title: Honopū Valley

abstract: Honopū Valley is a landmark valley within Nā Pali Coast State Park along the northwest shore of Kauaʻi, Hawaiʻi, United States. It is known for its distinctive natural arch, which at approximately 90 feet (27 m) tall is the tallest in Hawaii. At the lower end of the valley is Honopū's secluded, 0.25-mile (0.40 km) beach, also known as Cathedral Beach. Honopū means "conch shell", and the valley's name is derived from the conch shell-like sound its arch makes when hit by winds from the north.

text:
# Honopū Valley

**Honopū Valley** is a landmark valley within Nā Pali Coast State Park along the northwest shore of Kauaʻi, Hawaiʻi, United States. It is known for its distinctive natural arch, which at approximately 90 feet (27 m) tall is the tallest in Hawaii. At the lower end of the valley is Honopū's secluded, 0.25-mile (0.40 km) beach, also known as Cathedral Beach.

Honopū means "conch shell", and the valley's name is derived from the conch shell-like sound its arch makes when hit by winds from the north.

## History

Honopū Valley and Beach sit along the northwest shore of the Hawaiian island of Kauaʻi, on the Na Pali coast. The valley is isolated and not easily accessible except by water. No landing of any aircraft or boat is allowed in Honopū Valley or on its beach, so visitors must swim from an offshore boat or from neighboring Kalalau Beach.

The valley, because of the mystery surrounding the exodus of the people who lived there until the mid-19th century, is sometimes called "the valley of the lost tribe." In 1922, visiting archaeologists found several skulls thought to be primitive, pre-Hawaiian people. Later studies of the valley and its artifacts determined all of its residents were clearly Hawaiian, but the erroneous legend endures.

As the valley is so hidden and isolated, it is believed to be spiritual: it is a place of temples and burial grounds, and the source of many Hawaiian legends and myths. The burial site for the local chiefs was located on the surrounding cliffs. It was believed that once a chief died, his bones held a supernatural power, and if found by others they could be used against the chief's tribe. When chiefs died, their bones were collected and taken to the cliffs, and the warrior who transported the bones had to die in order to ensure the secrecy of the location of the bones.

In 1983 3 people from a sailboat while climbing up the arch discovered a skeleton while exploring the valley that led to the source of waterfall that fell on the beach. A skull and vertebrae were eroding out of the soil and the vertebrae were rolling down the incline from the steep location. Many unfortunate actions occurred after this exploration, including the close call of the sailboat being blown onto the rocks that the 3 explorers had anchored on Honopu Bay.

The land on Honopū Valley is highly fertile; a castaway could survive there simply on the large amount of wild fruit, such as guavas and grapefruit, that grows along its coast.

## Menehune

The only available information about the ancient mythological Menehune people of Polynesia comes from the stories told by natives. Native Hawaiians refer to the Menehune as being the “kamaʻaina”, or "children of the land". While they may simply be mythical, the Menehune are said to have lived throughout the Hawaiian Islands, including Kauai, which they inhabited in large numbers. The Honopu Valley is also known as "the valley of the lost tribe" because it was the home of the last Menehune.

## Travel

Honopū Ridge, above the cliffs, can be visited with a few miles' walk. The view along the way includes that of the ocean and the beach of Honopū. There are tour boats that travel along the coast and helicopters offering aerial views of the valley. The Kalalau Trail ends near Honopū Valley.

## Honopū Valley in film

Aircraft and boats that are part of Hollywood film productions are the only ones allowed in Honopū Valley. Honopū Valley is perhaps most famous for its appearances in the 1976 remake of *King Kong* and in the 1998 movie *Six Days Seven Nights*.

In the 1976 remake of *King Kong* the beaches and jungles of Kauai, Hawaii stood in for South Pacific. Originally only the jungle scenes were to be shot in Hawaii and the rest on Zuma Beach, California. Producer Dino De Laurentiis, however, was so pleased with Hawaii that he decided to film all the beach scenes at Honopū and Kalalau Valley. The producers and production crew of *King Kong* were told that Honopū Valley was uninhabited, but on the day that they arrived to start filming, they were shocked to find honeymooners on the beach. Scenes that involved filming in the ocean were hard to film due to the 12-foot-high waves. Most of the crew got seasick and one filming boat almost capsized. Examples of involved scenes are when the party arrive on Skull Island and the nighttime arrival to rescue Dwan; other scenes are the arrival of equipment to capture King Kong and Fred Wilson directing the rescue mission.

For the film *Six Days Seven Nights*, Hawaii stood in for French Polynesia. Among the scenes filmed on Honopū Beach is the one in which Harrison Ford runs from pirates. The arch is also included in the film.

Other Hollywood movies filmed in Honopū Valley include *Honeymoon in Vegas*, *Acapulco Gold*, and *Raiders of the Lost Ark*. More recently the beach and surrounding scenery were used as location for the fourth in the *Pirates of the Caribbean* series of movies, *On Stranger Tides* (2011).

## InfoBox

| Honopū Valley | |
| --- | --- |
| View of the Honopū valley | |
| HonupūKauai CountyHonupūHonupū (Hawaii) | |
| Geography | |
| Coordinates | 22°09′35″N 159°39′53″W / 22.15972°N 159.66472°W / 22.15972; -159.66472 |


title: Arras-class aviso

abstract: The Arras class, sometimes known as the Amiens class, were a series of aviso built for the French Navy at the end of World War I.

text:
# Arras-class aviso

The ***Arras* class**, sometimes known as the *Amiens* class, were a series of aviso (also referred to as sloops) built for the French Navy at the end of World War I.

## Design and development

A total of forty three fast "first-rate" avisos for convoy escort duties. These ships were ordered under 1916 and 1917 building programmes for the French Navy and all were named after places on the Western Front lines. Built in nine different military and civilian dockyards across France, The first of which, *Arras*, entered commission May 1918. The signing of the Armistice of 11 November 1918 marked the end of the First World War, and the final thirteen planned *Arras*-class ships were cancelled. The remaining ships were slowly completed from 1919 to 1924.

The ships were modelled after the success of British Q-ships, military ships purposely designed to resemble three-island type merchant cargo ships to deceive enemy U-boats. As such, like merchant ships they were considered roomy for their size and remained dry in head seas.

The *Arras* class had a length between perpendiculars of 72 metres (236 ft 3 in) and an overall length of 75 metres (246 ft 1 in) with a width of 8.7 metres (28 ft 7 in) and a draught of 3.2 m (10 ft 6 in). At normal displacement the ships were 860 tonnes (850 long tons). The majority of the ships were powered by oil-fired twin-shaft Parsons steam turbine engines and carried 200 tonnes (200 long tons) of fuel oil. The exceptions were *Craonne*, *Liévin*, *Montmirail*, *Mondement*, *Baccarat* and *Bethune* which were coal-fired and carried 188 tonnes (185 long tons) of coal and had two du Temple boilers or Normand boilers. The range of *Arras*-class ships was 3,000 nautical miles (5,600 km; 3,500 mi) at 11 knots (20 km/h; 13 mph). Oil-fired ships were faster, and capable of reaching 22 knots (41 km/h; 25 mph) while coal-fired ships were slower.

The *Arras* class were armed with two single 138 mm (5 in)/55 Modèle 1910 guns in unshielded mounts with wide broadside arcs, located fore and aft of the amidships island where they could be disguised as cargo-handling booms until brought into action against a submarine (the submarine's easiest attack angle would place it naturally on broadside to the aviso, obviating the need for heavy bow fire). Secondary armament consisted of a single 75 mm (3 in)/62.5 Modèle 1908 gun on a central high-angled mount as anti-aircraft artillery. Initially armed with four single 8 mm (0.31 in)/80 Modèle 1914 machine guns, these were later replaced with four single 13.2 mm/76 Modèle 1929 machine guns. Some ships were briefly armed with two single 145 mm (6 in)/48.5 Modèle 1916 Army-pattern guns.

## Service history

Ships completed before the end of the war participated in the trans-Atlantic convoys. In the Interwar period the avisos *Belfort*, *Épernay*, *Lunéville*, *Péronne*, *Revigny* in November 1927 and *Reims* in 1928, were loaned to the *Compagnie générale aéropostale*. While in *Compagnie générale aéropostale* service *Épernay* caught fire and was destroyed off of Natal in 1930. The surviving ships were returned to French naval service in 1931. *Bar-le-Duc* foundered and was stricken off of Lesbos while escorting Wrangel's fleet during the Allied intervention in the Russian Civil War in 1920. Other ships were reassigned to a variety of duties. *Les Éparges* and *Ypres* were disarmed and converted to survey vessels. *Vauquois* and *Remiremont* were used as training ships. *Bapaume* was temporarily given a flight deck from bow to bridge for takeoff training for French Naval Aviation under a plan devised by naval aviation pioneer Paul Teste between 1920 and 1924. *Belfort* was converted to a seaplane tender.

At the start of the Second World War in 1939, nineteen *Arras*-class avisos had been retired and only eleven still remained in active service. Several ships of the class were active in the evacuation of Allied Forces after the collapse of France in June 1940. One of which, *Vauquois* was sunk by a naval mine on 18 June 1940. After the Armistice of 22 June 1940 was signed between Nazi Germany and the French Third Republic, the French Navy became split in two. French Navy ships in British ports were interned and soon passed to the fledgling Free French Naval Forces. These were *Amiens*, *Arras*, *Belfort*, *Coucy*, and *Epinal*. Those ships still in France and her colonial empire swore allegiance to the new collaborationist Vichy French government of Philippe Pétain. *Calais* participated in the defence of Dakar in September 1940. *Tahure*, which was stationed in Vichy-controlled French Indochina during the French-Thai war and participated in the Battle of Koh Chang on 17 January 1941. *Tahure* was sunk by USS *Flasher* (the United States having declared war on the Vichy French government with Operation Torch) on 29 April 1944. While in Vichy French service, *Lassigny* was retired in 1941 and *Ypres* (formerly *Dunkerque*) was retired April 1942. *Les Éparges* was scuttled at Toulon on 27 November 1942 but was raised by Germany and converted to a minesweeper. She was renamed *M 6060* and commissioned into the Kriegsmarine on 5 May 1943. She was in the process of being converted to an escort shipped and renamed *SG25* when she caught fire and work on her was abandoned on 1 March 1944.

After the war the surviving ships of the class were returned to France and broken up, the last remaining *Arras*-class ship, *Amiens* was scrapped 13 October 1949.

