title: Noggin the Nog

abstract: Noggin the Nog is a fictional character appearing in a BBC Television animated series and a series of illustrated books, created by Oliver Postgate and Peter Firmin. The television series is considered a cult classic from the golden age of British children's television. Noggin himself is the simple, kind and unassuming "King of the Northmen" in a roughly Viking Age setting, with various fantastic elements such as dragons, flying machines and talking birds. Peter Firmin is said to have come up with the name of Noggin after travelling on the London Underground and seeing Neasden tube station, which made him think "Noggin". Some of the original artwork for the series is on display at the Rupert Bear Museum in Canterbury. The appearance of the characters was influenced by that of the Lewis chessmen in the British Museum.

text:
# Noggin the Nog

***Noggin the Nog*** is a fictional character appearing in a BBC Television animated series (of the same name, originally broadcast 1959–1965 and 1982) and a series of illustrated books (published 1965–1977), created by Oliver Postgate and Peter Firmin. The television series is considered a cult classic from the golden age of British children's television. Noggin himself is the simple, kind and unassuming "King of the Northmen" in a roughly Viking Age setting, with various fantastic elements such as dragons, flying machines and talking birds.

Peter Firmin is said to have come up with the name of Noggin after travelling on the London Underground and seeing Neasden tube station, which made him think "Noggin".

Some of the original artwork for the series is on display at the Rupert Bear Museum in Canterbury. The appearance of the characters was influenced by that of the Lewis chessmen in the British Museum.

## Plot and characters

The stories were based around the central character of Noggin, the rather simple but good-natured son of Knut, King of the Nogs, and his queen Grunhilda. When King Knut dies, Noggin must find a queen to rule beside him or else forfeit the crown to his uncle, Nogbad the Bad. Noggin meets and marries Nooka of the Nooks (an Inuit princess), and becomes the new king. Noggin and Nooka have a son, Knut, who comes to the fore in later storylines. Other regular characters include:

* **Thor Nogson** \- Noggin's closest friend and Captain of the Royal Guard. As the "Hero of a Thousand Battles" Thor Nogson portrays himself as "fierce", but is actually anything but fierce, and is a little lazy. But he is unfailingly loyal, and never hesitates to defend the honour of his king.
* **Olaf the Lofty** \- an eccentric and occasionally arrogant, but well-meaning, inventor. Olaf's inventions rarely work out exactly as he intends them to, although his most notable success is the Flying Machine.
* **Graculus** \- a big green bird who arrives as Nooka's messenger in the first episode. Later by chance they return to the place of his birth and meet his family, who unlike him are incapable of human speech.
* **Grolliffe** \- a friendly ice dragon whom Noggin befriends, and who helps Noggin and his friends in a later episode.

Although the individual stories vary, any trouble encountered by the heroes is usually caused by Nogbad the Bad, who never gives up trying to claim Noggin's throne for himself. Nogbad always loses in the end, though not always through the intervention of Noggin himself.

## Television series

The original television series was first broadcast, beginning on 11 September 1959, by the BBC in the United Kingdom, and continued until 1965. Production company Smallfilms made 21 programmes in black and white, and six in colour, each with a running time of 10 minutes.

When the programme made a comeback in 1982 it ran for just six episodes and was made in colour. The new series comprised one new two-part story and a colour remake of the second saga, originally a six-parter, "Noggin and the Ice Dragon". The level of stop-motion animation was basic, but did not detract from the popularity of the series.

The on-screen title is "The Saga of Noggin the Nog", since the stories were based on the principle of a Norse saga, and episodes began with the words, "Listen to me and I will tell you the story of Noggin the Nog, as it was told in the days of old", or "In the lands of the North, where the Black Rocks stand guard against the cold sea, in the dark night that is very long, the Men of the Northlands sit by their great log fires and they tell a tale ... and those tales they tell are the stories of a kind and wise king and his people; they are the Sagas of Noggin the Nog. Welcome to Northlands, a tribute to Noggin, King of the Nogs and the People of the Northlands". These opening lines were accompanied by Vernon Elliott's bassoon score.

Visually, the series was primarily inspired by the Lewis chessmen (of Norse origin); one of the stories is about Noggin playing chess with Nogbad the Bad.

