweep of their occupied country for the US Army and reporting on what he observed in the field.

Etting pieced together and recorded this oral history. Upon his return home, he published *Prodigal Flyer*, a "true" story, about his experiences. He felt it was his duty to make a record of the moment, separating the fact from the fiction of war. However, he wanted, nor needed, any war souvenirs of the misery he saw: he never forget what he saw. He felt ashamed that there was such an outpouring of gratitude for him and his party when the appreciation, in his opinion, should be offered instead to the men who fought and died there.

Etting was subsequently attached to the Second French Armored Division.

Etting documented these historical events in *The Liberation of Paris*, a recording collaboration with Orson Welles, directed by Pierre Schaeffer. The 12-inch, 78 rpm, Asch 3 record English and French language set recorded the live speeches of Generals Dwight D. Eisenhower and Charles de Gaulle on August 25, 1944, accompanied by the commentary of Welles and the translation and commentary of Etting.

In addition to recording this experience professionally for broadcast and publication, on the day of the liberation of Paris, Etting also made a personal journey into the past, and perhaps, into his aesthetic and artistic process. The painter wrote in his journal that once the Allies had secured the city and he had fulfilled his military obligations, including requisitioning a jeep to confirm the welfare of Pablo Picasso, Etting made his way to Lhote's studio on the Rue l'Odessa. Etting was aware that as a Jew, Lhote had had to move from place to place, sleeping where and when he could in fear of the Gestapo, and Etting wondered whether his old teacher had survived the Nazis' four-year occupation of the city. When Etting arrived again at the Rue l’Odessa, Lhote was there and seemed unchanged. Lhote was agitated of course, all of Paris was frenzied, but an excruciating suspicion also plagued Lhote. He begged Etting to assist him. Lhote had to know whether the Luftwaffe had damaged the priceless Delacroix murals in the Palais du Luxembourg, which the Nazis had seized and occupied during the war, and evacuated in the preceding days.

## After the war

After returning from World War II Etting immediately worked as an illustrator, but continued to paint and sculpt. He created a large catalogue of paintings and drawings and worked most every day, believing that an artist should work whether they felt the call of the muse or not. He artworks included "a lot of male nudes and paintings of sailors" and, today, his work is in the permanent collections of the Philadelphia Museum of Art, the Whitney Museum of American Art, the Allentown Art Museum, and the Museum of American Art at the Pennsylvania Academy of the Fine Arts.

Etting taught at the Philadelphia Museum of Art, the Philadelphia College of Art, Temple University's Tyler School of Art, and Florida Southern College.

In 1938, Etting was married to Gloria Braggiotti, the daughter of an Italian aristocrat and a Boston Brahmin mother, at the Church of the Transfiguration in New York City. Gloria was a fixture of Main Line society in her own right. She was a great cook and hostess who can be credited to elevating the modern salon to its highest expression.

Etting's sculpture Phoenix Rising was installed in the plaza next to Philadelphia's City Hall in 1982. The sculpture symbolized Philadelphia's rise from urban decay.

Emlen Etting died of Parkinson's disease on July 20, 1993, at his home in Philadelphia at the age of 88.

* Emlen Etting Papers. Yale Collection of American Literature, Beinecke Rare Book and Manuscript Library.

## InfoBox

| Emlen Etting | |
| --- | --- |
| Personal details | |
| Born | Emlen Pope Etting Jr.
(1905-08-24)August 24, 1905
Philadelphia, Pennsylvania, US |
| Died | July 20, 1993(1993-07-20) (aged 87)
Philadelphia, Pennsylvania, US |
| Spouse | Gloria Braggiotti
(after 1938) |
| Education | St. George's School |
| Alma mater | Harvard University |
| Occupation | Painter, sculptor, filmmaker |
| Military service | |
| Allegiance | United States |
| Branch/service | Office of War Information |
| Battles/wars | World War II |
|  | |


title: North American Rotorwerks Pitbull II

abstract: The North American Rotorwerks Pitbull II is an American autogyro, designed and produced by North American Rotorwerks of Tukwila, Washington. When it was available the aircraft was supplied as a kit for amateur construction, but by 2013 production had been suspended.

text:
# North American Rotorwerks Pitbull II

The **North American Rotorwerks Pitbull II** is an American autogyro, designed and produced by North American Rotorwerks of Tukwila, Washington. When it was available the aircraft was supplied as a kit for amateur construction, but by 2013 production had been suspended.

## Design and development

The Pitbull II is a two-seat development of the North American Rotorwerks Pitbull Ultralight. It was designed to comply with the US *Experimental - Amateur-built* rules. It features a single main rotor, a two-seats in side-by-side configuration open cockpit with a windshield, conventional landing gear and a four-cylinder, air and liquid-cooled, four-stroke, dual-ignition 100 hp (75 kW) Rotax 912S engine in tractor configuration. The 110 hp (82 kW) Subaru EA-81 and Subaru EA-82 auto-conversion powerplants are optional.

The aircraft's rotor has a 30 ft (9.1 m) diameter and the cockpit has a 40 in (102 cm) width. The tailplane is strut-braced and an electric pre-rotator is standard. A small baggage compartment with a capacity of 20 lb (9.1 kg) and a volume of 2 cu ft (56.6 L) is fitted. The recommended power range is 90 to 160 hp (67 to 119 kW). With its empty weight of 440 lb (200 kg) and a gross weight of 1,025 lb (465 kg), the useful load is 585 lb (265 kg). Construction time from the factory assembly kit is estimated at 100 hours.

The aircraft is intended to resemble the autogyros of the 1930s and as such it uses a radial engine-style round cowling, rounded rudder, barrel-shaped fuselage and other antique styling details.

## Specifications (Pitbull II)

*Data from* Bayerl and North American Rotorwerks

**General characteristics**

* **Crew:** one
* **Capacity:** one passenger
* **Length:** 15 ft 5 in (4.70 m)
* **Height:** 8 ft 5 in (2.57 m)
* **Empty weight:** 440 lb (200 kg)
* **Gross weight:** 1,025 lb (465 kg)
* **Fuel capacity:** 18 U.S. gallons (68 L; 15 imp gal)
* **Powerplant:** 1 × Rotax 912S four cylinder, air and liquid-cooled, four stroke aircraft engine, 100 hp (75 kW)
* **Main rotor diameter:** 30 ft 0 in (9.14 m)
* **Propellers:** 3-bladed composite

**Performance**

* **Maximum speed:** 88 mph (142 km/h, 76 kn)
* **Cruise speed:** 70 mph (110 km/h, 61 kn)
* **Range:** 210 mi (340 km, 180 nmi)
* **Service ceiling:** 12,000 ft (3,700 m)
* **Rate of climb:** 1,200 ft/min (6.1 m/s)

## InfoBox

| Pitbull II | |
| --- | --- |
| Role | Autogyro |
| National origin | United States |
| Manufacturer | North American Rotorwerks |
| Status | Production suspended (2013) |
| Variants | North American Rotorwerks Pitbull Ultralight |


title: Fleet Requirements Unit

abstract: The Airwork Fleet Requirements Unit (FRU) was a civilian-operated unit of the Royal Navy's Fleet Air Arm managed by Airwork Limited. It was established on the 1 September 1952, at Hurn Airport, operating for 20 years before merging with another unit to become the Fleet Requirements and Air Direction Training Unit (FRADTU), on the 1 December 1972.

text:
# Fleet Requirements Unit

The Airwork **Fleet Requirements Unit** (**FRU**) was a civilian-operated unit of the Royal Navy's Fleet Air Arm managed by Airwork Limited. It was established on the 1 September 1952, at Hurn Airport, operating for 20 years before merging with another unit to become the Fleet Requirements and Air Direction Training Unit (FRADTU), on the 1 December 1972.

## History

Airwork Limited, referred to as Airwork Services Limited from 1957 for defence support work, secured a contract in September 1952 with the Royal Navy, to operate the Fleet Requirements Unit (FRU) at Hurn Airport, situated on the edge of Hurn village, 4 miles (6 km) north of Bournemouth. It used ex-Fleet Air Arm aircraft as targets to provide training for Royal Navy radar operators, however, civilian pilots were employed to fly the aircraft.

Recently retired Fleet Air Arm de Havilland Sea Mosquito, a navalised Mosquito for Royal Navy use as a torpedo bomber, began arriving for use in August 1952. These were later replaced during 1953 by de Havilland Sea Hornet, a naval carrier-capable version of the Hornet twin-engined fighter aircraft.

The Fleet Requirements Unit's tasks were expanded to include all aspects of Fleet requirement duties. For example, this included target towing for gunnery purposes, and not only for UK based destroyers and frigates, but also eventually required to support training for the Mediterranean based Fleet, following the disbandment of 728 Naval Air Squadron at RNAS Hal Far (HMS *Falcon*), on Malta, in 1967, which had previously provided Fleet Requirement support for that area.

Hawker Sea Fury, a fighter aircraft, which was the last propeller-driven fighter to serve with the Royal Navy, were acquired in 1955. However, the initial jet aircraft type used by FRU was the Supermarine Attacker, a single-seat naval jet fighter, which were also received in 1955, but these only lasted at Hurn for a couple of years. These jets were followed at the FRU by Hawker Sea Hawk, a single-seat jet day fighter aircraft. Modifications for FRU work included a Harley Light being fitted into the nose of the port underwing fuel tank and each aircraft received a distinctive all-over gloss black paint scheme.

The unit primarily used fixed-wing aircraft, however, Westland Dragonfly helicopters were operated between 1958 and 1961. Target towing was undertaken using Gloster Meteor aircraft, acquired from 1961. These were the TT.20 variant, a high speed target towing conversion of the mark NF.11. The following year saw the last of the Sea Fury leave Hurn and from this point the FRU operated solely with jet aircraft.