## Ships

Cancelled ships were *Betheny*, *Chalons*, *Château-Thierry*, *Compiègne*, *Douaumont*, *Fère-Champenoise*, *Gerbeviller*, *Noyon*, *Roye*, *Saint-Dié*, *Senlis*, *Soissons* and *Souchez*.

| Name | Builder | Laid down | Launched | Notes | Fate |
| --- | --- | --- | --- | --- | --- |
| *Amiens* | Forges et Chantiers de la Méditerranée (FCM), La Seyne-sur-Mer | 1918 | May 1919 | Armed with experimental twin-mounted Canon de 37 mm Modèle 1935 in 1940. Seized by the British 3 July 1940 in Portsmouth as part of Operation Catapult. Transferred to the Free French Naval Forces (FNFL). | Sold for breaking up 13 October 1949. |
| *Arras* | Arsenal de Brest, Brest | 1917 | July 1917 | Seized by the British 3 July 1940 in Portsmouth as part of Operation Catapult. Transferred to the FNFL and used as a Barracks ship. Cannibalised for parts for *Amiens*. | Sold for breaking up February 1946. |
| *Baccarat* | Chantiers et Ateliers de Provence (CAP), Port-de-Bouc | 1919 | January 1918 |  | Sold for breaking up 1933. |
| *Bapaume* | Arsenal de Lorient, Lorient | 1917 | August 1918 | Flight deck temporarily added (from bow to bridge) July 1920. | Sold for breaking up 1937. |
| *Bar-le-Duc* | Arsenal de Lorient, Lorient | 1917 | 1918 | Stranded near Lesbos while escorting Wrangel's fleet to Bizerte during the Allied intervention in the Russian Civil War. | Sunk 13 December 1920. |
| *Belfort* | Arsenal de Lorient, Lorient | 1918 | March 1919 | Leased to the Compagnie générale aéropostale from 1927 to 1931. Converted to a seaplane tender in 1935. Participated in the evacuation of British forces at Dunkerque 29 May 1940. Seized by British forces at Portsmouth 3 July 1940. Transferred to the FNFL and used as a Barracks ship. | Sold for breaking up 22 November 1946. |
| *Béthune* | Chantiers et Ateliers de Provence (CAP), Port-de-Bouc | 1920 | July 1921 |  | Sold for breaking up 1934. |
| *Calais* | Forges et Chantiers de la Méditerranée (FCM), La Seyne-sur-Mer | 1918 | November 1919 | Passed to Vichy France 10 July 1940, participated in the Battle of Dakar. | Sold for breaking up 26 November 1946. |
| *Coucy* | Ateliers et Chantiers de Saint-Nazaire Penhoët, Saint-Nazaire | 1918 | June 1919 | Seized by the British 3 July 1940 in Portsmouth as part of Operation Catapult. | Sold for breaking up 26 February 1946. |
| *Craonne* | Forges et Chantiers de la Méditerranée (FCM), La Seyne-sur-Mer | 1917 | January 1920 |  | Sold for breaking up 1935. |
| *Dunkerque* | Arsenal de Brest, Brest | 1917 | July 1918 | Renamed *Ypres* 1928. Converted to survey vessel and disarmed. Passed to Vichy France 10 July 1940. | Sold for breaking up April 1942. |
| *Épernay* | Forges et Chantiers de la Méditerranée (FCM), La Seyne-sur-Mer | 1918 | September 1919 | Leased to the Compagnie générale aéropostale from 1927 to 1930. 8 August 1930, destroyed by fire in Natal, Brazil. | Sold for breaking up 1934. |
| *Épinal* | Ateliers et Chantiers de Saint-Nazaire Penhoët, Saint-Nazaire | 1918 | August 1919 | Two 138 mm Modèle 1910 guns replaced by two 145 mm (6 in)/45 Modèle 1910 army guns. Participated in the evacuation of British forces at Dunkerque 29 May 1940. Seized by British forces at Portsmouth 3 July 1940. Transferred to the FNFL. | Sold for breaking up December 1946. |
| *Lassigny* | Ateliers et Chantiers de Bretagne (ACB), Nantes | 1918 | July 1919 | Passed to Vichy France 10 July 1940. | Sold for breaking up in French Morocco 31 October 1941. Hulked in Bizerte, French Tunisia. Scuttled by retreating Royal Italian Army forces July 1943 during the Tunisian Campaign. |
| *Les Éparges* | Ateliers et Chantiers de Bretagne (ACB), Nantes | 1918 | September 1919 | Disarmed in the 1920s and converted to a survey vessel. Passed to Vichy France 10 July 1940. Scuttled 27 November 1942 to prevent seizure by Nazi Germany during Operation Anton. Refloated by the Germans in December 1942 and converted to a minesweeper. Renamed *M6060* and recommissioned 5 May 1943. Work on conversion to a *Schnelles Geleitboot* (Fast escort ship) was started and the ship was renamed *SG25*. Damaged by fire 1 March 1944 and never completed. | Scuttled |
| *Liévin* | Forges et Chantiers de la Méditerranée (FCM), La Seyne-sur-Mer | 1917 | March 1920 |  | Sold for breaking up 1935. |
| *Lunéville* | Forges et Chantiers de la Méditerranée (FCM), La Seyne-sur-Mer | 1917 | January 1920 | Leased to the Compagnie générale aéropostale from 1927 to 1931. | Sold for breaking up 1935. |
| *Montdement* | Forges et Chantiers de la Méditerranée (FCM), La Seyne-sur-Mer | 1918 | January 1920 |  | Sold for breaking up 1935. |
| *Montmirail* | Forges et Chantiers de la Méditerranée (FCM), La Seyne-sur-Mer | 1918 | September 1920 |  | Sold for breaking up 1933. |
| *Nancy* | Arsenal de Cherbourg, Cherbourg | 1917 | March 1919 |  | Sold for breaking up 1938. |
| *Péronne* | Forges et Chantiers de la Méditerranée (FCM), Le Havre | 1917 | March 1920 | Leased to the Compagnie générale aéropostale from 1927 to 1931. | Sold for breaking up 1935. |
| *Reims* | Arsenal de Brest, Brest | 1917 | July 1918 | Leased to the Compagnie générale aéropostale from 1928 to 1931. | Sold for breaking up 1938. |
| *Remiremont* | Forges et Chantiers de la Gironde (FCG), Bordeaux | 1917 | July 1920 | Converted to a training ship in 1925. | Sold for breaking up 1936. |
| *Révigny* | Forges et Chantiers de la Gironde (FCG), Bordeaux | 1917 | September 1920 | Leased to the Compagnie générale aéropostale from 1927 to 1931. | Sold for breaking up 1937. |
| *Tahure* | Ateliers et Chantiers de la Loire (ACL), Saint-Nazaire | 1918 | March 1918 | Passed to Vichy France 10 July 1940, participated in the Battle of Koh Chang. | Sunk 24 September 1944 by USS *Flasher* (SS-249). |
| *Toule* | Ateliers et Chantiers de la Loire (ACL), Saint-Nazaire | 1917 | April 1919 |  | Sold for breaking up 1935. |
| *Vauquois* | Ateliers et Chantiers de la Loire (ACL), Saint-Nazaire | 1918 | August 1919 | Converted to a training ship in 1925. Participated in the evacuation of British forces at Brest, 18 June 1940. | Sunk by *Luftwaffe* naval mine 18 June 1940 during Operation Aerial. |
| *Verdun* | Ateliers et Chantiers de la Loire (ACL), Saint-Nazaire | 1917 | November 1918 | Renamed *Laffaux* in 1928. | Sold for breaking up 1938. |
| *Vimy* | Ateliers et Chantiers de la Loire (ACL), Saint-Nazaire | 1918 | December 1919 |  | Sold for breaking up 1935. |
| *Vitry-le-François* | Ateliers et Chantiers de la Loire (ACL), Saint-Nazaire | 1918 | March 1920 |  | Sold for breaking up 1935. |

## InfoBox

| The aviso *Tahure* in 1939. | |
| --- | --- |
| Class overview | |
| Name | *Arras* class |
| Operators |  |
| Preceded by | *Marne* class |
| Succeeded by | Ailette class |
| Subclasses | *Craonne* class *(coal burning)* |
| Built | 19171922 |
| Planned | 43 |
| Completed | 30 |
| Cancelled | 13 |
| Lost | 4 |
| General characteristics | |
| Type | Aviso |
| Displacement | 850 long tons (864 ) standard |
| Length | 75 m (246 ft 1 in) o/a |
| Beam | 8.7 m (28 ft 7 in) |
| Draught | 3.2 m (10 ft 6 in) |
| Propulsion | 2 shafts, 2 Parsons steam turbines engines, 2 oil or coal-fired du Temple boilers or Normand boilers; 5,000 bhp (3,700 kW) |
| Speed | 19–22 knots (22–25 mph; 35–41 km/h) |
| Range | 3,000 nmi (5,600 km; 3,500 mi) at 11 knots (20 km/h; 13 mph) |
| Complement | 4 officers, 99 sailors |
| Armament |  |


title: Palazzo Celestri di Santacroce

abstract: The Palazzo Celestri di Santacroce, also known as the Palazzo Sant'Elia is a Baroque-style aristocratic palace located on via Maqueda 90 in the ancient quarter of Kalsa of central Palermo, region of Sicily, Italy. Once the urban palace of a wealthy and prominent family, a large portion of the palace is now used for exhibitions and private functions. The palace is diagonal to the Southeast of the Palazzo Comitini, and just a block north of the church of the Assunta.

text:
# Palazzo Celestri di Santacroce

The **Palazzo Celestri di Santacroce**, also known as the  **Palazzo Sant'Elia** is a Baroque-style aristocratic palace located on via Maqueda 90 in the ancient quarter of Kalsa of central Palermo, region of Sicily, Italy. Once the urban palace of a wealthy and prominent family, a large portion of the palace is now used for exhibitions and private functions. The palace is diagonal to the Southeast of the Palazzo Comitini, and just a block north of the church of the Assunta.

## History

The palace was built atop and enlarging a prior structure known as the Palazzo Imbarbara. The present structure was commissioned by Giambattista Celestri, 1st Marchese di Santa Croce, along with his brother Tommaso. Construction began in 1756, with the main layout and facade dictated by the designs by the architect and engineer Nicolò Anito. By 1760, the work proceeded under Giovanbattista Cascione Vaccarini, who determined some of the decoration, including the stuccowork, of the main courtyard and of the facade.

In 1866, Marianna Celestri di Santa Croce, the last heir, willed the property to her cousin Romualdo Trigona, prince of Sant'Elia. By 1984, the palace had become dilapidated, and was purchased by the Provincial government, who has funded the restoration.

## Description

The baroque facade has two entrances, both with protruding grey marble doric columns. The entrance portal is surmounted by a gargoyle at the keystone. All the balconies have elegant brackets and iron grills. The piano nobile balconies have alternating triangular and rounded tympani, containing decorative bas-relief portraits or decorations. The interior courtyards are rich in arcades and stucco statuary and decoration.

The interior frescoes of the piano nobile are described by some as possessing subtle symbolism of the order of Free Masonry. The authors of the frescoes include Gioacchino Martorana and Elia Interguglielmi.

## InfoBox

| Celestri di Santacroce, or Sant'Elia, palace | |
| --- | --- |
| Palazzo Celestri di Santacroce, or Sant'Elia | |
| Façade of the palace on Via Maqueda | |
|  | |
| Alternative names | Palazzo Sant'Elia |
| General information | |
| Architectural style | Baroque |
| Location | Palermo, Italy |
| Country | Italy |
| Coordinates | 38°06′45″N 13°21′49″E / 38.11238°N 13.36367°E / 38.11238; 13.36367 |
| Completed | 1760 |


title: Tmolus (butterfly)

abstract: Tmolus is a Neotropical genus of butterflies in the family Lycaenidae. The genus was erected by Jacob Hübner in 1819.

text:
# Tmolus (butterfly)

***Tmolus*** is a Neotropical genus of butterflies in the family Lycaenidae. The genus was erected by Jacob Hübner in 1819.

## Species

## InfoBox

| *Tmolus* | |
| --- | --- |
|  | |
| In Panama | |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Lepidoptera |
| Family: | Lycaenidae |
| Tribe: | Eumaeini |
| Genus: | *Tmolus*<br>Hübner, \[1819\] |
|


title: Harvard Avenue Historic District

abstract: The Harvard Avenue Historic District is a historic district roughly bounded by Linden Street, Commonwealth Avenue, Harvard Avenue, and Park Vale Avenue in the Allston neighborhood of Boston, Massachusetts. Its spine is Harvard Avenue, a major north–south thoroughfare connecting Allston to points north, and south toward Brookline. The area underwent a population explosion in the early 20th century, and Harvard Avenue was developed roughly between 1905 and 1925 as a commercial and residential spine. Notable buildings in the district include the Allston Station building, designed by Shepley, Rutan and Coolidge, and the Harvard Avenue Fire Station. The district was listed on the National Register of Historic Places in 2000.

text:
# Harvard Avenue Historic District

The **Harvard Avenue Historic District** is a historic district roughly bounded by Linden Street, Commonwealth Avenue, Harvard Avenue, and Park Vale Avenue in the Allston neighborhood of Boston, Massachusetts. Its spine is Harvard Avenue, a major north–south thoroughfare connecting Allston to points north (generally via Cambridge Street toward Cambridge), and south toward Brookline. The area underwent a population explosion in the early 20th century, and Harvard Avenue was developed roughly between 1905 and 1925 as a commercial and residential spine. Notable buildings in the district include the Allston Station building, designed by Shepley, Rutan and Coolidge, and the Harvard Avenue Fire Station.