A new series was rumoured in the late 1990s, but nothing came of it.

The complete series was released on DVD in 2005, in a package that also included DVD versions of the short story books.

## Television sagas

1. "The Saga of Noggin the Nog" (a.k.a. "The King of the Nogs") (6 episodes) (b/w)
    1. "The King"
    2. "The Ship"
    3. "The Journey"
    4. "The Island"
    5. "Nogbad the Bad"
    6. "The King of the Nogs"
2. "The Ice Dragon" (6 episodes) (b/w)
    1. "The Little Man"
    2. "The Journey"
    3. "The Hot Water Valley"
    4. "The Dragon"
    5. "The Treasure"
    6. "Nogbad the Bad"
3. "The Flying Machine" (3 episodes) (b/w)
    1. "The Jar"
    2. "The Birds"
    3. "The City"
4. "The Omruds" (3 episodes) (b/w)
    1. "The Great Invention"
    2. "Under the Hill"
    3. "The Challenge"
5. "The Firecake" (3 episodes) (b/w)
    1. "The Crown of Flowers"
    2. "The Dream"
    3. "The Sorcerer's Sword"
6. "Noggin and the Ice Dragon" (4 episodes) (colour) (remake of 2nd saga)
7. "Noggin and the Pie" (2 episodes) (colour) (based on the book published in 1971)

Narrated by Oliver Postgate.

Character voices by Oliver Postgate and Ronnie Stevens.

Stories by Oliver Postgate, Pictures by Peter Firmin.

Music by Vernon Elliott.

## Books

Various Noggin short stories were also published, and a visitor in one of them, *Noggin and the Moon Mouse*, provided the basis for the characters in the popular *Clangers* TV series. All the books were written by Oliver Postgate, illustrated in full colour by Peter Firmin, and published by Kaye & Ward.

Edmund Ward Starting to Read books:

1. "Noggin The King" (1965)
2. "Noggin and The Whale" (1965)
3. "Noggin and The Dragon" (1966)
4. "Nogbad Comes Back!" (1966)
5. "Noggin and The Moon Mouse" (1967)
6. "Nogbad and The Elephants" (1967)
7. "Noggin and The Money" (1973)
8. "Noggin and The Storks" (1973)

There was also a standard book series published in the 1960s and 1970s consisting of 12 illustrated hardback books:

1. "King of the Nogs" (1968)
2. "The Ice Dragon" (1968)
3. "The Flying Machine" (1968)
4. "The Omruds" (1968)
5. "The Island" (1969)
6. "The Firecake" (1969)
7. "The Pie" (1971)
8. "The Flowers" (1971)
9. "The Game" (1972)
10. "The Monster" (1972)
11. "The Black-Wash" (1975)
12. "The Icebergs" (1975)

A large book about Nog's life, illustrated in black and white, was also published:

* "Nogmania" (1977) (reprinted by The Dragon's Friendly Society in 2000)

Two omnibus books were published to tie in with the colour TV series:

1. "Three Tales of Noggin Volume 1" (1981) ("Noggin the King" / "Noggin and The Whale" / "Noggin and the Moon Mouse")
2. "Three Tales of Noggin Volume 2" (1981) ("Noggin and the Dragon" / "Nogbad and the Elephant" / "Noggin and the Storks")

In 1992, a fully illustrated 96-page colour book, *The Sagas of Noggin the Nog*, was published by HarperCollins. This volume contains four tales: "King of the Nogs", "The Ice Dragon", "The Flying Machine", and "The Omruds".

## Theatre

In 1971, the Birmingham Repertory Theatre produced a stage version: *Noggin the Nog. - The Rings of Nudrug*, with an Oliver Postgate and Peter Firmin script. The show was designed by Firmin and included six Postgate songs, with music by Norman Dannatt. Directed by Michael Simpson, it premiered on 23 December and ran for 27 performances until 15 January 1972. Noggin was played by Piers Rogers, with Jane Sandbrook as Nooka, Paul Chapman as Nogbad and Stuart Knee as Prince Knut. A programme produced to accompany the production included this explanatory note:

"The tale of *The Rings of Nudrug* is a hitherto unknown story. It tells how Noggin’s son, Prince Knut celebrates his birthday by taking a long and mainly unintentional journey. It tells how the Rings of the Black Sorcerer of Nudrug were brought together again, how the King of the trolls is transformed and how at last the evil power of the rings is broken".