June 1966 saw Supermarine Scimitar aircraft arrive, a single-seat naval strike aircraft, but by 1970 these were completely retired, due mainly to difficulties in keeping them operational. 1969 saw the withdrawal of the Sea Hawk aircraft from FRU duties, however, Hawker Hunter aircraft arrived that year. A manoeuvrable day interceptor aircraft, initially single-seat GA.11 variants were operated, and later, two-seat T.8C mark were acquired. English Electric Canberra TT.18 target tug variant, a conversion of B.2 aircraft, were received in September 1969, these replaced the Gloster Meteor aircraft, which were withdrawn, on target towing duties.

In December 1970 the unit started to operate a detachment of de Havilland Sea Vixen a twin-engine, twin boom-tailed, two-seat, carrier-based fighter aircraft at RNAS Yeovilton (HMS *Heron*), sited a few miles north of Yeovil, in Somerset. In October 1972 the unit moved to Yeovilton, where, albeit operated separately, it worked alongside Airwork Services’ Air Direction Training Unit (ADTU). The FRU and ADTU were merged into a single unit on the 1 December 1972, creating the Fleet Requirements and Air Direction Training Unit (FRADTU).

## Aircraft flown

A number of aircraft types and variants were used over the years at Hurn by Airwork Services, operating as the FRU:

### Citations

### Bibliography

* Ballance, Theo (2016). *The Squadrons and Units of the Fleet Air Arm*. Air-Britain. ISBN 978-0-85130-489-2.
* Thetford, Owen (1991). *British Naval Aircraft since 1912*. London, UK: Putnam Aeronautical Books, an imprint of Conway Maritime Press Ltd. ISBN 0-85177-849-6.


title: Hop River State Park Trail

abstract: Hop River State Park Trail is a Connecticut rail trail that winds for 20.8 miles (33.5 km) eastward from Colonial Drive in the town of Manchester to the Air Line State Park Trail S. in the town of Windham. The trail parallels the Hop River for much of its length. It is owned and operated by the Connecticut Department of Energy and Environmental Protection, with upgrades and maintenance done by town forces and community volunteer groups in coordination with the state. The trail is used for hiking, biking, horseback riding, and cross-country skiing.

text:
# Hop River State Park Trail

**Hop River State Park Trail** is a Connecticut rail trail that winds for 20.8 miles (33.5 km) eastward from Colonial Drive in the town of Manchester to the Air Line State Park Trail S. in the town of Windham. The trail parallels the Hop River for much of its length. It is owned and operated by the Connecticut Department of Energy and Environmental Protection, with upgrades and maintenance done by town forces and community volunteer groups in coordination with the state. The trail is used for hiking, biking, horseback riding, and cross-country skiing.

## History

The trail was originally part of the Hartford, Providence and Fishkill line from Hartford to Willimantic which was completed in 1849. Freight trains used the line through the 1960s. The last train ran on September 29, 1970, by which time the line was part of the bankrupt Penn Central. The Willimantic section of the trail was built in 2015, unlike the rest of the trail.

## Route

Though open to the public for its entire length, different sections of the trail are in different stages of development. Some sections are complete and have a finished, stone-dust surface and signage. Other sections have been cleared and had drainage work done, but still have a somewhat rough, unfinished surface that is not suitable for road bikes.

The following is a section by section description of the trail's current conditions, as of July 2014.

Colonial Road, Manchester to the western Hop River bridge at Columbia/Coventry town line This long section of the trail, including the entire section of trail in the towns of Manchester, Vernon, Bolton and Andover has been completed. Drainage has been improved, signage installed, bridges built, parking lots built, and solid stone-dust surface installed. This is the best section of the trail to be completed so far and has long sections through parklands with no crossroads. The East Coast Greenway (ECG) section is from Bolton Notch East.

Western Hop River bridge at Columbia/Coventry town line to Kings Road, Coventry: This section has been cleared and had drainage improvements, and has some finished surface installed. It is suitable for mountain bikes and horses, but a bit rough for street bikes.

Kings Road, Coventry to Flanders River Road, Columbia: This section of trail is not passable due to a bridge over the Hop River that has not been renovated for trail use. The existing rail bridge is not safe to cross. 0.83 miles of trail improvement, a new bridge and a box culvert under Flanders River Road are part of a $4 million improvement (Consultant/Project - BL/DOT 30-97). Trail traffic can currently follow a short detour around this by following Kings Road to Flanders River Road and rejoining the trail after crossing the river on the road bridge.

Flanders River Road, Columbia to Willimantic River: This section is open, but the trail has not been completely improved -but trail improvements will be under the project noted above. The bridge over the Willimantic has been improved and there is trail head parking next to Mackey’s. A paved trail from Macky’s parking goes under Rte 66 towards the Railroad museum and links to the Airline Trail.

Route 66, Windham/Columbia to Airline State Park Trail, Windham/Lebanon: This section opened in 2015, and the whole section is paved, and is on steep hill, on the eastern end This does not follow the original rail. It starts at the Windham side of the Willimantic River, immediately goes right under the Route 66 bridge Willimantic River and right on the border with Columbia, then follows the Willimantic River throughout the rest of the trail. The trail ends at the Airline Trail South in Willimantic. Turning right will bring you over the Willimantic River into Lebanon. To the original end of the railroad, turn left and continue to CT 32.

## Access points

The trail crosses the following roads, providing access:

| County | Town | Name | Info | Coordinates |
| --- | --- | --- | --- | --- |
| Hartford | Manchester | Colonial Drive | parking area |  |
| Tolland | Vernon | Taylor Street |  |  |
| | | Elm Hill Road |  |  |
| | | Dobson Road |  |  |
| | | Church Street/Phoenix Street | parking area |  |
| | | Tunnel Road (SSR 533) |  |  |
| | Bolton | Bolton Notch State Park near US 44/ US 6 and  I-384 | parking area, start of the Charter Oak Greenway |  |
| | Notch Road | underpass |  |
| | Steeles Crossing Road | parking area |  |
| | Andover | Bailey Road |  |  |
| | Burnap Brook Road | parking area |  |
| | Wales Road | parking area |  |
| | Shoddy Mill Road | parking area |  |
| | Route 316 | overpass, access/parking at Andover History Museum |  |
| | Merritt Valley Road | overpass |  |
| | Lake Road | parking area |  |
| | US 6 | underpass |  |
| | Parker Bridge Road |  |  |
| | Columbia | Hop River | river crossing twice in a row |  |
| | Hop River Road | parking area |  |
| | Coventry | Pucker Street | underpass |  |
| | Willimantic Bypass ( US 6) | underpass |  |
| | Kings Road | overlap |  |
| | | Columbia | Flanders River Road |  |
| | Old Route 66 rest area |  |  |
| | Route 66 | overlap to Windham |  |
| Windham | Windham | Route 66 | parking at a local store |  |
| | | Airline State Park Trail South | Terminus |  |

## Features

A stream restoration project with signage is located about 4 miles (6.4 km) from the Vernon trailhead. It is just north of where the trail goes under U.S. Route 44 at Bolton Notch in Bolton Notch State Park.

## Development

The eastern half of the trail at Bolton Notch State Park connects to the Charter Oak Greenway going west towards Manchester and Hartford. The eastern terminus of the trail connects to the Air Line State Park Trail near the CT Eastern Railroad Museum. The Charter Oak Greenway, Air Line State Park Trail, and the Hop River State Park Trail will be pieces of the East Coast Greenway (ECG), a trail linking major cities from Maine to Florida. The ECG in Connecticut runs from Rhode Island across to Hartford, down to New Haven and over to New York.

## InfoBox

| Hop River State Park Trail | |
| --- | --- |
| Hop River State Park Trail in Coventry in 2018 | |
| Length | 20.8 miles (33.5 km) |
| Location | Eastern Connecticut |
| Designation | Connecticut state park |
| Trailheads | Manchester (41°48′02″N 72°30′28″W / 41.80054°N 72.50766°W / 41.80054; -72.50766) <br>Windham (41°42′48″N 72°14′18″W / 41.71345°N 72.23820°W / 41.71345; -72.23820) |
| Use | Hiking, biking, horseback riding |
| Sights | Hop River |
| Maintained by | Connecticut Department of Energy and Environmental Protection |
| Website | Hop River State Park Trail |


abstract:
The table below lists Nigerian senators of the 6th National Assembly.
The 6th National Assembly (2007–2011) was inaugurated on 5 June 2007. The Senate includes three senators from each of the 36 states, plus one minister for the Federal Capital Territory, Abuja.
Of the 109 Senators, 26 were re-elected while 83 were elected for the first time.
David Mark was appointed president of the Senate and Ike Ekweremadu deputy president.

text:
# Nigerian senators of the 6th National Assembly

The table below lists **Nigerian senators of the 6th National Assembly**. The 6th National Assembly (2007–2011) was inaugurated on 5 June 2007. The Senate includes three senators from each of the 36 states, plus one minister for the Federal Capital Territory, Abuja. Of the 109 Senators, 26 were re-elected while 83 were elected for the first time. David Mark was appointed president of the Senate and Ike Ekweremadu deputy president.

## Senators

## Election results by party

|  | | |
| --- | --- | --- |
| Party | | Seats |
|  | People's Democratic Party | 262 |
|  | All Nigeria Peoples Party | 62 |
|  | Action Congress | 32 |
|  | Progressive Peoples Alliance | 3 |
|  | Labour Party | 1 |
|  | Accord | 0 |
| Total | | 360 |
|  | | |
| Source: IPU | | |


title: The School Teacher in the House

abstract: L'insegnante viene a casa is a 1978 commedia sexy all'italiana directed by Michele Massimo Tarantini. The film is the third chapter in the "Schoolteacher" film series and the last one starring Edwige Fenech in the title role.

text:
# The School Teacher in the House

***L'insegnante viene a casa*** (internationally released as ***The School Teacher in the House***) is a 1978 commedia sexy all'italiana directed by Michele Massimo Tarantini. The film is the third chapter in the "Schoolteacher" film series and the last one starring Edwige Fenech in the title role.