The district was listed on the National Register of Historic Places in 2000.

## InfoBox

|  | |
| --- | --- |
| Harvard Avenue Historic District | |
| U.S. National Register of Historic Places | |
| U.S. Historic district | |
|  | |
|  | |
|  | |
| Location | Roughly bounded by Linden St., Commonwealth AVe., Harvard Ave., and Park Vale Ave., Boston, Massachusetts |
| Coordinates | 42°21′12″N 71°7′58″W / 42.35333°N 71.13278°W / 42.35333; -71.13278 |
| Area | 23 acres (9.3 ha) |
| Built | 1867 |
| Architect | Shepley, Rutan and Coolidge et al. |
| Architectural style | Late Victorian, Late 19th And 20th Century Revivals, et al. |
| NRHP reference No. | 00000415 |
| Added to NRHP | April 28, 2000 |


title: Whaling on the Pacific Northwest Coast

abstract: Whaling on the Pacific Northwest Coast encompasses both aboriginal and commercial whaling from Washington State through British Columbia to Alaska. The indigenous peoples of the Pacific Northwest Coast have whaling traditions dating back millennia, and the hunting of cetaceans continues by Alaska Natives and to a lesser extent by the Makah people. In the twentieth century there was a commercial whaling industry, small by global standards, in British Columbia and south-east Alaska, as evidenced by place names such as Blubber Bay. When Coal Harbour closed its whaling station in the late 1960s, the industrial killing of whales in Pacific Canada was over. By that point, marine entrepreneurs had moved on to hunting orcas for live capture, to be displayed in aquaria. That lasted about a decade, until public pressure put an end to it in the mid-1970s. As the twentieth century whaling stations existed in British Columbia and Alaska, and so are covered in more detail in the articles Whaling in Canada and Whaling in the United States respectively, some of the pre-contact hunting - and, for that matter, some of the orca captures too - took place across the waters of the two countries, so this article will deal with the whole coast.

text:
# Whaling on the Pacific Northwest Coast

**Whaling on the Pacific Northwest Coast** encompasses both aboriginal and commercial whaling from Washington State through British Columbia to Alaska. The indigenous peoples of the Pacific Northwest Coast have whaling traditions dating back millennia, and the hunting of cetaceans continues by Alaska Natives (mainly beluga and narwhal, but also the subsistence hunting of the bowhead whale) and to a lesser extent by the Makah people (gray whale).

In the twentieth century there was a commercial whaling industry, small by global standards, in British Columbia and south-east Alaska, as evidenced by place names such as Blubber Bay. When Coal Harbour closed its whaling station in the late 1960s, the industrial killing of whales in Pacific Canada was over. By that point, marine entrepreneurs had moved on to hunting orcas (killer whales) for live capture, to be displayed in aquaria. That lasted about a decade, until public pressure put an end to it in the mid-1970s.

As the twentieth century whaling stations existed in British Columbia and Alaska, and so are covered in more detail in the articles Whaling in Canada and Whaling in the United States respectively, some of the pre-contact hunting - and, for that matter, some of the orca captures too - took place across the waters of the two countries, so this article will deal with the whole coast.

## History

Indigenous whaling traditions along the Pacific Northwest coast date as far back as 4000 years BCE and are deeply intertwined with the culture of many pre-contact Indigenous peoples in these territories.

Amongst the Nuu-Chah-Nulth, Makah, and Ditidaht (also known as the whaling people) similarities in whale hunting practices can be found.  Ethnographic evidence shows whaling was practiced amongst the Mowachat, Ahousaht, Tla-o-qui-aht, Ucluelet, Tseshaht, Quileute, and Quinault.  Evidence also connects pre-contact whaling practices to the Kwakwaka'wakw and Haida First Nations.  Within each of these communities whaling has played an integral role in society, politics, and economy as well as cultural and spiritual activities.  Whaling can be found in the oral histories, creation stories, music, and art of whaling peoples and as such has intimately impacted their governance and cultural identity.

## Traditions and rituals

Whaling holds a deep social and economic prestige for whaling First Nations and therefore could only be led by whaling chiefs. The more successful hunts a whaling chief had, the more power and wealth the chief held.  The whaling chief (*haw'iih*) and his wife (*haquum*) were required to perform special rituals and ceremonies, often months prior to the whale hunt.  It was believed that through the spirit world the *haw'iih* and *haquum* could connect to the whale, determining a successful hunt or not.

Beginning in the early morning, the whaling chief would bathe four times, being sure to completely submerge himself each time.  After each submersion the chief would then take bundles of various branches and nettles and rub them over his entire body. The chief would slowly and purposefully imitate a whale's actions and movements, rising to the surface and blowing water from his mouth towards the middle of the body of water he was bathing in.  His wife held a rope tied around his waist, symbolic of the harpoon, and would sing a song to the spirit of the whale, telling it how they wanted it to act during the hunt.  The *haw'iith* and *haquum* were also required to practice abstinence during the ritual purification.  While the hunt was in progress the *haquum* remained in the home, lying still and moving as little as possible.  It was believed that during the hunt the *haquum's* power was so strong she could transform into the whale.

To take one example, Maquinna, chief of the Nuu-chah-nulth people of Nootka Sound during the heyday of the maritime fur trade in the 1780s and 1790s, worshipped at the Yuquot Whalers Shrine, which was eventually sold to an ethnographic collector and now resides in New York's American Museum of Natural History.

After successfully harpooning a whale, a member from the crew would make two cuts along its fluke.  This would then be followed by a fatal blow to the whale's heart.  Once the animal was dead, it was necessary to sew the mouth closed to prevent the carcass from sinking.  This was done by cutting a hole in the top lip and lower jaw and tying the mouth closed.  Floats made of seal skins would then be attached to the whale and the crews would begin towing the carcass back to shore.

Further ceremonies were held after a successful hunt in honour of the whale spirit that gave itself to the whaling chief and his people.

## Distribution of whale resources

Once the carcass was ashore, butchering would begin, with the most prized piece of flesh, the whale's saddle (including the dorsal fin), being given to the whaling chief.  After receiving their cut of meat and blubber, the whaling chief and his wife would return home and hang the saddle outside their house for oil extraction.  The meat and blubber would be adorned with eagle feathers and down in order to honour the whale's sacrifice.  The lines of the harpoon used to kill the whale were hung on two poles and more feathers along with the whale's eyes were placed next to the saddle.  Following the first cut of the whale, the remaining meat was subsequently distributed among the whaling crews and remaining community members based on social standing.  For four days following the successful hunt, the whaling chief and his wife would host ceremonies giving thanks to the whale's spirit, culminating in a feast of the saddle for themselves and the crew.

Whaling season began in early spring with the migration of the grey whales from their breeding ground in the Baja peninsula.  Grey and humpback whales made up the majority of whales hunted along Pacific Northwest coast.

Well adapted to the natural environment, pre-contact whaling people's obtained three-quarters of their meat and oil from whales.  Whale oil was extremely high in nutrients and was extracted from the blubber, as well as, the bones.  Bones were also used to make tools and household objects, as well as in architecture and water irrigation.  Harpoon blades, made from sharpened mussel shells, were often adorned with whaling images.  Harpoons were usually made from wood and had barbs made of bone or antler.  Pacific Northwest canoes were often 28–38 feet long, big enough to fit an eight-man whaling crew.

* John R. Jewitt (1783 – 1821), an Englishman known for his memoirs as a captive of a whaling community


abstract: The Paraguay women's national field hockey team represent Paraguay in women's international field hockey competitions and is controlled by the Paraguayan Hockey Association, the governing body for field hockey in Paraguay. Paraguay has never qualified for the Pan American Cup but they have participated once in the Pan American Games in 1995.

text:
# Paraguay women's national field hockey team

The **Paraguay women's national field hockey team** represent Paraguay in women's international field hockey competitions and is controlled by the Paraguayan Hockey Association, the governing body for field hockey in Paraguay.

Paraguay has never qualified for the Pan American Cup but they have participated once in the Pan American Games in 1995.

## Tournament record

### Pan American Games

### South American Games

### South American Championship

### Pan American Challenge

### Hockey World League

### FIH Hockey Series

## InfoBox

Paraguay
|  | |
| --- | --- |
| Nickname(s) | Las Aguará |
| Association | Paraguayan Hockey Association (*Asociación Paraguaya de Hockey*) |
| Confederation | PAHF (Americas) |
| FIH ranking | |
| Current | 47  (13 August 2024) |
| Pan American Games | |
| Appearances | 1 (*first in 1995*) |
| Best result | 7th (1995) |


title: Invisible armada

abstract: Invisible Armada is the name given to the 1599 panic in England over the supposed approach of a Spanish Armada – an alarm greater than that experienced during the real crisis of 1588. Francis Bacon records that afterwards people “forbore not from scoffs, saying that in the year ’88 Spain had sent an Invincible Armada against us and now she had sent an Invisible Armada”.

text:
# Invisible armada

**Invisible Armada** is the name given to the 1599 panic in England over the supposed approach of a Spanish Armada – an alarm greater than that experienced during the real crisis of 1588.

Francis Bacon records that afterwards people “forbore not from scoffs, saying that in the year ’88 Spain had sent an Invincible Armada against us and now she had sent an Invisible Armada”.

## Background

Spanish naval strength had quickly recovered from the defeat of 1588, and two more Armadas had been sent against England in 1596 and 1597, only to be dispelled by gales each time. After the Peace of Vervins between France and Spain in 1598, the latter was free to concentrate her efforts against the English and the Dutch; and by the summer of 1599 reports of a new fleet gathering in Andalusia began to reach England.

## Mobilisation and outcome

With experienced troops absent in Ireland and the Low Countries, an intense mobilisation of trained and untrained men took place over the summer, with up to 25,000 men concentrated around London. Blocking the Thames as a defence against another Spanish Fury was also proposed, and it was not till September that the alarm and the mobilisation was allowed to wind down.

While the Spanish fleet had indeed been a reality, it had in fact been aimed at Dutch naval forces, not England; and, caught by winds, it ended up in the Azores.

## Further reading

* Wernham, R.B (1994). *The Return of the Armadas: The Last Years of the Elizabethan Wars Against Spain 1595–1603*. Oxford: Clarendon Press. ISBN 978-0198204435.


title: Government Polytechnic Deoria

abstract: The Government Polytechnic Deoria is located in the Deoria district, Uttar Pradesh, India and is 3.5 km away from the Deoria railway station. The college is situated in approximately 10 acres. It was established in 1983. There are two hostels here and there is also a bicycle stand. It offers a bachelor's degree in engineering in four trades; civil engineering, electrical engineering, electronic engineering, and architectural engineering. The polytechnic also provides training to unemployed villagers and features a library and sports facilities.

text:
# Government Polytechnic Deoria

26°32′01″N 83°45′36″E / 26.533576°N 83.759884°E / 26.533576; 83.759884 The **Government Polytechnic Deoria** is located in the Deoria district, Uttar Pradesh, India and is 3.5 km away from the Deoria railway station. The college is situated in approximately 10 acres. It was established in 1983. There are two hostels here and there is also a bicycle stand. It offers a bachelor's degree in engineering in four trades; civil engineering, electrical engineering, electronic engineering, and architectural engineering. The polytechnic also provides training to unemployed villagers and features a library and sports facilities.

## Courses


title: Nitrifying bacteria

abstract: Nitrifying bacteria are chemolithotrophic organisms that include species of genera such as Nitrosomonas, Nitrosococcus, Nitrobacter, Nitrospina, Nitrospira and Nitrococcus. These bacteria get their energy from the oxidation of inorganic nitrogen compounds. Types include ammonia-oxidizing bacteria (AOB) and nitrite-oxidizing bacteria (NOB). Many species of nitrifying bacteria have complex internal membrane systems that are the location for key enzymes in nitrification: ammonia monooxygenase, hydroxylamine oxidoreductase, and nitrite oxidoreductase.

text:
# Nitrifying bacteria

**Nitrifying bacteria** are chemolithotrophic organisms that include species of genera such as *Nitrosomonas*, *Nitrosococcus*, *Nitrobacter*, *Nitrospina*, *Nitrospira* and *Nitrococcus*. These bacteria get their energy from the oxidation of inorganic nitrogen compounds. Types include **ammonia-oxidizing bacteria** (**AOB**) and **nitrite-oxidizing bacteria** (**NOB**). Many species of nitrifying bacteria have complex internal membrane systems that are the location for key enzymes in nitrification: ammonia monooxygenase (which oxidizes ammonia to hydroxylamine), hydroxylamine oxidoreductase (which oxidizes hydroxylamine to nitric oxide \- which is further oxidized to nitrite by a currently unidentified enzyme), and nitrite oxidoreductase (which oxidizes nitrite to nitrate).

## Ecology

Nitrifying bacteria are present in distinct taxonomical groups and are found in highest numbers where considerable amounts of ammonia are present (such as areas with extensive protein decomposition, and sewage treatment plants). Nitrifying bacteria thrive in lakes, streams, and rivers with high inputs and outputs of sewage, wastewater and freshwater because of the high ammonia content.

## Oxidation of ammonia to nitrate

Nitrification in nature is a two-step oxidation process of ammonium (NH+4) or ammonia (NH3) to nitrite (NO2) and then to nitrate (NO3) catalyzed by two ubiquitous bacterial groups growing together. The first reaction is oxidation of ammonium to nitrite by ammonia oxidizing bacteria (AOB) represented by members of Betaproteobacteria and Gammaproteobacteria. Further organisms able to oxidize ammonia are Archaea (**AOA**).

The second reaction is oxidation of nitrite (NO2) to nitrate by nitrite-oxidizing bacteria (NOB), represented by the members of Nitrospinota, Nitrospirota, Pseudomonadota, and Chloroflexota.

This two-step process was described already in 1890 by the Ukrainian microbiologist Sergei Winogradsky.

Ammonia can be also oxidized completely to nitrate by one comammox bacterium.

### Ammonia-to-nitrite mechanism

Ammonia oxidation in autotrophic nitrification is a complex process that requires several enzymes as well as oxygen as a reactant. The key enzymes necessary for releasing energy during oxidation of ammonia to nitrite are ammonia monooxygenase (AMO) and hydroxylamine oxidoreductase (HAO). The first is a transmembrane copper protein which catalyzes the oxidation of ammonia to hydroxylamine (**1.1**) taking two electrons directly from the quinone pool. This reaction requires O2.

The second step of this process has recently fallen into question. For the past few decades, the common view was that a trimeric multiheme c-type HAO converts hydroxylamine into nitrite in the periplasm with production of four electrons (**1.2**). The stream of four electrons is channeled through cytochrome c554 to a membrane-bound cytochrome c552. Two of the electrons are routed back to AMO, where they are used for the oxidation of ammonia (quinol pool). The remaining two electrons are used to generate a proton motive force and reduce NAD(P) through reverse electron transport.

Recent results, however, show that HAO does not produce nitrite as a direct product of catalysis. This enzyme instead produces nitric oxide and three electrons. Nitric oxide can then be oxidized by other enzymes (or oxygen) to nitrite. In this paradigm, the electron balance for overall metabolism needs to be reconsidered.

### Nitrite-to-nitrate mechanism

Nitrite produced in the first step of autotrophic nitrification is oxidized to nitrate by nitrite oxidoreductase (NXR) (). It is a membrane-associated iron-sulfur molybdo protein and is part of an electron transfer chain which channels electrons from nitrite to molecular oxygen. The enzymatic mechanisms involved in nitrite-oxidizing bacteria are less described than that of ammonium oxidation. Recent research (e.g. Woźnica A. et al., 2013) proposes a new hypothetical model of NOB electron transport chain and NXR mechanisms. Here, in contrast to earlier models, the NXR would act on the outside of the plasma membrane and directly contribute to a mechanism of proton gradient generation as postulated by Spieck and coworkers. Nevertheless, the molecular mechanism of nitrite oxidation is an open question.

### Comammox bacteria

The two-step conversion of ammonia to nitrate observed in ammonia-oxidizing bacteria, ammonia-oxidizing archaea and nitrite-oxidizing bacteria (such as *Nitrobacter*) is puzzling to researchers. Complete nitrification, the conversion of ammonia to nitrate in a single step known as comammox, has an energy yield (∆G°′) of −349 kJ mol−1 NH3, while the energy yields for the ammonia-oxidation and nitrite-oxidation steps of the observed two-step reaction are −275 kJ mol−1 NH3, and −74 kJ mol−1 NO2, respectively. These values indicate that it would be energetically favourable for an organism to carry out complete nitrification from ammonia to nitrate (comammox), rather than conduct only one of the two steps. The evolutionary motivation for a decoupled, two-step nitrification reaction is an area of ongoing research. In 2015, it was discovered that the *species Nitrospira inopinata* possesses all the enzymes required for carrying out complete nitrification in one step, suggesting that this reaction does occur.

### Table of characteristics

| Genus | Phylogenetic group | DNA (mol% GC) | Habitats | Characteristics |
| --- | --- | --- | --- | --- |
| Nitrifying bacteria that oxidize ammonia | | | | |
| *Nitrosomonas* | Beta | 45-53 | Soil, sewage, freshwater, marine | Gram-negative short to long rods, motile (polar flagella) or nonmotile; peripheral membrane systems |
| *Nitrosococcus* | Gamma | 49-50 | Freshwater, marine | Large cocci, motile, vesicular or peripheral membranes |
| *Nitrosospira* | Beta | 54 | Soil | Spirals, motile (peritrichous flagella); no obvious membrane system |
| Nitrifying bacteria that oxidize nitrite | | | | |
| *Nitrobacter* | Alpha | 59-62 | Soil, freshwater, marine | Short rods, reproduce by budding, occasionally motile (single subterminal flagella) or non-motile; membrane system arranged as a polar cap |
| *Nitrospina* | Delta | 58 | Marine | Long, slender rods, nonmotile, no obvious membrane system |
| *Nitrococcus* | Gamma | 61 | Marine | Large cocci, motile (one or two subterminal flagellum) membrane system randomly arranged in tubes |
| *Nitrospira* | Nitrospirota | 50 | Marine, soil | Helical to vibroid-shaped cells; nonmotile; no internal membranes |
| Comammox bacteria | | | | |
| *Nitrospira inopinata* | Nitrospirota | 59.23 | Microbial mat in hot water pipes (56 °C, pH 7.5) | Rods |


title: Ray Williams (educator)

abstract: Ray Williams currently serves as the Director of Education and Academic Affairs the Blanton Museum of Art, located at the University of Texas at Austin. Previously, Williams was appointed the first ever Director of Education at the Harvard Art Museums.

text:
# Ray Williams (educator)

**Ray Williams** currently serves as the Director of Education and Academic Affairs the Blanton Museum of Art, located at the University of Texas at Austin. Previously, Williams was appointed the first ever Director of Education at the Harvard Art Museums.

## Early life and education

Ray Williams was born in North Carolina, in the mountains of Appalachia. He attended a K-12 school that provided early exposure to museums and art education through class field trips and studio courses, and enjoyed the perks of growing up in a university town. He attended Western Carolina University in 1982 where, after several major changes, he earned his Bachelor of Arts in English with a minor in Art History. With his interest in Art History piqued, Williams continued on to earn a Master's degree in Art History from University of North Carolina at Chapel Hill in 1987. His time at Chapel Hill solidified his personal interest in interdisciplinary work, and rather than pursue his PhD in Art History, made the decision to participate in a volunteer docent program at the Ackland Art Museum. This served as the beginning of Williams' work in formal art education served as a catalyst for a successful career.

## Career & Notable Projects

Ray Williams is the current Director of Education and Academic Affairs at the Blanton Museum of Art (20012-current). He previously held the position of director of education at the Harvard Art Museums, Rhode Island School of Design's Museum of Art, Peabody Essex Museum, the Freer Gallery of Art and Arthur M. Sackler Gallery, and the Ackland Art Museum.

While at the Harvard and Sackler Museums, Williams stewarded a project initiative that brought English language learners and those applying for their United States Citizenship test into the museum. The project, titled "Engaging New Americans: Explorations in Art, Self, and Our Democratic Heritage” was funded by the National Endowment for the Arts and served to connect American art with an immigrant's experience, through gallery sessions, discussions and activities. Also at the Harvard and Sackler Museums, Williams developed programming that brought physicians and medical educators in to the museum spaces for lessons in close looking, and empathy and communication skills; this work further carried over to the University of Texas at Austin's Dell Medical School.

Ray Williams' current projects focus on Social and Emotional Learning (SEL) curriculum and resources for the Blanton Art Museum, while creating virtual content for learners during COVID-19. These efforts also seek to support English Language Learners.

## Publications

* Williams, R. (2019). Welcoming (and Learning From) the Stranger: The Museum as a Forum for Interfaith Dialogue. *Journal of Museum Education*, *44*(1), 34–40.
* “Art and Slavery,” chapter in Understanding and Teaching American Slavery, University of Wisconsin Press, 2016
* “The Power of Art in Training Better Doctors,” op-ed column for Dallas Morning News, January 2014
* Engaging New Americans: Preparing for US Citizenship with the Harvard Art Museums, Sourcebook with lesson plans co-authored with Judy Murray, 2012
* “Art Museums as Places of Learning and Reflection for the Medical Field,” Journal of Museum Education, spring 2011
* “Honoring the Personal Response: A Strategy for Serving the Public Hunger for Connection,” Journal of Museum Education, 2010

## Awards

As per Ray William's CV:

* Fulbright-Hayes Travel Grant (2003)
* First prize, Educational Resources, AAM design competition (2000)
* Korea Society Fall Fellowship, October (2000)
* Getty Guest Scholar (2000)
* National Art Education Association's "National Museum Educator of 1997 (1997)
* Southeastern Regional Art Museum Educator of 1991 (1991)
* Second prize, Educational Resources, AAM design competition (1993)


title: Tokuko Ushioda

abstract: Tokuko Ushioda is a Japanese photographer whose Bibliotecha series won the Domon Ken Award, the Photographic Society of Japan’s Lifetime Achievement Award, and the Higashikawa International Photo Festival's Domestic Photographer Award in 2018. Ushioda has works in the collections of Smith College Museum of Art in Massachusetts; Mead Art Museum of Amherst College, Kyushu Sangyō University, Fukuoka, Japan; the National Museum of Modern Art, Tokyo, Japan; Tokyo Photographic Art Museum, Tokyo, Japan; Ken Domon Museum of Photography, Yamagata, Japan; and Higashikawa Town, Hokkaido, Japan.

text:
# Tokuko Ushioda

**Tokuko Ushioda** (潮田登久子, *Ushioda Tokuko,* b. 1940) is a Japanese photographer whose *Bibliotecha* series won the Domon Ken Award, the Photographic Society of Japan’s Lifetime Achievement Award, and the Higashikawa International Photo Festival's Domestic Photographer Award in 2018.

Ushioda has works in the collections of Smith College Museum of Art in Massachusetts; Mead Art Museum of Amherst College, Kyushu Sangyō University, Fukuoka, Japan; the National Museum of Modern Art, Tokyo, Japan; Tokyo Photographic Art Museum, Tokyo, Japan; Ken Domon Museum of Photography, Yamagata, Japan; and Higashikawa Town, Hokkaido, Japan.