## Cast

## InfoBox

| The School Teacher in the House | |
| --- | --- |
|  | |
| Directed by | Michele Massimo Tarantini |
| Produced by | Luciano Martino |
| Starring | Edwige Fenech |
| Cinematography | Giancarlo Ferrando |
| Music by | Franco Campanino |
| Release date | * 1978 (1978) |
| Country | Italy |
| Language | Italian |


title: Montana Logging and Ballet Co.

abstract: The Montana Logging and Ballet Company is an American comedy and political satire group, having performed around the U.S. from 1975 until their retirement in 2013. The group's four members, Tim Holmes, Steve Garnaas-Holmes, Rusty Harper and Bob FitzGerald, got their start at Rocky Mountain College in Billings, Montana. Holmes and Garnaas-Holmes are brothers. They recorded several albums and broadcast many short radio sketches. Their first album, Take the Barriers Down, 1987, features liner notes by Archbishop Desmond Tutu. Funds from the sale of these albums helped Tutu's transformative work for peaceful political change in South Africa prior to the first free elections in 1994, the focus of the title song. Like their first album, the second album We Don't Get It (1992) was arranged and produced by jazz guitarist Mundell Lowe; it also featured guitarist Tommy Tedesco. Their releases Solutions to Our Nations Problems, Take 1, (1999) and Take 2 (2001) featured selections from their regular appearances on National Public Radio's Sunday Weekend Edition, where they were billed as "resident political satirists" during the Clinton years. On the show they provided a series of short political satire sketches on the political issues of the day. After 37 years performing together the quartet called it quits with a final concert tour of their home state of Montana, preserved in a documentary film, Love is the Journey: The Montana Logging and Ballet Co., which aired on Montana PBS in 2012.

text:
# Montana Logging and Ballet Co.

**The Montana Logging and Ballet Company** is an American comedy and political satire group, having performed around the U.S. from 1975 until their retirement in 2013. The group's four members, Tim Holmes, Steve Garnaas-Holmes, Rusty Harper and Bob FitzGerald, got their start at Rocky Mountain College in Billings, Montana. Holmes and Garnaas-Holmes are brothers.

They recorded several albums and broadcast many short radio sketches. Their first album, *Take the Barriers Down*, 1987, features liner notes by Archbishop Desmond Tutu. Funds from the sale of these albums helped Tutu's transformative work for peaceful political change in South Africa prior to the first free elections in 1994, the focus of the title song. Like their first album, the second album *We Don't Get It* (1992) was arranged and produced by jazz guitarist Mundell Lowe; it also featured guitarist Tommy Tedesco.

Their releases *Solutions to Our Nations Problems, Take 1*, (1999) and *Take 2* (2001) featured selections from their regular appearances on National Public Radio's *Sunday Weekend Edition*, where they were billed as "resident political satirists" during the Clinton years. On the show they provided a series of short political satire sketches on the political issues of the day.

After 37 years performing together the quartet called it quits with a final concert tour of their home state of Montana, preserved in a documentary film, *Love is the Journey: The Montana Logging and Ballet Co.*, which aired on Montana PBS in 2012.

1. "Love is the Journey: The Montana Logging and Ballet Company". *PBS Video*. October 13, 2012. Retrieved 2015-10-21.
2. Asta Brown (November 9, 1988), "Presenting... the Montana Logging and Ballet Company", *The Christian Science Monitor*
3. "Montana Logging And Ballet Co. To Play Final Benefit Concert At UM - UM News - The University Of Montana". *news.umt.edu*. Archived from the original on 2012-09-06.
4. "NPR: MLBC segments index". *NPR*. Retrieved 3 November 2016.
5. "Mlbc". *NPR.org*. Retrieved 2015-10-20.
6. "Journal E: Millenium". *www.musarium.com*. Retrieved 2015-10-21.


title: Melvin Judkins

abstract: Melvin Paul Judkins was an American physician known for his contributions to the field of interventional cardiology. He developed specialized pre-shaped catheters to reach the coronary vessels via the aorta. Today, they are commonly used and known as Judkins catheters.

text:
# Melvin Judkins

**Melvin Paul Judkins** (May 3, 1922 – January 28, 1985) was an American physician known for his contributions to the field of interventional cardiology. He developed specialized pre-shaped catheters to reach the coronary vessels via the aorta. Today, they are commonly used and known as **Judkins catheters**.

## Early life and education

Judkins grew up near Los Angeles, California. Born into a family of medical professionals, including his father who was a physical therapist, Judkins developed a love for working with his hands. He received his Bachelor of Science in 1945 from Loma Linda University College of Arts and Sciences in Riverside, California, for his pre-medical courses. During that time, he worked in paper delivery, construction, tutoring, and, during WWII, wiring Liberty ships at the Kaiser Shipyards to pay for his early education. He continued on his path by enrolling at La Sierra college in an accelerated program which eventually led him to the College of Medical Evangelists, where he began his medical education. His educational expenses were supplemented by the Army and his continued work at the Kaiser Shipyards.

He spent his first year after education at Loma Linda Hospital (1946–1947) for his internship which was followed up by his specialty training in Urology. After a brief appointment as chief urologist, commissioned by the Army during WWII, at the Urology Section of the 28th General Hospital in Osaka, Japan, he and his wife started a private family medicine practice in Sumas, Washington. Here they built the practice from the bottom up, with Eileen acting as a physician's assistant, laboratory and x-ray technician, and taking care of the finances. Over time, the business expanded and the hours became demanding so they decided to return to California and establish a larger practice with more physicians, nurses, and dedicated staff in Antioch.

## Contributions to medicine

Growing disinterested in the routines of family practice, Judkins was convinced by a family physician friend, who had chosen to pursue radiology, to consider greener pastures. As a 40-year-old physician, finding a residency was proving to be difficult. After being rejected from Mayo Clinic, he moved to Portland, Oregon, to study radiology at University of Oregon Medical School (UOMS) under the leadership of Dr. Charles T. Dotter, known today as the father of interventional radiology. Dotter pioneered the understanding of catheter stented angiography. This became of particular interest to Judkins as well and they worked together to study and develop percutaneous transluminal dilatation of narrowed peripheral arteries. This procedure pioneered what would later develop into contemporary transluminal angioplasty techniques.

He continued his understanding of angiography at the Cleveland Clinic under Dr. F. Mason Sones, who focused on arteriography via the brachial artery and then at the University of Lund in Sweden under the guidance of radiologist Dr. Sven Seldinger. It was in Sweden where he helped develop the "hooktail" (U-shaped) catheter which was used to personalize each guidewire and catheter to the shape of each patient's aorta. He brought these new-found techniques back to UOMS in 1966 and started working to simplify the procedure to perform it without the use of general anesthesia to decrease the complications and risk associated. At this time, he was given the post of associate professor of radiology which came with the benefits of a newly fitted laboratory where he worked with colleagues to utilize these techniques to develop selective coronary catheterization. Over time, his namesake, the Judkins catheter, was developed using a heat-fixation method which permanently set the shape of a stiff wire inside of a catheter. He published these findings in *Radiology* in 1967 and by 1968, his preshaped Judkins catheters were being commercially produced.

## Late years

By 1969, he was promoted to the position of Director of Cardiovascular Radiology at UOMS and was subsequently offered a post as faculty at Loma Linda University. He took this offer and moved with his wife back to California, and took the positions of chair of the Department of Radiation Sciences and director of the cardiovascular laboratories from 1970–1978, during which time his labs were frequented by physicians from around the world. Judkins retired from active teaching in 1978 after suffering a stroke. He then continued to author several scientific articles alongside his wife, Eileen and spent his last years cultivating his love for model trains.

### Death

Judkins died on January 28, 1985, at 62 years of age.

### Personal

Judkins married Eileen Cobb in 1946, who worked as a student nurse at Loma Linda. Judkins and his father-in-law died on the same day.

## InfoBox

| Melvin Judkins | |
| --- | --- |
| Judkins performing a catheterization procedure with the aid of a female nurse | |
| Born | Melvin Paul Judkins
(1922-05-03)May 3, 1922 |
| Died | January 28, 1985(1985-01-28) (aged 62)
Riverside National Cemetery, Riverside, California |
| Occupation | Physician |
| Known for | Judkins catheter |
| **Medical career** | |
| Field | Interventional cardiology |
|  | |


title: Teststrip

abstract: Teststrip was an artist run gallery that operated in Auckland, New Zealand from 1992 to 1997.

text:
# Teststrip

**Teststrip** was an artist run gallery that operated in Auckland, New Zealand from 1992 to 1997.

## History

In late 1992 the artists Kirsty Cameron, Judy Darragh, Gail Haffern, Giovanni Intra, Denise Kum, Lucy Macdonald, Daniel Malone and Merylyn Tweedie formed the artist collective Teststrip. The Teststrip Gallery was opened the same year on the second floor of 10 Vulcan Lane in Auckland’s CBD where Daniel Malone was living at the time. In mid 1994 the gallery relocated to the first floor of 454 Karangahape Road. The new space had two galleries upstairs and a shop window exhibition space at street level. Writer and artist Stella Brennan described Teststrip as, “Sassy, careerist and self-aware, by its persistent charm Teststrip alerted others to the possible joys of running a gallery. This was clearly the case as shown by Teststrip acting as an inspirational model for artist run galleries such as FUZZIE VIBES, NewCall and Gambia Castle.

## Exhibitions

The first Teststrip exhibition in November 1992 was entitled *Stock Show* and included seven of the eight Teststrip members. In 1992 and early 1993 exhibitions were largely confined to the Teststrip collective members. Another early exhibition, this time also demonstrating Teststrip’s ambitious attitude, had nine of the artists travel to Wellington in March 1993 to present *Teststrip on tour* a group exhibition at Cubewell House in Wellington. Writer Stuart McKenzie noted that Teststrip shared, “a nostalgia for the avant-gard” and that, “the best of Teststrip is both iconoclastic and commanding.” Over the next five years, including an ongoing series of street front windows installations, Teststrip would present over 160 exhibitions. By 1994 a wider range of artists were being asked to exhibit including Matthew Hyland, Simon Cumming Ronnie van Hout, Billy Apple, Fiona Amundsen, Mikala Dwyer, Yuk King Tan and Annie O’Neill.