## Career

Ushioda was born in Tokyo, Japan, in 1940.

She studied under Ōtsuji Kiyoji at Kuwasawa Design School and graduated in 1963. She also studied under Yasuhiro Ishimoto. She has worked as a freelance photographer since 1975, and taught at Kuwasawa Design School and Tokyo Zōkei University from 1966-1978. She married photographer Shinzō Shimao in 1978, and their daughter is the manga artist and illustrator Maho Shimao.

Ushioda is perhaps best known for her series *Bibliotecha (Hon no keshiki, 本の景色),* for which she photographed books as valid art objects in 1995. She published the photobook *Bibliotecha* in 2017, dividing the images into 26 chapters that show books beyond their presence as mere physical objects.

Ushioda is also known for her series *ICE BOX* (*Reizōko, 冷蔵庫)*, in which she photographed the contents of various families' refrigerators. She published the photobook *ICE BOX* in 1996, depicting compositions of many refrigerators captured open with the contents inside, or closed from the front, as well as in various settings within the households.

Her series *My Husband* (*Mai hazubando,* マイハズバンド) "chronicles Ushioda’s family life and artistic growth" during the 1970s. The artist found the prints forty years later in March 2020, leading to the publication of a two-part photobook in 2022.

## Publications

* *My Husband,* Torch Press, 2022
* *BIBLIOTHECA,* Genkishobou, 2017
* *My Teacher’s Atelier,* Genkishobou 2017
* *Misuzu,* Genkishobou, 2016
* *HATS,* Parol, 2004
* *ICE BOX,* Beebooks, 1996
* *Chinese People*, Self-published, 1986

## Awards

## Exhibition History

### Selected Solo Exhibitions

* 2018 *Domon Ken Award Winner's Exhibition, BIBLIOTHECA,* Ken Domon Museum of Photography (Yamagata)
* 2018 *Domon Ken Award Winner's Exhibition, BIBLIOTHECA,* The Gallery, Nikon Plaza (Shinjuku, Osaka)
* 2017 *BIBLIOTHECA,* PGI, Tokyo
* 2017 *BIBLIOTHECA,* Galerie 412, Tokyo
* 2010 *BIBLIOTHECA,* Morioka Shoten, Tokyo
* 2009 *ICE BOX,* CAFÉ UNIZON, Okinawa
* 2008 *ICE BOX*, Port Gallery T, Osaka
* 2006 *BIBLIOTHECA,* Imbrie Hall Meiji Gakuin University, Tokyo
* 2004 *Bookmart,* Contemporary Photo Gallery, Tokyo
* 2003 *BIBLIOTHECA,* Waseda University Library, Tokyo
* 2003 *BIBLIOTHECA,* Contemporary Photo Gallery, Tokyo
* 2003 *BIBLIOTHECA,* The 5th Library Fair at Tokyo International Forum
* 2002 *Seika/Sacred Song,* Contemporary Photo Gallery, Tokyo
* 2001 *HATS,* Contemporary Photo Gallery, Tokyo
* 1999 *ICE BOX,* Setagaya Lifestyle Design Center, Tokyo
* 1998 *ICE BOX,* Art Gallery Artium, Tokyo
* 1994 *HATS,* Gallery MOLE, Tokyo
* 1992 I*CE BOX,* Tokyo Design Center, Tokyo
* 1989 *Seikatsu/LIFE,* Film Round Gallery, Tokyo
* 1976 *Hohoemi no tejo/Smile was handcuffed,* Shinjuku Nikon Salon, Tokyo

### Selected Group Exhibitions

* 2022 *From Student to Master: Tokuko Ushioda and Her Teachers,* Alison Bradley Projects, New York
* 2021 *Anneke Hymmen & Kumi Hiroi, Tokuko Ushioda, Mari Katayama, Maiko Haruki, Mayumi Hosokura, and Your Perspectives,* Shiseido Gallery, Tokyo
* 2019 *A Bright Home,* Hiroshima City Museum of Contemporary Art, Hiroshima
* 2018 *The Higashikawa Awards, Award Winning Exhibition,* Higashikawa Bunka Gallery, Hokkaido
* 2018 *The Photographic Society of Japan Awards, Winner’s Exhibition,* Fujifilm Square, Tokyo
* 2018 *A Moveable Feast,* Xian Memories Museum, Xian, China
* 2016 *Dislocations,* Smith College Museum of Art, Northampton, MA
* 2015 *The Kaji House,* Hayama, Kanagawa
* 2012 *Reinventing Tokyo,* Mead Art Museum, Amherst College, Amherst, MA
* 2008 *China/Bibliotheca/Manga,* Lee Ka-sing Gallery, Toront, Canada
* 2004 *Maho-chan-chi (Maho-chan’s Lovely Home),* Contemporary Art Gallery, Art Tower Mito, Ibaraki
* 1995 *Tokyo/City of Photo,* Tokyo Metropolitan Museum of Photography, Tokyo
* 1989 *6・un・expressionism,* FROG, Tokyo
* 1982 *China Life Report,* Polaroid Gallery, Tokyo
* 1981 *Jinwa Jinminkosha,* OWL, Tokyo

1. "Tokuko Ushioda". *PGI – gallery*. Retrieved 2022-05-19.
2. "Tokuko Ushioda CV" (PDF). *PGI–Gallery*.
3. "Tokuko Ushioda, My Husband". *PGI – gallery*. Retrieved 2022-05-19.
4. "Welcome to usimaoda ★". *www.catnet.ne.jp*. Retrieved 2022-05-19.
5. "潮田登久子：本の景色 \[9921\] : PGI オンラインストア". *www.pgi.ac*. Retrieved 2022-05-19.
6. *Bibliotheca - Tokuko USHIODA | shashasha 写々者 - Delivering Japanese and Asian Photography to the World*.
7. "潮田登久子：冷蔵庫 \[9924\] : PGI オンラインストア". *www.pgi.ac*. Retrieved 2022-05-19.
8. Murakami, Yuzuru (2022-03-10). "『マイハズバンド』を出版した潮田登久子の40年間変わらない「写真」との関係 |". *IMA ONLINE* (in Japanese). Retrieved 2022-05-19.
9. "潮田登久子：マイハズバンド \[12570\] : PGI オンラインストア". *www.pgi.ac*. Retrieved 2022-05-19.


title: Navy Mutual

abstract: Navy Mutual, originally established as Navy Mutual Aid Association (NMAA), is a nonprofit, federally tax-exempt, mutual-benefit Veterans Service Organization (VSO) It was established in 1879 by naval officers for the purpose of providing life insurance and annuities to members of the sea services, and their families. Membership for the past decade has averaged 105,000 members. In 2016, Navy Mutual had over 141,000 military members and families insured under various plans; by 2019, the number of insurance plans increased to over 145,000 with a member retention rate of 98.4%. For seventeen consecutive years through 2020, Navy Mutual has earned a Fitch Insurer Financial Strength (IFS) rating of A+, with a Stable Rating Outlook.

text:
# Navy Mutual

**Navy Mutual**, originally established as **Navy Mutual Aid Association** (NMAA), is a nonprofit, federally tax-exempt, mutual-benefit Veterans Service Organization (VSO) It was established in 1879 by naval officers for the purpose of providing life insurance and annuities to members of the sea services (United States Navy, United States Marine Corps, United States Coast Guard, U.S. Public Health Service, and the National Oceanic and Atmospheric Administration), and their families. Membership for the past decade has averaged 105,000 members. In 2016, Navy Mutual had over 141,000 military members (active, reserve, and retired) and families insured under various plans; by 2019, the number of insurance plans increased to over 145,000 with a member retention rate of 98.4%. For seventeen consecutive years through 2020, Navy Mutual has earned a Fitch Insurer Financial Strength (IFS) rating of A+, with a Stable Rating Outlook.

## History

Navy Mutual was established on July 28, 1879, during a meeting of U.S. Navy officers at the Navy Department in Washington, D.C.

Until 1920, only those officers of the Navy and Marine Corps on the active list were eligible for membership. Temporary and reserve officers under 45 years of age – both active and inactive – became eligible in 1920. Membership was extended to officers of the U.S. Coast Guard in 1925. Female officers of the United States Navy became eligible in 1947. Eligibility was later expanded to include commissioned officers of the U.S. Public Health Service (1963) and the National Oceanic and Atmospheric Administration (1972); enlisted personnel of the United States Navy, United States Marine Corps, and United States Coast Guard (1980); and retired personnel of the sea services (1993). In 2020, Navy Mutual expanded their bylaws to extend membership eligibility to active duty, retired, reserve, and honorably discharged personnel of the U.S. Army and the U.S. Air Force as well as their families. Only twice in Navy Mutual history – in 1942 and 1950 – membership was temporarily halted. This was due to the entrance of the United States into both World War II and the Korean War, respectively. Membership restrictions were removed shortly after both wars ended. Navy Mutual is headquartered at Joint Base Myer-Henderson Hall in Arlington, Virginia.

## Membership Eligibility

To qualify to become a member of Navy Mutual Aid Association the person must on active duty, in the Reserve Component, or retired from the following U.S. military branches,

or be an honorably discharged veteran of the Navy, Marine Corps, Army, Air Force, Coast Guard, NOAA, or USPHSCC who resides in Virginia, Hawaiʻi, Maryland, North Carolina, South Carolina, Arizona, Connecticut, Florida, Texas, Oregon, & Rhode Island.

## Services

Navy Mutual Aid Association offers Life insurance and Annuities services to its members.

### Life Insurance

Navy Mutual Aid Association offers these types of life insurance:

* Flagship Whole Life (Whole Life Insurance)
* Level II 'Plus' (Level Term Life Insurance for individuals aged 40+)
* Flex Term (Group priced Term Life Insurance for individuals under age 40)

### Annuities

Navy Mutual Aid Association offers these types of annuities:

* Single Premium Deferred Annuities
* Flexible Premium Retirement Annuity
* Single Premium Immediate Annuity

## Staff

The current President and CEO of Navy Mutual is retired Rear Admiral Brian E. Luther, USN, who has served in that role since October 2020. He was preceded by retired Rear Admiral Bruce Engelhardt, USN. The current Chair of the Board is retired Vice Admiral Stanley R. Szemborski, USN, who assumed the position in April 2020.

## InfoBox

Navy Mutual Aid Association
| Company type | Nonprofit organization |
| --- | --- |
| Industry | Insurance and Financial services |
| Founded | 1879 |
| Headquarters | Henderson Hall, Arlington, Virginia, United States |
| Key people | Brian E. Luther
(President, and CEO) |
| Products | Life insurance,
Annuities,
Education |
| Revenue | $250 million (2019) |
| Total assets | $3 billion (2019) |


title: WheatonArts

abstract: Wheaton Arts and Cultural Center is a 501(c)(3) non-profit arts education organization, with a focus on the medium of glass. Located in Millville, New Jersey, the center's mission is to engage artists and audiences in an evolving exploration of creativity. Located on 65 acres (260,000 m⁲) wooded in southern New Jersey, WheatonArts is home to the Museum of American Glass, the Creative Glass Fellowship Program that offers Artist Residencies, the largest folklife program in the Garden State, a hot glass studio, several traditional craft studios, five museum stores, a 13,000 sq ft (1,200 m⁲). event center and a pond-side picnic grove. In addition to daily glass blowing and craft demonstrations, WheatonArts features special exhibitions, programs, workshops, performances, and several weekend festivals throughout the year. WheatonArts hosts the Festival of Fine Craft yearly on the first full weekend in October. The organization was founded by Wheaton Glass, which was previously a major glass producer in Millville.

text:
# WheatonArts

**Wheaton Arts and Cultural Center** (formerly **Wheaton Village**) is a 501(c)(3) non-profit arts education organization, with a focus on the medium of glass. Located in Millville, New Jersey, the center's mission is to engage artists and audiences in an evolving exploration of creativity.