In May 1997 a Teststrip Window exhibition by artist Peter Robinson, a painting entitled *Pākehā have Rights too* featuring a Nazi swastika, caused controversy when it was covered in protesting graffiti. The last exhibition at Teststrip, *Gold Watch: new work from the Teststrip Board* included four of the original Teststrip members Cameron, Darragh, Kum and Malone plus Simon Cumming who had been with the group for most of the journey.

## Publishing

Many of the Teststrip exhibitions were accompanied by a small publication often back grounding the exhibition and produced as a series of publications presented as Teststrip Micrographs. The first of these was *Pose* compiled by Giovanni Intra and Susan Hillary for their exhibition of the same name in 1994. In all 26 Teststrip Micrographs were published in three series. The last Teststrip Micrograph was compiled by Daniel Malone for his exhibition *malone@artspace* in 2003. Matthew Hyland in reviewing Micrographs 1-10 outlines the history of their production describing them as, "distilling \[art’s\] essence so that the consumer has total control over her intake."

## Archive

A full list of all Teststrip exhibitions can be found in the book *Teststrip: the history of an artist run space (1992-1997)* and an archive of all issues of the Teststrip Micrographs is held at the E H McCormick Research Library, Auckland Art Gallery Toi o Tāmaki.

## InfoBox

Teststrip
| Teststrip gallery sign | |
| --- | --- |
| Established | 1992 |
| Dissolved | 1997 |
| Location | Vulcan Lane and Karangahape Road, Auckland |
| Type | Artist run gallery |


title: Rosamund Sutherland

abstract: Rosamund Sutherland was a British mathematics educator. She was a professor emeritus at the University of Bristol, and the former head of the school of education at Bristol.

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# Rosamund Sutherland

**Rosamund Sutherland** (née Hatfield, 1947–2019) was a British mathematics educator. She was a professor emeritus at the University of Bristol, and the former head of the school of education at Bristol.

## Education and career

Sutherland was born in Birmingham; her mother taught geography and her father was a physicist. The family moved to south Wales when she was young, and after attending Haberdashers' Monmouth School for Girls she became a student at the University of Bristol, where she met and married her husband, mechanical and biomedical engineer Ian Sutherland.

She worked briefly as a computer programmer, and then as a researcher at the University of Bristol while her husband completed his doctorate. After she and her family moved to Hertfordshire, she taught for The Open University and the Borehamwood College of Further Education. Through her position at The Open University she came to work with Celia Hoyles, who encouraged her to become an academic researcher in a project combining mathematics education with computer programming in the Logo programming language. She worked at the University of London from 1983 until 1995, when she was given a Chair in Education at the University of Bristol.

At Bristol, in 1997, she chaired a national committee that helped bring algebra to a more prominent position in secondary-school mathematics education. She was the head of the school from 2003 to 2006, and again in 2014. She also played a key role in improving educational opportunities for underprivileged youth in south Bristol.

She died on 26 January 2019.

## Books

Sutherland was the author or coauthor of several books or booklets on mathematics education, including:

* *Logo Mathematics in the Classroom* (Routledge / Chapman & Hall, 1989)
* *Exploring Mathematics with Spreadsheets* (with Lulu Healy, Blackwell, 1992)
* *Key Aspects of Teaching Algebra in Schools* (with John Mason, QCA, 2002)
* *A Comparative Study of Algebra Curricula* (QCA, 2002)
* *Screenplay: Children and Computing in the Home* (with Keri Facer, John Furlong, and Ruth Furlong, RoutledgeFalmer, 2003)
* *Teaching for Learning Mathematics* (Open University Press / McGraw Hill, 2007)
* *Improving Classroom Learning With ICT* (with Susan Robertson and Peter John, Routledge, 2009)
* *Education and Social Justice in a Digital Age* (Bristol University Press, 2014)

She also edited books including:

* *Theory of Didactical Situations in Mathematics (Didactique des Mathématiques, 1970–1990)* (by Guy Brousseau, edited and translated by Balacheff, Cooper, Sutherland, and Warfield, Kluwer, 1997)
* *Learning and Teaching Where Worldviews Meet* (edited with Guy Claxton and Andrew Pollard, Trentham, 2004)


title: Emlen Institute

abstract: Emlen Institution for the Benefit of Children of African and Indian Descent was an agricultural and industrial boarding school for African American and Native American Children in the United States. It was established in a bequest by Samuel Powers Emlen Jr., a prominent Quaker who lived in Burlington, New Jersey who died in 1837. Emlen left $20,000 for the "education, maintenance and instruction in school learning and in agriculture and mechanical trades or arts, of free male orphan children of African or Indian descent." It was established in Ohio with the acquisition of an existing manual labor school for African Americans in Carthagena, Ohio before relocating to Pennsylvania. It is unclear when it ceased operating. Several buildings from one of its locations in Pennsylvania are extant.

text:
# Emlen Institute

**Emlen Institution for the Benefit of Children of African and Indian Descent** was an agricultural and industrial boarding school for African American and Native American Children in the United States. It was established in a bequest by Samuel Powers Emlen Jr., a prominent Quaker who lived in Burlington, New Jersey who died in 1837. Emlen left $20,000 for the "education, maintenance and instruction in school learning and in agriculture and mechanical trades or arts, of free male orphan children of African or Indian descent." It was established in Ohio with the acquisition of an existing manual labor school for African Americans in Carthagena, Ohio before relocating to Pennsylvania. It is unclear when it ceased operating. Several buildings from one of its locations in Pennsylvania are extant.

## History

Emlen's trustees in 1838 were Philip Physick, William Smith, Dr. H.L. Hodge, Daniel B. Smith, William White, Nathaniel Chauncey, Dr. Casper Morris and Dr. William Shippen. Emlen Institution succeeded a manual labor school for African Americans in Carthagena, Ohio run by Augustus Wattles and his wife Susan Perley Wattles. They sold their property to the trustees of Emlen's estate in 1841, and continued on as superintendents. Facing bigoted discrimination from Democrats, Wattles departed in 1857 the school property was sold. The boarding school relocated to Solebury, Pennsylvania where it remained until 1873 when it was relocated again to Warminster. Samuel Beecher Hart, captain of the "Gray Invincibles" and a state legislator who proposed successful legislation for a monument to Pennsylvania's African American soldiers was an alumnus.

In 1881 the Israel H. Johnson the secretary of its board of trustees wrote in support of transferring six Quapaw Nation students from the Emlen Institute to the Carlisle Indian School.

Haverford College has a collection of documents from the school in its Quaker collection. St. Charles Seminary purchased its property in Ohio.


title: Yangan School of Arts

abstract: Yangan School of Arts is a heritage-listed school of arts at 7-9 King Street, Yangan, Southern Downs Region, Queensland, Australia. It was built in 1912. It was added to the Queensland Heritage Register on 21 October 1992.

text:
# Yangan School of Arts

**Yangan School of Arts** is a heritage-listed school of arts at 7-9 King Street, Yangan, Southern Downs Region, Queensland, Australia. It was built in 1912. It was added to the Queensland Heritage Register on 21 October 1992.

## History

Formed in 1897, the Yangan School of Arts erected their second building in 1912 on land acquired from the Railways Department on the southern side of King Street, Yangan. At that time Yangan was one of a number of small but prosperous Darling Downs towns.

The Yangan and Swanfels area (then named Loganvale) was explored by Allan Cunningham in 1827. In 1840 the Leslie brothers established Canning Downs, one of the station outposts being Heifer Creek whose first hut and stockyard were established at what became Yangan. The town developed to serve the surrounding industries of the Swanfels Valley: timber getting, sandstone quarrying, dairying, and mixed farming. Although a settlement (including a school, church, and police station) existed prior to 1884, it was the opening of the first stage of the Warwick to Killarney railway (including a station at Yangan) on 2 June of that year which provided the real impetus for further development. The Warwick to Killarney line was one of the earliest of the state's branch lines built to service short-distance traffic generated by farmers rather than squatters.

By 1900 Yangan had become "one of the most thriving centres on the Warwick-to-Killarney line. Here there are two cheese factories which have done an inestimable amount of good for the whole district. The township which is growing larger every year, has several stores, a couple of black-smith shops, a hall, ... and two boarding-houses. There was also a very natty little School of Arts and reading room".

The first School of Arts in Queensland was established in Brisbane in 1849. The Schools of Arts grew out of the mechanics' institutes first established in Great Britain in the early 19th century as part of the popular education movement to train working men for Britain's industrial expansion. In Australia, Schools of Arts (aka mechanics' institutes in other states) were often the only cultural and educational facility in newly established towns providing meeting rooms, halls, libraries, and technical education. Later as government assumed some of these responsibilities, the focus of the Schools of Arts became more recreational.

In Yangan, the School of Arts provided to subscribers a lending library and reading room (stocked with current journals and newspapers); its rooms were regularly rented to other local organisations. The School also provided a social focus for the district with (fundraising) entertainments regularly organised by the committee.

The first Yangan School of Arts building (erected c.1898) was located on the northern (high) side of King Street. In 1912 it was acquired by the local Masonic Lodge becoming the Yangan Masonic Hall. As early as 1899, plans were afoot to enlarge the single storeyed building to twice its existing size. In 1901 this work was undertaken by which time the School of Arts included a library room and smoke room. Further expansion including a billiard room was soon planned. In 1909 the committee approached the Railway Department with regard to providing a new site for the School of Arts. At this time it was apparently envisaged that the existing building would be removed.

However, in June 1912, tenders were called for a new School of Arts building. The site chosen formed part of some 8 acres of Yangan land acquired by the Commissioner for Railways in 1884 to enable the building of the railway line from Warwick to Killarney. Resub 1 of sub 1 of portion 205 containing 18.5 perches (now lot 1) was acquired by Trustees, Redmond Brewer, Alexander Kemp jnr, and Thomas Kirkland on behalf of the School of Arts in September 1911. The adjoining resub 2 (now lot 2) was acquired by the School of Arts in December 1914.