Located on 65 acres (260,000 m2) wooded in southern New Jersey, WheatonArts is home to the **Museum of American Glass**, the Creative Glass Fellowship Program that offers Artist Residencies, the largest folklife program in the Garden State, a hot glass studio, several traditional craft studios, five museum stores, a 13,000 sq ft (1,200 m2). event center and a pond-side picnic grove. In addition to daily glass blowing and craft demonstrations, WheatonArts features special exhibitions, programs, workshops, performances, and several weekend festivals throughout the year. WheatonArts hosts the Festival of Fine Craft yearly on the first full weekend in October. The organization was founded by Wheaton Glass, which was previously a major glass producer in Millville.

## Museum of American Glass

The **Museum of American Glass** at WheatonArts houses over 7,000 pieces of glass, including a collection of glass produced by Wheaton Industries and other New Jersey glass-making companies. Exhibits include paperweights, pressed glass, cut glass, early glass, bottles, 19th-century art glass, Art Nouveau glass, modern and contemporary studio glass.

## Artist Studios

Artist Residencies: WheatonArts offers 3-week and 6-week long Creative Glass Fellowships, available April through December.

The center houses several working studios for the creation of contemporary art in different media, including glass, ceramics, wood carving, and flameworking. Daily demonstrations are given in each studio.

## Down Jersey Folklife Center

The Down Jersey Folklife Center is a regional folklife center focusing on the cultural and artistic traditions of the communities and ethnicgroups of southern New Jersey. The center offers exhibitions and concerts, dance performances, and classes. It is open during special events and for educational programs only.


title: Invisible balance

abstract: The invisible balance or balance of trade on services is that part of the balance of trade that refers to services and other items that do not result in the transfer of physical objects. Examples include consulting services, shipping services, tourism, and patent license revenues. This figure is usually generated by tertiary industry. The term 'invisible balance' is especially common in the United Kingdom. For countries that rely on service exports or on tourism, the invisible balance is particularly important. For instance the United Kingdom and Saudi Arabia receive significant international income from financial services, while Japan and Germany rely more on exports of manufactured goods.

text:
# Invisible balance

The **invisible balance** or **balance of trade on services** is that part of the balance of trade that refers to services and other items that do not result in the transfer of physical objects. Examples include consulting services, shipping services, tourism, and patent license revenues. This figure is usually generated by tertiary industry. The term 'invisible balance' is especially common in the United Kingdom.

For countries that rely on service exports or on tourism, the invisible balance is particularly important. For instance the United Kingdom and Saudi Arabia receive significant international income from financial services, while Japan and Germany rely more on exports of manufactured goods.

## Types of invisibles

Invisibles are both international payments for services (as opposed to goods), as well as movements of money without exchange for goods or services. These invisibles are called 'transfer payments' or 'remittances' and may include money sent from one country to another by an individual, business, government or non-governmental organisations (NGO)  often charities.

An individual remittance may include money sent to a relative overseas. Business transfers may include profits sent by a foreign subsidiary to a parent company or money invested by a business in a foreign country. Bank loans to foreign countries are also included in this category, as are license fees paid for the use of patents and trademarks. Government transfers may involve loans made or official aid given to foreign countries, while transfers made by NGO's include money designated for charitable work within foreign countries, respectively.

## Balance of payments and invisibles

In many countries a useful distinction is drawn between the balance of trade and the balance of payments. 'Balance of trade' refers to the trade of both tangible (physical) objects as well as the trade in services  collectively known as exports and imports (in other words, 'visibles plus services')  while the 'balance of payments' also includes transfers of Capital in the form of loans, investments in shares or direct investment in projects.

A nation may have a visibles balance surplus but this can be offset by a larger deficit in the invisibles balance (creating a Balance of Trade deficit overall) – if, for example, there are large payments made to foreign businesses for invisibles such as shipping or tourism. On the other hand, a Visibles Balance deficit can be offset by a strong surplus on the invisibles balance if, for example, foreign aid is being provided.

In a similar way, a nation may also have a surplus 'balance of trade' because it exports more than it imports but a negative (or deficit) 'balance of payments' because, it has a much greater shortfall in transfers of capital. And, just as easily, a deficit in the 'balance of trade' may be offset by a larger surplus in capital transfers from overseas to produce a balance of payments surplus overall.

## Balance of payments problems and the invisible balance

Problems with a country's balance of trade (or balance of payments) are often associated with an inappropriate valuation of its currency, its country's foreign exchange rate.

If a country's exchange rate is too high, its exports will become uncompetitive as buyers in foreign countries require more of their own currency to pay for them. In the meantime, it also becomes cheaper for the citizens of the country to buy goods from overseas, as opposed to buying locally produced goods), because an overvalued currency makes foreign products less expensive.

The simultaneous decline in currency inflows from decreased exports and the rise in outflows, due to increased imports, sends the balance of trade into deficit, which then needs to be paid for by a transfer of funds in some form, either invisible transfers (aid, etc.) or capital flows (loans, etc.). However, relying on funds like that to support a trade deficit, is unsustainable, and the country may eventually require its currency to be devalued.

If, on the other hand, a currency is undervalued, its exports will become cheaper and therefore more competitive internationally. At the same time, imports will also become more costly, stimulating the production of domestic substitutes to replace them. That will result in a growth of currency flowing into the country and a decline in currency flowing out of it, resulting in an improvement in the country's balance of trade.

Because a nation's exchange rate has a big impact on its 'balance of trade' and its 'balance of payments', many economists favour freely floating exchange rates over the older, fixed (or pegged) rates of foreign currency exchange. Floating exchange rates allow more regular adjustments in exchange rates to occur, allowing the greater opportunity for international payments to maintain equilibrium.


title: Jyrki 69

abstract: Jyrki Pekka Emil Linnankivi, known professionally as Jyrki 69, is a Finnish singer who is the lead vocalist of the gothic rock band The 69 Eyes. In their early years, the band's sound was closer to glam metal, but since the album Blessed Be they have shifted into gothic rock. The 69 Eyes prefer to label their sound as "goth'n'roll". Jyrki's low and operatic bass-baritone vocal tone is reminiscent of fellow musicians Peter Steele of the gothic metal band Type O Negative and Andrew Eldritch of the gothic rock band The Sisters of Mercy. His voice has been influenced by Elvis Presley, Jim Morrison, Iggy Pop, David Bowie and Glenn Danzig. He has written most of the lyrics of their songs.

text:
# Jyrki 69

**Jyrki Pekka Emil Linnankivi** (born 15 October 1968), known professionally as **Jyrki 69**, is a Finnish singer who is the lead vocalist of the gothic rock band The 69 Eyes. In their early years, the band's sound was closer to glam metal, but since the album *Blessed Be* they have shifted into gothic rock. The 69 Eyes prefer to label their sound as "goth'n'roll".

Jyrki's low and operatic bass-baritone vocal tone is reminiscent of fellow musicians Peter Steele of the gothic metal band Type O Negative and Andrew Eldritch of the gothic rock band The Sisters of Mercy (he covered their 1987 hit "This Corrosion" with Maryslim in 2007). His voice has been influenced by Elvis Presley, Jim Morrison, Iggy Pop, David Bowie and Glenn Danzig. He has written most of the lyrics of their songs.

## Music career

In 1996, Jyrki joined forces with Claude, the lead singer of the legendary Finnish rock band Smack to form a side project The Fellow Reptiles. They released an EP "Yours Truly" and had plans for an album of duets, but the Fellow Reptiles broke up, when Claude died suddenly on September 22, 1996.

In 2002, Jyrki appeared on Kwan's album *The Die Is Cast*, performing vocals on the track "Lyrics of Poison".

On Maryslim's 2007 album *A Perfect Mess*, Jyrki provided guest vocals on their cover of The Sisters of Mercy's "This Corrosion" and also appeared in the music video for the track.

In October 2013, Jyrki joined forces with Danny B. Harvey and Chopper Franklin to form the rock band The 69 Cats. The group released their debut album *Transylvanian Tapes* in August 2014.

In 2015, Jyrki collaborated with Los Angeles based Heathen Apostles on the gothic country 4 track Evil Spirits EP.

## Other activities

In 2005, Jyrki was appointed UNICEF Goodwill Ambassador for Finland. In 2005 and 2006, he spent time in Kenya and helped campaign against HIV-AIDS situation in the country and against child trafficking and sexual exploitation in parts of West Africa.

In 2006, he was honoured with a TOYP award by Junior Chamber International (JCI) in Seoul, South Korea.

He draws and reads comics specializing in Marvel Comics. A comic book called *Zombie Love*, featuring only Jyrki's comics, was published in Finland in 2006. It was a limited hard cover edition of 1,000 and all the copies were numbered by Jyrki. Number 666 was given to Glenn Danzig. A paperback edition is still available from the publisher Deggael Communications.

He has been vegan since 2014.

In 2024, he was awarded a Tapaseura ry award which is given to adult role models who encourage their fellow people to be considerate of others and behave in a positive way.

## Recording history

## InfoBox

| Jyrki 69 | |
| --- | --- |
|  | |
| Background information | |
| Birth name | Jyrki Pekka Emil Linnankivi |
| Also known as | J. Darling |
| Born | (1968-10-15)15 October 1968<br>Helsinki, Finland |
| Genres |  |
| Occupations | * Singer * songwriter |
| Years active | 1989–present |
| Member of |  |


title: Hop Pole

abstract:
Hop Pole is a hamlet in the South Holland district of Lincolnshire, England. It is situated between Deeping St James and Deeping St Nicholas, and on the A1175 Littleworth Drove road. No separate population statistic is available for Hop Pole. The best available report is for the whole Deeping St Nicholas civil parish with a total of 1323 people within 505 dwellings. There are approximately 40 homes in Hop Pole, around 105 people pro-rata. Hop Pole falls within the drainage area of the Welland and Deepings Internal Drainage Board.
Hop Pole had three pubs: The Oat Sheaf Inn, The Blue Bell Inn and the Hop Pole Inn.

text:
# Hop Pole

**Hop Pole** is a hamlet in the South Holland district of Lincolnshire, England. It is situated between Deeping St James and Deeping St Nicholas, and on the A1175 Littleworth Drove road.

No separate population statistic is available for Hop Pole. The best available report is for the whole Deeping St Nicholas civil parish with a total of 1323 people within 505 dwellings. There are approximately 40 homes in Hop Pole, around 105 people pro-rata.

Hop Pole falls within the drainage area of the Welland and Deepings Internal Drainage Board. Hop Pole had three pubs: The Oat Sheaf Inn (closed 1957 and since demolished), The Blue Bell Inn (closed 2012 and now a motorhome stop-over site) and the Hop Pole Inn (closed in 1928 following the death of its long-serving landlord, Charles Stainsby).

* Media related to Hop Pole at Wikimedia Commons

## InfoBox

| Hop Pole | |
| --- | --- |
| Victorian cast-iron milepost by Littleworth Drove | |
| Hop PoleLocation within Lincolnshire | |
| Population | 105 |
| OS grid reference | TF186140 |
| London | 80 mi (130 km) |
| Civil parish |  |
| District |  |
| Shire county |  |
| Region |  |
| Country | England |
| Sovereign state | United Kingdom |
| Post town | SPALDING |
| Postcode district | PE11 |
| Dialling code | 01775 |
|  | |
| Police | Lincolnshire |
| Fire | Lincolnshire |
| Ambulance | East Midlands |
|  | |
| UK Parliament |  |
|


title: Ray Williams (footballer, born 1931)

abstract: Raymond Williams was a Welsh professional footballer who played as a right-back. He made appearances in the English Football League with Wrexham.

text:
# Ray Williams (footballer, born 1931)

**Raymond Williams** (1 May 1931 – September 2015) was a Welsh professional footballer who played as a right-back. He made appearances in the English Football League with Wrexham.