The plans prepared for the new School of Arts by W Kemp to the specification of the School of Arts Committee provided for a three roomed (reading room, library, and committee room) single skinned timber building with latticed verandah set flush with the foot-path. The tender of Sam Fagg for the sum of £264 was accepted.

Hitching posts were erected outside the building and "SCHOOL OF ARTS" was painted on the front of the building which was opened on 19 October 1912 by the Minister for Railways on the occasion of a visit by a Parliamentary party to the district. A short article in the Warwick Argus described the School of Arts as *"a well-found little institution of high public utility ... on Saturday night 80 books issued from the library."*

In April 1919, a World War I roll of honour was unveiled and a further roll of honour to World War II in 1949. During the post war period many such institutions were in decline. At the Annual General Meeting of the Yangan School of Arts in 1946 it was noted that support by the public was lacking but still, although the war had hampered the institution and owing to radio and pictures having their effect, \[they were\] still able to carry on. In 1947, a general meeting was held to consider the future of the institution.

Nearly fifty years later, despite the decline of the town's fortunes epitomised by the closure of the Warwick to Killarney railway on 1 May 1964, the Yangan School of Arts, unlike many of its sister institutions, lives on. Although with the recent introduction of a council mobile library service, the future of the School of Arts library is uncertain, the Yangan School of Arts remains a valuable local institution overseen by its Secretary of 43 years, Gus Mauch with its facilities used by more than a dozen local groups including the local play group, Ladies Guild, Queensland Country Women's Association, Queensland Dairymen's Organisation, National Party, Returned and Services League, Graingrowers, Bush Firebrigade, and Sports Association.

## Description

The village of Yangan lies in the Swanfels Valley some 18 kilometres (11 mi) to the east of Warwick, on the banks of Swan Creek. The School of Arts is a single-storeyed timber building situated on the southern side of King Street, the main street of Yangan. It sits on a flat, grassy site facing the few remaining shops on the northern side of the street. There is a gravel driveway leading from a secondary road which runs along the low side of King Street. Also on the site is a timber and corrugated iron toilet block to the east, and a tennis shed clad in fibrous cement to the south, neither of which are of cultural heritage significance. To the west and south of the site are clay tennis courts, and to the east is the Police Station and lock-up. Further to the south is the corrugated iron structure of the former Grain Shed, built about 1922.

The building is a simple, timber-framed structure on low timber stumps, with a hipped corrugated iron roof. The street or northern facade has a symmetrical verandah with a central gabled entry porch, and bull-nosed verandah roofs to either side. A timber parapet divides this from the roof over the main body of the building. There is a frieze of flat pressed metal panels to the entry porch, and to the ends of the bull nosed roofs. The porch ceiling is of tongue and groove boards, the remainder being unlined. The verandah has a dowelled and cross-braced timber balustrade with diagonal lattice panels above. There is a pair of dowelled gates to the entry. The original gates were taller and remnants of these still exist stored under the building. The verandah also has chamfered timber posts with timber capitals, and a cast iron lace frieze with brackets. The lacework is continued as spandrels between the paired timber posts, and as an archway over the entry. Leading onto the verandah are three pairs of French doors with tilting fanlights. The central entry doors are panelled, whilst the doors to either side are glazed. The cladding to this northern facade is chamferboard, but on the other three faces and the parapet this has been replaced by fibrous cement planks.

The rectangular plan is divided into the Reading Room, the Library and the Kitchen (formerly the committee room). The Reading Room is accessed from the verandah by two of the French doors, the Library from the third, and the Kitchen from a later ledged and partly braced door on the eastern side. The three windows to the Reading Room are aluminium sliders, and the windows to the Library and Kitchen are timber sashes. All of the windows have ripple iron hoods with cast iron lace brackets. The two internal doors are panelled, also with tilting fanlights.

The internal wall lining to the Reading Room and Library is vertical tongue and groove boarding, apart from the eastern wall of the Library where it has been removed. The walls to the Reading Room have a timber picture rail. The Kitchen walls are lined with fibrous cement sheet. All of the ceilings are also tongue and groove boards, with two pressed zinc ceiling roses to the Reading Room, and one each to the Library and Kitchen.

Mounted on the walls of the Reading Room are two war memorial honour boards. A matching pair made from silky oak and marble, the one on the eastern wall being for World War I, and the one on the western wall being for World War II and Vietnam. Also in the Reading Room are two timber reading tables reputedly dating from the opening of the building. The Library still houses a substantial collection of books.

## Heritage listing

Yangan School of Arts was listed on the Queensland Heritage Register on 21 October 1992 having satisfied the following criteria.

**The place is important in demonstrating the evolution or pattern of Queensland's history.**

In Queensland the Schools of Arts were the forerunners of the government operated public libraries, technical colleges, and cultural centres.

Formed in the late nineteenth century when the town was developing the infrastructure to support a thriving district, the Yangan School of Arts and its (second) building erected in Yangan's main street in 1912 are important reminders of those more prosperous times; the change reflected in the much reduced streetscape of King Street of which the School of Arts building and the Yangan Masonic Hall are an important part.

**The place demonstrates rare, uncommon or endangered aspects of Queensland's cultural heritage.**

Unlike many of its sister institutions in the state, both the building (which houses the district's war memorials) and the institution survive.

**The place is important in demonstrating the principal characteristics of a particular class of cultural places.**

Somewhat atypical for an institution of this size, is the centrality of the Reading Room and Library (whose book collection survives) to the institution's functions.

**The place is important because of its aesthetic significance.**

The School of Arts is in essence a simple timber vernacular public building, but its decorative frontal emphasis of the gabled entry porch and verandah clad in filigree screen is a deliberate gesture to demonstrate the civic prominence of the building, and to formally address the town's main street.

**The place has a strong or special association with a particular community or cultural group for social, cultural or spiritual reasons.**

The Yangan School of Arts has for nearly a century fulfilled an important cultural, educational, and social role for the town and its district.

### Attribution

This Wikipedia article was originally based on *"The Queensland heritage register"* published by the State of Queensland under CC-BY 3.0 AU licence (accessed on 7 July 2014, archived on 8 October 2014). The geo-coordinates were originally computed from the *"Queensland heritage register boundaries"* published by the State of Queensland under CC-BY 3.0 AU licence (accessed on 5 September 2014, archived on 15 October 2014).

Media related to Yangan School of Arts at Wikimedia Commons

## InfoBox

| Yangan School of Arts | |
| --- | --- |
| Yangan School of Arts, 1995 | |
| Location | 7-9 King Street, Yangan, Southern Downs Region, Queensland, Australia |
| Coordinates | 28°11′47″S 152°12′33″E / 28.1965°S 152.2093°E / -28.1965; 152.2093 |
| Design period | 1900–1914 (early 20th century) |
| Built | 1912 |
|  | |
| Queensland Heritage Register | |
| Official name | Yangan School of Arts |
| Type | state heritage (built) |
| Designated | 21 October 1992 |
| Reference no. | 600527 |
| Significant period | 1910s (fabric)
1912 ongoing (social)
1910s-1940s (historical) |
| Significant components | memorial – honour board/ roll of honour, school of arts, library – collection |
|  | |
|  | |
| Location of Yangan School of Arts in QueenslandYangan School of Arts (Australia) | |


title: Fleet Readiness Center Southeast

abstract: Fleet Readiness Center Southeast is a U.S. Navy maintenance, repair and overhaul depot-level facility located onboard Naval Air Station Jacksonville with intermediate-level detachments at Naval Air Station Jacksonville, Naval Station Mayport and Naval Air Station Key West.

text:
# Fleet Readiness Center Southeast

**Fleet Readiness Center Southeast** is a U.S. Navy maintenance, repair and overhaul depot-level facility located onboard Naval Air Station Jacksonville with intermediate-level detachments at Naval Air Station Jacksonville, Naval Station Mayport and Naval Air Station Key West.

## About

Fleet Readiness Center Southeast (FRCSE) is Northeast Florida and Southeast Georgia's largest maintenance, repair, overhaul and technical services provider. With annual revenue exceeding $1 billion, the organization serves as an integral part of the greater U.S. Navy, Naval Air Systems Command, and Commander, Fleet Readiness Centers by maintaining the combat airpower for America's military forces. FRCSE works with several organizations such as the Defense Logistics Agency and Fleet Logistics Center Jacksonville to combat delays in the supply chain. In 2021, FRCSE held a change of command welcoming a new commanding officer, Capt. Grady Duffey and a new executive officer, Capt. William "Al" Palmer. In June 2021, FRCSE was recognized by the Florida Sterling Counsel and FloridaMakes as a finalist for the Florida Sterling Manufacturing Business Excellence (SMBE) Award.

## Personnel

FRCSE employs more than 5,000 civilian, military and contract workers.

## Past Commanding Officers

* Colonel Frederick Schenk (May 2019 - April 2021)
* Captain Trent DeMoss (July 2017 - May 2019)
* Captain Charles Stuart (July 2015 - July 2017)
* Captain John Kemna (July 2013 - July 2015)
* Captain Robert Caldwell (July 2011 - July 2013)
* Rear Admiral Paul Sohl (July 2009 - July 2011)
* Rear Admiral Timothy Matthews (August 2007 - July 2009)
* Captain John Scanlan (August 2005 - August 2007)
* Captain David Beck (July 2003 - August 2005)

30°13′23″N 81°40′19″W / 30.2230°N 81.6719°W / 30.2230; -81.6719

## InfoBox

| Fleet Readiness Center Southeast | |
| --- | --- |
|  | |
| Active | 1940 - Present |
| Branch | U.S. Navy |
| Commanders | |
| Commanding Officer | CAPT Grady Duffey |
| Executive Officer | CAPT William "Al" Palmer |
| Command Master Chief | CMDCM LaSherrie James |


title: Hosoi Heishu

abstract: Hosoi Heishū was a Japanese teacher of Confucian thought during the Edo period. He belonged to the eclectic school of Confucian philosophy, and his thought can be considered as the starting point of the eclectic brand of Confucianism.

text:
# Hosoi Heishu

**Hosoi Heishū** (細井 平洲, August 3, 1728  June 29, 1801) was a Japanese teacher of Confucian thought during the Edo period. He belonged to the eclectic school of Confucian philosophy, and his thought can be considered as the starting point of the eclectic brand of Confucianism.