## InfoBox

Ray Williams
| Personal information | | | |
| --- | --- | --- | --- |
| Full name | Raymond Williams | | |
| Date of birth | (1931-05-01)1 May 1931 | | |
| Place of birth | Wrexham, Wales | | |
| Date of death | 2015 (aged 8384) | | |
| Place of death | Wrexham, Wales | | |
| Position(s) | Right-Back | | |
| Senior career\* | | | |
| Years | **Team** | **Apps** | **(Gls)** |
|  | Holyhead Town |  |  |
| 1951–1951 | Wrexham | 12 | (0) |
|  | Rhos Rangers |  |  |
| \*Club domestic league appearances and goals | | | |


title: Paniza

abstract: Paniza is a municipality located in the province of Zaragoza, Aragon, Spain. According to the 2004 census (INE), the municipality has a population of 729 inhabitants.

text:
# Paniza

**Paniza** is a municipality located in the province of Zaragoza, Aragon, Spain. According to the 2004 census (INE), the municipality has a population of 729 inhabitants.

View of Paniza

41°17′N 1°12′W / 41.283°N 1.200°W / 41.283; -1.200

## InfoBox

| Paniza | |
| --- | --- |
| municipality | |
|  | |
| Country | Spain |
| Autonomous community | Aragon |
| Province | Zaragoza |
| Area | |
| Total | 47 km2 (18 sq mi) |
| Population (2018) | |
| Total | 634 |
| Density | 13/km2 (35/sq mi) |
| Time zone | UTC+1 (CET) |
| Summer (DST) | UTC+2 (CEST) |


title: Hawkhead Hospital

abstract: Hawkhead Hospital was a health facility on Hawkhead Road in Hawkhead, Renfrewshire, Scotland. The complex is Grade B listed.

text:
# Hawkhead Hospital

**Hawkhead Hospital** was a health facility on Hawkhead Road in Hawkhead, Renfrewshire, Scotland. The complex is Grade B listed.

## History

The facility, which was designed by Thomas S. Tait in the Art Deco style, opened as the Paisley Infectious Diseases Hospital in 1936. The hospital joined the National Health Service in 1948 and eventually closed in 2005. The site was subsequently developed by Kier Group with many of the historic buildings being converted for residential use as Hawkhead Village.

## InfoBox

| Hawkhead Hospital | |
| --- | --- |
| Former isolation block at Hawkhead Hospital | |
| Shown in Renfrewshireshire | |
| Geography | |
| Location | Hawkhead Road, Hawkhead, Scotland |
| Coordinates | 55°50′03″N 4°23′30″W / 55.8343°N 4.3918°W / 55.8343; -4.3918 |
| Organisation | |
| Care system | NHS Scotland |
| Type | General |
| Services | |
| Emergency department | No |
| History | |
| Opened | 1936 |
| Closed | 2005 |
| Links | |
| Lists | Hospitals in Scotland |


title: Westlands School, Sittingbourne

abstract: Westlands School is a coeducational secondary school and sixth form with academy status, located in Sittingbourne in the English county of Kent. Previously a foundation school administered by Kent County Council, Westlands School converted to academy status on 1 September 2010. Westlands School has specialist status in Mathematics, Computing & Science. The school is now part of the Swale Academies Trust which also includes Westlands Primary School, Regis Manor Primary School, Meopham School and The Sittingbourne School. Westlands School offers GCSEs and BTECs as programmes of study for pupils, while students in the sixth form have the option to study from a range of A-levels, City and Guilds courses and further BTECs. It is the largest school in Sittingbourne, with a total of 1,742 students. The school Is adapting new communities which include a separate year 11 group.

text:
# Westlands School, Sittingbourne

**Westlands School** is a coeducational secondary school and sixth form with academy status, located in Sittingbourne in the English county of Kent.

Previously a foundation school administered by Kent County Council, Westlands School converted to academy status on 1 September 2010. Westlands School has specialist status in Mathematics, Computing & Science. The school is now part of the Swale Academies Trust which also includes Westlands Primary School, Regis Manor Primary School, Meopham School and The Sittingbourne School.

Westlands School offers GCSEs and BTECs as programmes of study for pupils, while students in the sixth form have the option to study from a range of A-levels, City and Guilds courses and further BTECs.

It is the largest school in Sittingbourne, with a total of 1,742 students. The school Is adapting new communities which include a separate year 11 group.

## InfoBox

| Westlands School | |
| --- | --- |
|  | |
| Address | |
|  | |
| Westlands Avenue
Sittingbourne, Kent, ME10 1PF
England | |
| Coordinates | 51°20′34″N 0°42′40″E / 51.3427°N 0.71104°E / 51.3427; 0.71104 |
| Information | |
| Type | Academy |
| Department for Education URN | 136286 Tables |
| Ofsted | Reports |
| Trust Principal | Jonathan Whitcombe |
| Gender | Coeducational |
| Age | 11 to 18 |
| Capacity | 1742+ |
| Houses | Year 11 and more |
| Colour(s) | Yellow, Green, Red, Blue and Grey |
| Website | www.westlands.org.uk |


title: Jacqueline (1956 film)

abstract: Jacqueline is a 1956 British drama film shot in Belfast and directed by Roy Ward Baker. It is based on the novel The Grand Man (1954) by Catherine Cookson.

text:
# Jacqueline (1956 film)

***Jacqueline*** is a 1956 British drama film shot in Belfast and directed by Roy Ward Baker. It is based on the novel *The Grand Man* (1954) by Catherine Cookson.

## Plot

Steel worker Mike McNeil's drinking spirals out of control when he loses his job due to vertigo at the Belfast shipyard. But his devoted young daughter Jacqueline vows to help him.

She is picked as soloist at a church festival and attempts to persuade a tough land-owner to give her troubled dad another chance.

## Cast

## Production

The film was based on the novel *The Grand Man* (1954) by Catherine Cookson. It was Cookson's fifth book. Cookson was paid £750 for the rights and a draft of the script. The film was set in Belfast as opposed to Tyneside which is where the novel was set. Cookson disliked the casting of Jacqueline Ryan in the lead role, feeling she was miscast. She was ultimately unhappy with the film, as she was with *Rooney* another adaptation from the Rank Organisation of one of her novels.

Baker said "the picture was partly made because of the introduction at that time of the blue backing process which made back projection very much easier than the old-fashioned process but it had its teething problems and difficulties. So, I boldly was the first one to use it and it worked extremely well. Again, we had an extremely good cast."

Baker said John Gregson "was excellent for the part except he kept saying I wish I was Victor McLaglen because it needed a great big hunk of a man and John wasn't."

Jacqueline Ryan was the daughter of Phyllis Ryan, an actor and later manager.

There was some location work done in Belfast but the bulk of the film was shot at Pinewood. Ward said "Every film has its problems and with this one it was that the central character was the little girl who since she was nine had never been in front of a camera before. She'd been tested and looked at and seemed all right. But she was frightened to death. I think she thought the Duke of Wellington was going to come and put her in the Tower and leave her there. Anyway, she got through it and in the end she wasn't bad. Also, I'd never directed a child before.

## Critical reception

*The Observer* called it "a nice, dull film."

*Variety* called it

> A saccharine, sentimental yarn... notable for the fact that it introduces an attractive new child personality. Also that it permits most of £he other characters to indulge in large doses of conventional Irish blarney. Pic is strictly for the family trade. The story is oldfashioned in conception and presentation, and never attempts 'to be anything but dated melodrama... The emphasis all the way is on the tear-jerking aspects and they’re frequently very contrived. There is a limited appeal in the background and the scenes of a slum neighborhood celebrating the Coronation with a street party has some interest. The picture, however, is dominated by the moppet performer who, without precociousness, and with no previous experience, acts with genuine con¬viction and sincerity.

Britmovie called the film "gushingly sentimental"; while Sky Movies called it "a likeable little drama with earnest performances and atmospheric background detail."

Roy Ward Baker said "the film was quite successful. It was a harmless fairy tale. They were all good in it and they were picturesque and quite funny. "

## InfoBox

| Jacqueline | |
| --- | --- |
|  | |
| Directed by | Roy Ward Baker |
| Written by | Patrick Kirwan
Liam O'Flaherty
**additional dialogue**
Patrick Campbell
Catherine Cookson |
| Based on | *A Grand Man* (novel)
by Catherine Cookson |
| Starring | John Gregson |
| Cinematography | Geoffrey Unsworth |
| Edited by | John D. Guthridge |
| Music by | Cedric Thorpe Davie |
| Production
company | George H. Brown Productions |
| Distributed by | Rank |
| Release date | * 5 June 1956 (1956-06-05) |
| Running time | 89 minutes |
| Country | United Kingdom |
| Language | English |


title: Invisible Wings

abstract: Invisible Wings is a 2007 Chinese film directed by Feng Zhenzhi and starring the amputee Lei Qingyao.

text:
# Invisible Wings

***Invisible Wings*** (Chinese: 隐形的翅膀; pinyin: *yǐn xíng de chì bǎng*) is a 2007 Chinese film directed by Feng Zhenzhi and starring the amputee Lei Qingyao.

## Plot

A teenage girl, Zhi Hua (Lei Qingyao), loses both her arms to an electric shock while recovering a kite from the electric wires. Distraught, she attempts to end her life but eventually finds a new will to live. She goes on to train her feet to do everything, such as writing, cooking, changing clothes and even making kites. She aspires to become a doctor but is denied admission and this makes her even more determined. She begins to train to become a swimming champion, beating all Olympic-level participants. She eventually goes on to become a national champion in swimming.

## Reception

The film has mainly screened at speciality festivals, such as the International Children's Film Festival held in Hyderabad, where it won the Golden Elephant award for best film. It has also been released more widely in several markets, including southern India where it was translated into Telugu. In China, the film was well received, and Qingyao was awarded the Best New Artist Huabiao award for her performance and Best Newcomer Hundred Flowers Awards.

## InfoBox

| Invisible Wings | |
| --- | --- |
| Film poster for *Invisible Wings* for the Chinese release | |
| Directed by | Feng Zhenzhi |
| Written by | Feng Zhenzhi
Zhao Huili
Gu Tianyang |
| Starring | Lei Qingyao |
| Cinematography | Jiang Xiujia
Hai Tao |
| Distributed by | Joyous Media |
| Release date | * 6 September 2007 (2007-09-06) |
| Running time | 93 minutes |
| Country | China |
| Language | Mandarin |


title: Vadde Sobhanadreeswara Rao

abstract: Vadde Sobhanadreeswara Rao, is an Indian politician from Andhra Pradesh and a farmer leader. He served as the Member of Parliament representing the Vijayawada Lok Sabha constituency. He was also a former legislator of the Mylavaram Assembly constituency and served as the Agriculture Minister of United Andhra Pradesh in the Second N. Chandrababu Naidu ministry.

text:
# Vadde Sobhanadreeswara Rao

**Vadde Sobhanadreeswara Rao** (born 21 October 1943), is an Indian politician from Andhra Pradesh and a farmer leader. He served as the Member of Parliament representing the Vijayawada Lok Sabha constituency. He was also a former legislator of the Mylavaram Assembly constituency and served as the Agriculture Minister of United Andhra Pradesh in the Second N. Chandrababu Naidu ministry.

## Personal life

Sobhanadreeswara Rao was born on 21 October 1943, to Vadde Ankaiah and Annapurnamma in Vuyyuru. He pursued B.Sc. and B.E. for his education. In 1962, he married V. B. Rajyam and the couple has a son and a daughter.