## Life

Born in Hirashima Village, Owari Province, to a wealthy scholar family who later gave up their status to become farmers, Hosoi spent the first nine years of his life there as a student in a local temple. On becoming the top student, he was sent to Kyoto and Nagoya at age 17 where he studied under Nakanishi Tanen. It was during this time that Hosoi gained an education in the Chinese classics and when he was a young adult, he began giving lectures to *daimyōs* and commoners. After being taught in Nagoya, Hosoi moved to Nagasaki, where he would remain for three years until he was forced to return home to take care of his ailing mother. After doing so, Hosoi moved back to Nagoya, where he opened up a school, but after a short time he decided to close the school down so that he could relocate to Edo in an effort to reestablish relations with his former teacher. In 1780, Hosoi was able to secure a position as a teacher in Owari, where he occupied areas of land to be used as places where he could give his lectures and educate the local people.

## Philosophy and thought

Hosoi's thought was a mixture of lessons from all the schools of Confucianism existent at the time. His philosophy emphasized practicality, independence of thought, and bringing the teachings of Confucius to the general population. He believed that the scholars of the other schools made the teachings too complicated and disliked any kind of speculative thought. The practical emphasis of his teachings, along his focus on the economic conditions of the common person won him many disciples, who gave him the name of Living Buddha. One of these disciples, Uesugi Yozan, would become famous as a model *daimyō*, using Hosoi as an advisor during his reform programs.

According to Hosoi's philosophy, there is an internal sincere purity within everyone as well as in the natural world. This purity, which he called *makoto*, was the basis for all ethical action. This purity is corrupted when a person enters into the world and lives their life on Earth. In order for harmony, peace, and understanding to come about among humanity, a person had to keep their makoto pure. The concept of makoto originated within the Shinto tradition, and throughout his philosophical writings and lectures, Hosoi draws extensively from Shinto beliefs.

### Views on women

Hosoi's view of women is similar to most Confucianist of the era, and his views can be said to closely resemble the perspective found in a work entitled *Greater Learning For Women*, which was written by Kaibara Ekken, a famous Confucianist of the Zhu Xi school. According to Hosoi's view, when a woman is in her childhood, the parents should refrain from spoiling her in order to keep her from developing a love of luxury, as well as being unable to adjust to the hardships of the married life. When the woman becomes an adult, she should become married and become a model of endurance, taking on abuse while caring for the mother-in-law and family.

## Political Work

The politics of the Yonezawa Domain were greatly influenced by Hosoi's teachings, particularly during the reign of Uesugi Yōzan, a *daimyō* who had been tutored by Hosoi since his youth. Hosoi lectured Yozan & other students on his conception of Confucian politics, and what proper statescraft was. For Hosoi, the *daimyō* was seen as a servant of Heaven, and that a faithful servant:

> does not forget for an instant that if despite his noble status, he does not reject luxury; if despite the wealth of his land; he does not reject lavishness, and if he does not serve as a parent of his people, he will have erred in his office of servant of Heaven and will have violated the filial piety that an heir owes his ancestors.

The success of the Yonezawa Domain in administration and economic reform was largely seen as a result of Hosoi's influence and Uesugi's dedication and diligence in following plans and ruling by the maxims of "To have no waste places in his domain" and "To have no idlers among his people". There was extensive land reclamation, agricultural training for all classes, and the development of a silk & lacquer industry . However, despite the success of the reforms, it is important to note that in Hosoi's political philosophy, loyal service is essential, and part of this loyal service is exalting one's superior. A ruler who was not infallible had to be protected by a virtuous person who was in his service. Hosoi believed that by concealing the ruler's mistakes and decadence, the people would not become corrupt and thus have a moral example that they could admire. As a result of this, Uesugi Yozan is traditionally revered throughout Japanese history as a ruler who was full of virtue and wise.

## Educator

As an educator, Hosoi placed emphasis on the individuality of each student present, and disliked education that involved teaching students collective thought. His beliefs in education can be seen in a letter he wrote to the Lord Of Yonezawa:

> I believe it is our first duty to teach the people to understand that an honest life is the chief of all duties; but we must not forget that each is endowed with distinct individuality. Uniformity in education should be maintained only through the living example of a virtuous teacher.


title: The Seminole's Trust

abstract: The Seminole's Trust is a 1910 American silent film produced by Kalem Company and directed by Sidney Olcott. It's a story of Seminole Indians.

text:
# The Seminole's Trust

***The Seminole's Trust*** is a 1910 American silent film produced by Kalem Company and directed by Sidney Olcott. It's a story of Seminole Indians.

## Production notes

The film was shot in Jacksonville, Florida.

* The Moving Picture World, vol 6, p 440; p 467
* The New York Dramatic Mirror, March 26, 1910, p 17

## InfoBox

| The Seminole's Trust | |
| --- | --- |
| Directed by | Sidney Olcott |
| Produced by | Sidney Olcott |
| Production
company | Kalem Company |
| Distributed by | General Film Company |
| Release date | * March 16, 1910 (1910-03-16) |
| Running time | 960 ft |
| Country | United States |
| Languages | Silent film
(English intertitles) |


title: Montana Meth Project

abstract: The Montana Meth Project (MMP) is a Montana-based non-profit organization founded by businessman Thomas Siebel which seeks to reduce methamphetamine use, particularly among teenagers. The organizations main approach includes television, radio, print, and internet public service announcements that graphically depict the negative consequences of methamphetamine use. Common elements are the deterioration of health and living conditions, amphetamine psychosis, moral compromise, and regret. As of 2010, the Meth Project has expanded its media campaign into seven additional states. In March 13, 2013, the Montana Meth Project, joined the Partnership for Drug-Free Kids.

text:
# Montana Meth Project

The **Montana Meth Project** (MMP) is a Montana-based non-profit organization founded by businessman Thomas Siebel which seeks to reduce methamphetamine use, particularly among teenagers. The organizations main approach includes television, radio, print, and internet public service announcements that graphically depict the negative consequences of methamphetamine use. Common elements are the deterioration of health and living conditions, amphetamine psychosis, moral compromise, and regret. As of 2010, the Meth Project has expanded its media campaign into seven additional states. In March 13, 2013, the Montana Meth Project, joined the Partnership for Drug-Free Kids.

## Efficacy

The ad campaign received mixed analysis on its effectiveness. Using data from the Youth Risk Behavior Surveys, a 2015 analysis found that "when accounting for a preexisting downward trend in meth use, \[Montana Meth Project's\] effects on meth use are statistically indistinguishable from zero."

A study was published in the *Journal of Marketing Research* validating the effectiveness of the Meth Project's advertising in deterring substance abuse. The researchers tested the effectiveness of several advertisements—including the Meth Project's—and found that ads that relied on fear alone to convey their message did not lead to immediate changes in attitudes or behavior. However, according to the study, the Meth Project ads that incorporated an element of “disgust,” such as rotting teeth, skin sores or infections, did compel viewers to “undertake distancing behaviors,” such as deciding not to use illegal drugs.

The study concludes that, "notably, the disgust and fear appeal condition in this study used an actual advertisement from the Montana Meth Project, a nationally recognized, award-winning program that uses high-impact advertising to reduce methamphetamine use . . . It was only the disgust-inducing fear appeal \[the Meth Project ad\] that significantly reduced future drug use, making it more effective in terms of persuasion and compliance.”

While the effectiveness of the campaign at reducing methamphetamine use is disputed, in 2010, the Meth Project was named the third most effective philanthropy in the world, up from #5 in 2009 on Barron's yearly rankings. In its efforts to effectively reach teens and change attitudes and behaviors toward meth, the MMP regularly conducts focus group research to refine its messaging and better understand how to connect with the state's youth. HBO has also partnered with the MMP on a documentary as part of its Addiction series.

Two surveys have been conducted that have investigated methamphetamine use amongst teenagers in Montana before and after the launch of the Meth Project's ads. The first survey is the CDC's youth risk behavior survey (YBRS). The YRBS data are listed below.

YRBS Data - Percentage of Montana Teens who have ever used meth:

| 1999 | 2001 | 2003 | 2005 | 2007 | 2009 |
| --- | --- | --- | --- | --- | --- |
| 13.5% | 12.6% | 9.3% | 8.3% | 4.6% | 3.1% |
|

The YRBS data indicates that teenage meth use in Montana has declined since the Meth Project's ad campaign was launched in 2005. The absolute drop in meth use since the ad campaign was introduced in 2005 is 5.2% - larger than any prior four-year period. However, the YRBS data also shows that meth use was dropping for at least 6 years prior to the launch of the ad campaign.

The other survey of teen meth use has been conducted by the Meth Project. The data from the Meth Project's survey are listed below.

| 2005 | 2006 | 2007 | 2008 |
| --- | --- | --- | --- |
| 2% | 6% | 4% | 3% |
|

According to the MMP's figures, before the ad campaign (2005), only 2% of teenagers had ever used meth. Six months after the launch of the ad campaign (2006), 6% reported using meth. In contrast to the YRBS data, the MMP's figures indicate that the percentage of teenagers using meth in Montana increased following the launch of the ad campaign. By 2008, 3% of teenagers reported using meth, still more than before the ad campaign commenced. However, the 2005 and 2006 MMP figures were based on un-weighted data that was tabulated from a total of 329 and 419 survey participants, respectively. In contrast, the 2007 and 2008 MMP data was weighted and compiled from 2,335 and 2,334 participants, respectively.

In press materials, the Meth Project commonly cites YRBS figure of a 45% decrease in meth use between 2005 and 2007. However the *absolute* drop for the period was 3.7%. In contrast, the Meth Project's own data for the same period show a 2% *absolute increase* in meth use, or a *100% relative increase*. The 2009 YRBS results for Montana showed meth use declining an additional 32% to 3.1%, or a total reduction of 62%.

According to a 2007 Montana State Office of Public Instruction Report, since the inception of the program in 2005, there has also been a 72% relative decrease in adult methamphetamine use, and a 62% relative decline in methamphetamine-related crimes. Additionally, the percentage of teenagers who are aware of meth's dangers increased from 25% to 93%, and Montana's ranking among U.S. states in meth abuse fell from #5 to #39.

### Office of National Drug Control Policy report

In November 2006, the Office of National Drug Control Policy (ONDCP) published a report, *Pushing Back Against Meth: A Progress Report on the Fight*, highlighting the impact of recently enacted State and Federal laws, such as the Combat Methamphetamine Epidemic Act (CMEA) of 2005, that restricted transactions for the over the counter drugs that can be used to manufacture methamphetamine. Based on the results of Quest Diagnostics' preliminary review of workplace drug tests conducted during the first five months of 2006, the nationwide adult usage of meth declined by 12% when compared to the same period in 2005. "Montana’s methamphetamine precursor law went into effect July 1, 2005. The Montana law is stricter than the CMEA in several important respects." Montana's workplace drug testing results showed a 69.4% decrease in positive tests for amphetamine. Montana's Attorney General and the MMP attribute Montana's decrease in adult meth usage to the MMP. However, the ONDCP reported: "The primary reason for this positive trend is the enactment of various State laws...which implemented restrictions on transactions involving products containing certain chemicals (primarily, ephedrine and pseudoephedrine) that can be used to make methamphetamine." However, the Attorney General countered, "The Montana Meth Project’s theoretical framework is based upon the prevention principles that individuals who believe that the use of a particular drug involves risk or harm and/or who disapprove of its use are less likely to use that drug. As seen in last year’s report, both the Montana Prevention Needs Assessment and the Meth Use & Attitudes Survey show that Montana teens perceive a much greater risk in trying meth than do their counterparts nationally. Since 2005, the perception of specific negative effects resulting from meth use has changed. Among teens, risks such as stealing, lack of attention to personal hygiene, and tooth decay increased significantly (11%, 7.5%, and 19% respectively). In this time, societal disapproval of meth use has also greatly increased in the state, with teens (87%), young adults (83%) and parents (97%) now voicing “strong” disapproval of trying meth even once or twice. Perhaps most importantly, parent-child discussions about the dangers posed by meth use have increased in number and frequency."

A critical review of the Montana Meth Project's advertising campaign was published in the peer-review journal *Prevention Science* in December 2008. The review examined the Meth Project's statistical methodology and data reporting. The review found that the Meth Project had selectively reported their research findings, focusing on unrepresentative positive findings and ignoring data suggesting that the campaign may be associated with harmful outcomes. The review found that the Meth Project's data suggests that exposure to the graphic ads may lead to an *increase* in the percentage of teenagers who believe that taking meth is socially acceptable and *not* dangerous. Such 'boomerang' effects in response to persuasive, graphic ads are not uncommon, and are predicted by the theory of psychological reactance.

The review found that the selective reporting of results by the Meth Project has led the media, politicians and the public to form distorted and inaccurate beliefs about the campaign's effectiveness. The public believes that the ad campaign is far more effective than the Meth Project's research findings indicate. The main recommendation of the review was that public funding and additional roll-outs of the program should cease until its effectiveness can be scientifically examined. The review concluded: "Politicians, the media, and prevention researchers also need to ensure that in future they critically evaluate any research released by the MMP, rather than assuming the organization’s press releases (and reports) are presenting data in a fair and balanced way. It is recommended that any future reports documenting the results of MMP’s use and attitudes surveys include complete statistical analyses for every question in the survey. This is because researchers and policymakers making decisions about MMP-style graphic advertising campaigns need access to all evidence, rather than a subset of findings that portray the MMP in a positive light.”

## Government funding and expansion

Many in the Montana state legislature hailed the project as a success, and moved to fund the previously privately funded project with tax dollars. The move to provide public funding for the Meth Project was opposed by some legislators and drug prevention and treatment professionals, who asserted that the Meth Project's effectiveness is unproven and that research shows that these type of media campaigns are ineffective. However, the Bush administration praised the MMP as a "model for the nation." As of 2009, the campaign has expanded to include the Arizona Meth Project, Idaho Meth Project, Illinois Meth Project, Wyoming Meth Project, Colorado Meth Project, and Hawaii Meth Project. The Georgia Meth Project was founded in 2009 with a planned launch in early 2010.

The governor of Montana, Brian Schweitzer, announced that he would review public funding for the Meth Project in early 2009, as a result of a critical review of the Meth Project published in an academic journal, which called for public funding of the Meth Project to be put on hold. In February 2009, the Montana legislature came under increased pressure to withdraw funding to the Meth Project after an analysis of Meth Project tax forms revealed that the Project spends large amounts of money on staff salaries and website costs. In May 2009, Schweitzer chose not to support an additional $500,000 proposed by state legislators for 2009–10, "given the economically difficult times," and stated that the Project would have to become "self-supporting" in the future. The Project was granted $500,000 for the next budget period.

## March Against Meth

The March Against Meth was a demonstration and rally in Helena, Montana on February 16, 2009. Over 2,300 students of all ages from across Montana marched from Helena High School to the Capitol where they delivered over 55,000 signatures of Montanans requesting funding from the Montana legislature for the project. It was the largest youth demonstration in Montana's history. The Meth Project and its supporters requested $2 million in state funding to continue to bring the "Not Even Once" message to Montana teens.

The March was criticized by some Montanans, who suggested some teenagers were lured to attend due to free giveaways of iPods and the presence of a blackhawk helicopter. The Montana media were also criticized for preannouncing the rally as a success before it had even taken place.

## Paint the State

Paint the State is a public art competition initiated by The Meth Project. The large-scale community action program, launched in Montana and Idaho in 2010, empowers teenagers to create artwork with a strong anti-Meth message that is clearly visible to the general public. Contestants are asked to use the Meth Project's “Meth: Not Even Once” tagline, logo or any other anti-Meth theme, to create art of any style and medium. The current 2010 campaigns are modeled after Montana's largely successful Paint the State 2006 contest, which inspired art from every county in the state for a total of over 650 works of art. The overwhelming response made Paint the State the largest public art contest in history. Entries in 2006 featured 12 languages, 47 art vehicles, 78 T-shirts, over 380 banners and flags and even a painted sheep.

### Sources


title: Melvin Jerome Brown

abstract: Melvin Jerome "Rome" Brown is an American chef who has worked for Colin Powell, Carl XVI Gustaf of Sweden, Cam Newton, Nancy Kerrigan, Priscilla Presley, and was personal chef to Shaquille O'Neal. His expertise is in Southern United States cuisine. In 1986 he enlisted in the United States Army as a cook and later was the area chef at Disney's Contemporary Resort.

text:
# Melvin Jerome Brown

**Melvin Jerome "Rome" Brown** (born July 6, 1967) is an American chef who has worked for Colin Powell, Carl XVI Gustaf of Sweden, Cam Newton, Nancy Kerrigan, Priscilla Presley, and was personal chef to Shaquille O'Neal. His expertise is in Southern United States cuisine.

In 1986 he enlisted in the United States Army as a cook and later was the area chef at Disney's Contemporary Resort.

## Personal life

Brown was born and raised in Newark, New Jersey and currently lives in Rocky Mount, North Carolina. He has two children Jasmine and Joshua who appeared with him on The 700 Club in 2007.

## Publications

Brown has authored two cookbooks: *Eat Like A Celebrity: Southern Cuisine with a Gourmet Twist* (released December 2013) and *Carolina Soul: The down home taste of the Carolinas* released (April 10, 2018). His first cookbook *Eat Like A Celebrity: Southern Cuisine with a Gourmet Twist*, was awarded 2014 Cookbook of the Year at the African American Literary Awards Show.

## Television

Brown has cooked for many celebrities and heads of state, including Shaquille O'Neal and the current King of Sweden. He has also made television appearances as a competitor on Extreme Chef on the Food Network, two appearances on The 700 Club where he was interviewed by Pat Robertson, and *I've Got Skills* on ESPN.

1. CBN.com (Feb 21, 2007). "In the Kitchen with Chef Jerome". CBN.com.
2. blackenterprise.com (Oct 21, 2014). "Celebrity Chef Jerome Brown Dishes On Culinary Leadership". blackenterprise.com.
3. Karima Mariama-Arthur (Apr 26, 2011). "Local chef serves the stars". rockymounttelegram.com.
4. Tanisha Davis (Aug 7, 2019). "Celebrity Chef Jerome Brown Talks About His New Cookbook, 'Carolina Soul' & Shares a Quick 30-Minute Recipe!". sheenmagazine.com.
5. Jessica Jones (Nov 2007). "Rome's New Empire". dmagazine.com.
6. WRAL (Jul 3, 2011). "Chef Jerome's recipes". wral.com.
7. CBN (Dec 13, 2006). "Jerome Brown is Born to Cook". cbn.com.