## Political career

* 1972 Kakani Venkataratnam from Uyyuru Legislative Assembly Constituency contest for Legislative Assembly
* 1977 Contested as Member of Parliament in Machilipatnam
* 1978-83 Uyyuru was elected as a legislator
* 1984-89 Vijayawada was elected as a member of the 8th Lok Sabha
* 1991-96 Vijayawada was elected as a member of the 10th Lok Sabha
* 1997-99 AP in New Delhi Appointment as Special Representative of Govt
* 1999-2004 Election as MLA of Mylavaram and work as State Agriculture Minister
* 2004 Voluntary retirement from active politics

## InfoBox

| Vadde Sobhanadreeswara Rao | |
| --- | --- |
|  | |
| Minister of Agriculture
Government of Andhra Pradesh | |
| **In office**
1999–2004 | |
| Governor | C. Rangarajan
Surjit Singh Barnala |
| Chief Minister | N. Chandrababu Naidu |
| Preceded by | Kotagiri Vidyadhara Rao |
| Succeeded by | Raghu Veera Reddy |
| Member of Parliament, Lok Sabha | |
| **In office**
1991–1996 | |
| Preceded by | Chennupati Vidya |
| Succeeded by | P. Upendra |
| Constituency | Vijayawada |
| **In office**
1984–1989 | |
| Preceded by | Chennupati Vidya |
| Succeeded by | Chennupati Vidya |
| Constituency | Vijayawada |
| Member of Legislative Assembly
Andhra Pradesh | |
| **In office**
1999–2004 | |
| Preceded by | Chanamolu Venkata Rao |
| Succeeded by | Jyestha Ramesh Babu |
| Constituency | Mylavaram |
| **In office**
1989–1991 | |
| Preceded by | Anne Babu Rao |
| Succeeded by | Anne Babu Rao |
| Constituency | Vuyyuru |
| **In office**
1978–1983 | |
| Preceded by | Kakani Venkatratnam |
| Succeeded by | KP Reddiah |
| Constituency | Vuyyuru |
|  | |
| Personal details | |
| Political party | Telugu Desam Party |
|  | |


title: Nokia 6270

abstract: The Nokia 6270 is a 2005 quad band mobile phone from Nokia. It is based on the Series 40 third generation platform, and features a 2 megapixel digital camera with 5x digital zoom and a flash, 9 MB of storage plus support for up to a 2 GB miniSD Card, and a 240x320 QVGA screen with 262,144 colors. Software includes a full XHTML compatible web browser, an email client and a media player. The phone has a good connectivity as it features Bluetooth, EDGE, Pop-Port and infrared and is also USB compatible for synchronising with your home PC. Along with the music player with MP3 and AAC support, it also has a built-in radio receiver, which is used through the headset supplied. The phone features stereo speakers with 3D sound effects, a new technology which makes the sound more realistic and is now embedded in many of the latest high-class phones. It also has active standby, which displays daily activities and meetings on the phone's idle display. Next in the phone line is the Nokia 6280, a 3G version of the Nokia 6270. It was succeeded by the Nokia E65 and the Nokia 6500 slide which were released in 2007.

text:
# Nokia 6270

The **Nokia 6270** is a 2005 quad band mobile phone from Nokia. It is based on the Series 40 third generation platform, and features a 2 megapixel digital camera with 5x digital zoom and a flash, 9 MB of storage plus support for up to a 2 GB miniSD Card, and a 240x320 QVGA screen with 262,144 colors. Software includes a full XHTML compatible web browser, an email client and a media player (mp3 and mp4 supported).

The phone has a good connectivity as it features Bluetooth, EDGE, Pop-Port and infrared and is also USB compatible for synchronising with your home PC.

Along with the music player with MP3 and AAC support, it also has a built-in radio receiver, which is used through the headset supplied. The phone features stereo speakers with 3D sound effects, a new technology which makes the sound more realistic and is now embedded in many of the latest high-class phones.

It also has active standby, which displays daily activities and meetings on the phone's idle display.

Next in the phone line is the Nokia 6280, a 3G version of the Nokia 6270. It was succeeded by the Nokia E65 and the Nokia 6500 slide which were released in 2007.


title: Reel Moments

abstract: Reel Moments is an annual film series project by the magazine Glamour. The program entails a competition where its readers submit short stories with three being selected to be made into short films. The short stories submitted are all personal non-fiction essays. Actors, directors, and crew all donate their time to the project. Sponsors fund scripting, production, and screening costs. Proceeds benefit a charity chosen by each director, such as FilmAid International. It is hoped that the directing experience will open doors for female directors. Each film is directed by a woman, often a celebrity. As of 2011, 20 films have been produced through the program, including giving directorial debuts to Jennifer Aniston, Jessica Biel, Courteney Cox, Kirsten Dunst, Bryce Dallas Howard, Kate Hudson, Eva Mendes, Demi Moore, and Rachel Weisz. The films are also matched up with female talent throughout the production process, including actresses. Objectives of the project include empowering women by producing female-friendly short films while creating opportunities for actresses to direct and extending the Glamour brand.

text:
# Reel Moments

**Reel Moments** (sometimes **Glamour Reel Moments** or **Glamour's Reel Moments**) is an annual film series project by the magazine *Glamour*. The program entails a competition where its readers submit short stories with three being selected to be made into short films. The short stories submitted are all personal non-fiction essays. Actors, directors, and crew all donate their time to the project. Sponsors fund scripting, production, and screening costs. Proceeds benefit a charity chosen by each director, such as FilmAid International. It is hoped that the directing experience will open doors for female directors.

Each film is directed by a woman, often a celebrity. As of 2011, 20 films have been produced through the program, including giving directorial debuts to Jennifer Aniston, Jessica Biel, Courteney Cox, Kirsten Dunst, Bryce Dallas Howard, Kate Hudson, Eva Mendes, Demi Moore, and Rachel Weisz. The films are also matched up with female talent throughout the production process, including actresses. Objectives of the project include empowering women by producing female-friendly short films while creating opportunities for actresses to direct and extending the *Glamour* brand.

## History

### 2004

In 2004, inspired by BMW’s short film series, Glamour Magazine wanted to attract new advertisers, with Francesca Silvestri as a producer of the film series. Each year, as a part of their general media buy, different advertiser(s) would be the new sponsor(s) of the film series.

### 2005

The series began in 2005 with Bebe Stores, Elizabeth Arden, and Mercury as sponsors. That year, the winners from among the 4000 750-word essays were selected for production by an advisory board of female executives and actresses that included Katie Holmes, Lucy Liu, and Julianna Margulies. Among the directors that year was Gwyneth Paltrow who made her directorial debut. She co-directed *Dealbreaker* with Mary Wigmore, and the film was introduced in the previews of Ryan Reynolds' *Just Friends*. She also, co-wrote the film. One of the shorts was accepted into the 2006 Sundance Film Festival and earned the Grammy Award for Best Arrangement, Instrumental and Vocals at the 48th Annual Grammy Awards on February 8, 2006 for "What Are You Doing the Rest of Your Life?", which was a soundtrack song performed by Chris Botti and Sting. All of the films that year were selected to the Santa Barbara International Film Festival. A DVD of the winning films was included in the December 2005 edition of *Glamour*. Talia Lugacy was also a director in 2005, and her short, *Little Black Dress*, was received so well that she parlayed the experience into a directing role for the 2007 movie *Descent*. Other directors in the first year were Jenny Bicks, Lisa Leone, and Trudie Styler, while actresses included Rosario Dawson and Debi Mazar.

### 2006

left to right: Jennifer Aniston, Bryce Dallas Howard, and Carol Leifer directed in 2006

Cartier SA paid *Glamour* 1.8 million dollars to be the sponsor in 2006. The 2006 entries had a love theme about moments in the lives of the entrants that made them "victorious, stronger or wiser." The 2006 selections, which were available on *Glamour*'s website, debuted at the Directors Guild of America in Los Angeles and were shown in 10 cities. Jennifer Aniston's film, *Room 10*, starred Kris Kristofferson and Robin Wright. Another film that year was by Bryce Dallas Howard, the daughter of director Ron Howard, who directed *Orchids*, a love story that she co-wrote starring Alfred Molina and Katherine Waterston. Carol Leifer was the final director of *Blinders* starring Jamie-Lynn Sigler. The publicity for the 2006 films continued well into 2007. They appeared in the Palm Springs International Festival of Short Films in August 2007. After having been written, directed and acted almost entirely by women, the films were also produced by a woman from Moxie Pictures in Los Angeles. Aniston, who was a first-time director, co-directed with Andrea Buchanan.

### 2007

left to right: Kirsten Dunst, Kate Hudson, and Rita Wilson directed in 2007

The 2007 contest was introduced in the January 2007 edition of *Glamour*. That year, the directors were Kirsten Dunst, Kate Hudson, and Rita Wilson. The acting talent included Camilla Belle, Chevy Chase, Dakota Fanning, Virginia Madsen, Kurt Russell, Winona Ryder, Kristen Stewart, Channing Tatum, Jeanne Tripplehorn, and Aisha Tyler. Hudson directed Chase, Fanning, Madsen, Russell, and Stewart; Dunst cast Ryder in her film and Wilson's film starred Tripplehorn. Wilson sings the closing track in her film. In 2007, *Glamour* and Clinique partnered to support Big Brothers Big Sisters of America with a $1 donation for each of the first 10,000 viewers of the freely accessible productions online. The 2007 contest's theme for the short story entries was happiness. The films debuted October 9 at the Director's Guild Theater and were available at glamour.com and clinique.com starting October 15. They were also presented on October 13 in the hometowns of each writer. In 2007, the project expanded to include a summit of alumni and filmmaking grant.

### 2008

left to right: Courteney Cox, Demi Moore, and Kirsten "Kiwi" Smith directed in 2008

In 2008, the directors were Courteney Cox, Demi Moore, and Kirsten "Kiwi" Smith. The films were debuted at the Directors Guild of America headquarters on October 14, 2008. Moore directed Brittany Snow, Sarah Wright, and Madeline Zima as well as her daughter Rumer Willis in a 12-minute film titled *Streak*. Cox directed Laura Dern in the 19-minute film entitled "The Monday Before Thanksgiving". Smith directed Anna Faris in *The Spleenectomy*.

### 2010

left to right: Jessica Biel, Eva Mendes, and Rachel Weisz directed in 2010

The 2010 directors were Jessica Biel, Eva Mendes, and Rachel Weisz, and all made directorial debuts. The films debuted at the Directors Guild Theater on October 25, 2010 with Weisz in absentia. Sponsor Hyundai Motor Company selected the theme of "doing good" for the contest in 2010. Mendes' film, which was entitled "California Romanza", included a cast of Troy Garity, Kathy Najimy, Christina Ricci, and Daniel Stern. The project continued to benefit FilmAid International. Biel's short, which included performances by youth actresses Emily Skinner and Tyler Wilkins, was entitled "Sodalis". Weisz debuted with a film entitled "Stop Thief", starring Rosemarie DeWitt and Joel Edgerton.

### 2011

left to right: Eva Longoria, Zoe Saldana, and Olivia Wilde directed in 2011

In 2011, the project was sponsored by Clarisonic and Freestyle. The directors were Eva Longoria, Zoe Saldana, and Olivia Wilde. Eva Longoria directed *A Proper Send-Off* and Olivia Wilde directed *Free Hugs*. Saldana cast Malin Åkerman and Bradley Cooper in her short, which was entitled "Kaylien". Other volunteer actors include Aziz Ansari, Jaclyn Jonet, and Justin Long. The shorts, that fall under the year's theme of empowering women to feel beautiful, will open on October 24 at the Director's Guild Theater and be available on glamourreelmoments.com the following day.

### Reel Music

In 2006, Reel Music was spun out of the program as an effort to get women involved in directing music videos. After Pink directed a video in 2006 (that debuted in January 2007), Ciara directed one in 2007.

### Resulting directorial work

As noted above, 2005 participant Talia Lugacy directed the 2007 film *Descent* starring Rosario Dawson. In 2011, Reel Moments alums Jennifer Aniston (2006) and Demi Moore (2008) joined Patty Jenkins, Alicia Keys, and Penelope Spheeris in directing the Lifetime comedy-drama television film *Five*.

## List of directors