## InfoBox

| Melvin Jerome Brown | |
| --- | --- |
| Born | (1967-07-06) July 6, 1967<br>Newark, New Jersey |
| Spouses | *   Brenda Petty  (m. 1990; div. 1993) *   Gail Paschall   (m. 1996; div. 2003) |
| Children | 2 |
| **Culinary career** | |
| Cooking style | Southern cuisine |
| Previous restaurant(s) | |
| Television show(s) | |
|  | |
| Website | http://www.CookWithRome.com |


title: Tests (album)

abstract: Tests is an album by The Microphones. It was first released as a cassette tape on Knw-Yr-Own in 1998. A CD release by Elsinor followed in the same year, but the track listing was a mixture of The Microphones's three previous albums: Microphone, Wires and Cords, and the Tests cassette. Most of the material was recorded at The Business while Elverum worked there. Tests was re-issued on cassette in an edition of 20 by P.W. ELVERUM & SUN, ltd. The re-issue was to celebrate Record Store Day 2011 and was only available at The Business in Anacortes, WA. A few additional copies were sold online via P.W. ELVERUM & SUN, ltd.

text:
# Tests (album)

***Tests*** is an album by The Microphones. It was first released as a cassette tape on Knw-Yr-Own in 1998. A CD release by Elsinor followed in the same year, but the track listing was a mixture of The Microphones's three previous albums: *Microphone*, *Wires and Cords*, and the *Tests* cassette. Most of the material was recorded at The Business while Elverum worked there.

*Tests* was re-issued on cassette in an edition of 20 by P.W. ELVERUM & SUN, ltd. The re-issue was to celebrate Record Store Day 2011 and was only available at The Business in Anacortes, WA. A few additional copies were sold online via P.W. ELVERUM & SUN, ltd.

## Track listing

### Cassette

Side A 1. "Microphone Part 2"
2. "Tests" (Phil version)
3. "Feedback Love"
4. "Bomb on Tape Deck Mt."
5. "Tape Deck Ghost"
6. "Bass Leftovers"
7. "Like A Piranha"
8. "Assault on Tape Deck Mt."
9. "Spy Cameras"
10. "Drums That No One Played / El Nino"
11. "Death on Tape Deck Mt."
12. "The Last Night of the Year"

Side B 1. "PreAmp"
2. "Rebirth on Tape Deck Mt."
3. "Eyes for Volume"
4. "Quiet Groove"
5. "OH ANNA"
6. "Summer Electricity"
7. "Little Songs"
8. "Anacortes Has a Secret Love"
9. "Night Time, Then Sleep"

### CD

1. "Tests" – 1:36
2. "Feedback Love" – 2:46
3. "Tape Deck Ghost" – 3:22
4. "Like a Piranha" – 4:05
5. "Soundwaves" – 3:01
6. "Drums That No One Played / El Nino" – 2:22
7. "Anacortes Has a Secret Love" – 3:11
8. "Oh Anna" – 3:20
9. "Spy Cameras" – 3:37
10. "Witch Doctor" – 2:35
11. "Monsters" – 3:49
12. "The Last Night of the Year" – 4:54
13. "PreAmp" – 2:29
14. "Quiet Groove" – 2:59
15. "Little Songs" – 4:18
16. "Microphone Pt. 1" – 2:02
17. "Microphone Pt. 2" – 2:23
18. "Eyes for Volume" – 2:43
19. "Wires and Cords" – 6:35

## InfoBox

| Tests | |
| --- | --- |
|  | |
| Compilation album by The Microphones | |
| Released | 1998, 2011 (1998, 2011) |
| Studio | The Business |
| Genre | Indie folk, experimental rock, experimental |
| Length | 61:56 (CD) |
| Label | Knw-Yr-Own (KYO30)
Elsinor (els 029)
P.W. ELVERUM & SUN, ltd. |
| The Microphones chronology | |
| *Wires and Cords*
(1997) ***Tests***
(1998) *Don't Wake Me Up*
(1999) | |


title: Latheron

abstract: Latheron is a small village and civil parish in Caithness, in the Highland area of Scotland, centred on the junction of the A9 with the A99. The Clan Gunn Heritage Centre and Museum is housed in the old Parish Church. The church was donated to the Society in 1974 and with financial support from the Highlands and Islands Development Board, Caithness District Council and the Scottish Countryside Commission the clan society converted it into a museum; it was officially opened on 22 August 1985.

text:
# Latheron

**Latheron** (from Scottish Gaelic  *Latharn* 'muddy place') is a small village and civil parish in Caithness, in the Highland area of Scotland, centred on the junction of the A9 with the A99.

The Clan Gunn Heritage Centre and Museum is housed in the old Parish Church (built in 1734). The church was donated to the Society in 1974 and with financial support from the Highlands and Islands Development Board, Caithness District Council and the Scottish Countryside Commission the clan society converted it into a museum; it was officially opened on 22 August 1985.

## InfoBox

| Latheron | |
| --- | --- |
| Clan Gunn Heritage Centre | |
| LatheronLocation within the Caithness area | |
| OS grid reference | ND199335 |
| Civil parish | * Latheron |
| Council area |  |
| Lieutenancy area |  |
| Country | Scotland |
| Sovereign state | United Kingdom |
| Post town | LATHERON |
| Postcode district | KW5 |
| Dialling code | 01593 |
|  | |
| Police | Scotland |
| Fire | Scottish |
| Ambulance | Scottish |
|  | |
| UK Parliament |  |
| Scottish Parliament |  |
|


title: Englewood, California

abstract: Englewood is an unincorporated community in Humboldt County, California. It is located 0.5 miles (0.8 km) east-southeast of Redcrest, at an elevation of 364 feet. In 2009, the area was the site of a few homes and a derelict Eel River Sawmills mill. Englewood post office was opened in 1880 "on the Davis place 7 miles from Camp Grant," with Henry D. Davis as postmaster. It operated from 1880 to 1891. The Englevale post office operated from 1893 to 1894. H.S. Shaw was editor of the Englewood Star newspaper "some years before" 1888. In August 1888, H.H. Niebur wrote in a newspaper article that he and his family had traveled, while "on a pleasure trip," from Phillipsville to Englewood, a distance of 22 miles, "mostly through redwoods, with very little oak, either white or red," passing over the mouth of the South Fork of the Eel River at then to the Englewood prairie. In the latter, they found the post office and a hotel kept by Mr. and Mrs. H. Davis "and a farm owned by Mr. Sears."

text:
# Englewood, California

40°23′48″N 123°56′20″W / 40.39667°N 123.93889°W / 40.39667; -123.93889

**Englewood** (formerly **Englevale**) is an unincorporated community in Humboldt County, California. It is located 0.5 miles (0.8 km) east-southeast of Redcrest, at an elevation of 364 feet (111 m). In 2009, the area was the site of a few homes and a derelict Eel River Sawmills mill.

Englewood post office was opened in 1880 "on the Davis place 7 miles from Camp Grant," with Henry D. Davis as postmaster. It operated from 1880 to 1891. The Englevale post office operated from 1893 to 1894.

H.S. Shaw was editor of the Englewood *Star* newspaper "some years before" 1888.

In August 1888, H.H. Niebur wrote in a newspaper article that he and his family had traveled, while "on a pleasure trip," from Phillipsville to **Englewood**, a distance of 22 miles, "mostly through redwoods, with very little oak, either white or red," passing over the mouth of the South Fork of the Eel River at then to the Englewood prairie. In the latter, they found the post office and a hotel kept by Mr. and Mrs. H. Davis "and a farm owned by Mr. Sears."

## Further reading

## InfoBox

| Englewood | |
| --- | --- |
| Unincorporated community | |
| EnglewoodLocation in CaliforniaEnglewoodEnglewood (the United States) | |
| Coordinates: 40°23′48″N 123°56′20″W / 40.39667°N 123.93889°W / 40.39667; -123.93889 | |
| Country | United States |
| State | California |
| County | Humboldt County |
| Elevation | 364 ft (111 m) |


title: The School Room

abstract: The School Room is a rock climbing training facility in Sheffield, South Yorkshire, England. The facility was originally built in 1993 by Gavin Ellis, Ben Tye and Andy Coish, as conditions at Peak District Limestone venues were not always ideal. The facility was made famous by its reputation for its extremely difficult problems. Many notable international rock climbers were trained at The School Room, including Ben Moon, The School Room received its name from the fact that its original location, in the Heeley Bank School community centre, formed a portion of an old school building. Another portion of the building was used for an art studio. The facility consisted of four plywood climbing walls, which are covered with wooden and plastic holds, at angles of between 15 and 52 degrees. In 2006, the School Room was under threat of closure and Sheffield City Council had asked all users of the centre to vacate the premises. Despite a successful petition was established to save the facility, the original School Room closed in 2006, but was reopened with the same walls in a different warehouse space in 2014 by Moon.

text:
# The School Room

**The School Room** is a rock climbing training facility in Sheffield, South Yorkshire, England. The facility was originally built in 1993 by Gavin Ellis, Ben Tye and Andy Coish, as conditions at Peak District Limestone venues (at which they trained) were not always ideal. The facility was made famous by its reputation for its extremely difficult problems. Many notable international rock climbers were trained at The School Room, including Ben Moon,

The School Room received its name from the fact that its original location, in the Heeley Bank School community centre, formed a portion of an old school building. Another portion of the building was used for an art studio. The facility consisted of four plywood climbing walls, which are covered with wooden and plastic holds, at angles of between 15 and 52 degrees.

In 2006, the School Room was under threat of closure and Sheffield City Council had asked all users of the centre to vacate the premises. Despite a successful petition was established to save the facility, the original School Room closed in 2006, but was reopened with the same walls in a different warehouse space in 2014 by Moon.

53°23′10″N 1°28′34″W / 53.386°N 1.476°W / 53.386; -1.476


title: The Seminole Halfbreeds

abstract: The Seminole Halfbreeds is a 1910 American silent film produced by Kalem Company and directed by Sidney Olcott.

text:
# The Seminole Halfbreeds

***The Seminole Halfbreeds*** is a 1910 American silent film produced by Kalem Company and directed by Sidney Olcott.

## Production notes

The film was shot in Jacksonville, Florida.

* The Moving Picture World, Vol 6, p 795, p 941
* The New York Dramatic Mirror, 28 mai 1910, p 21

## InfoBox

| The Seminole Halfbreeds | |
| --- | --- |
| Directed by | Sidney Olcott |
| Produced by | Sidney Olcott |
| Production
company | Kalem Company |
| Distributed by | General Film Company |
| Release date | * May 20, 1910 (1910-05-20) |
| Running time | 930 ft |
| Country | United States |
| Languages | Silent film
(English intertitles) |