A message to "learned Nogophilists" in the programme pointed out that there were certain discrepancies between the tale presented on stage and that seen on TV, but explained that this was a function of the frequent reinvention of mythical tales. Graculus was absent, and credit for the flying machine was here given to Olaf the Lofty. In fact, this machine was previously stated to have been invented before the birth of Prince Knut, who was seen as a youth in the stage version.

## VHS and DVD releases

Between 4 June 1990 and 5 August 1991, two *Noggin the Nog* videos were released by the BBC.

* *The Saga of Noggin the Nog: Tales of the Northlands* (BBCV 4359). Released: 4 June 1990. Two series:
    + "Noggin and the Ice Dragon" (colour)
    + "Noggin and The Flying Machine" (black and white)
* *The Saga of Noggin the Nog: The Omruds/The Firecake'* (BBCV 4651). Released: 5 August 1991. Two series:
    + "Noggin and the Omruds" (black and white)
    + "Noggin and the Firecake" (black and white)

## Recognition

Noggin has received an accolade achieved by very few Norse characters – he appeared with the Ice Dragon reading him a note from Nogbad, on a British commemorative postage stamp (SG1804) in January 1994. The art work for the stamp was drawn by Peter Firmin, who also produced a series of illustrations for the advertising campaign to publicise the new stamps. The stamp was one of a set of ten on the theme of "messages", featuring characters from British children's literature. All the characters were pictured holding a letter, note or message. Noggin's note reads: "I, Nogbad 'the Bad' do hereby promise to be 'the Good'".


title: Hori Habba

abstract: Hori Habba, also known as Hatti Habba, Kobbari Hori Competition is a rural sport in which hundreds of trained and decorated draught cattle and bulls are made to run through huge crowds Catchers try to subdue the cattle and snatch away prizes such as copra, cash, gift items tied to them. The sports is practiced mainly in Shivamogga, Haveri and Uttara Kannada districts of the Indian state of Karnataka during the Deepavali festival. Jallikattu is a similar sport practiced in the Indian State of Tamil Nadu.

text:
# Hori Habba

**Hori Habba**, also known as **Hatti Habba**, **Kobbari Hori Competition** is a rural sport in which hundreds of trained and decorated draught cattle and bulls are made to run through huge crowds Catchers try to subdue the cattle and snatch away prizes such as copra, cash, gift items tied to them. The sports is practiced mainly in Shivamogga, Haveri and Uttara Kannada districts of the Indian state of Karnataka during the Deepavali festival.

Jallikattu is a similar sport practiced in the Indian State of Tamil Nadu.

## Rules

Decorated cattle are repeatedly made to run one by one on the predefined track with adequate time interval between any two cattle. For the cattle to win, it shall not loose the copra garland tied around its neck. Cattle with the maximum number of winning runs is awarded. Similarly, catcher who snatches highest copra garlands is awarded.

## Preparation and Training

To begin with, locals form an organising committee. The committee decides on the dates, forms rules and regulations and finalises the awards. Then the information is circulated to the public through handouts, social media (Facebook, WhatsApp) etc. A suitable stretch in and around the village is selected for the run. The stretch is secured on both sides using barricades, tractor trolleys etc. Adequate arrangements are made for the women and kids to sit, watch and cheer the bulls and participants. Adjacent trees, compound walls and terraces too cater as spectator galleries, though many prefers to stand!

Meanwhile, owners of the bulls prepare them well ahead of the season by feeding them with nutritious food. They pamper them, give regular bath to keep them cool. Bulls, no doubt, grow strong and healthy. Owners from nearby areas may even train and familiarise the bulls to the actual track by making it run regularly.

1. "The sport of taming the bull". *Deccan Herald*. 19 March 2018. Retrieved 23 March 2018.

## InfoBox

Hori Habba (ಹೋರಿ ಹಬ್ಬ)
| The Bull "Simhadriya Simha" in action at Hori Habba held at Shiralakoppa in 2016. | |
| --- | --- |
| Nicknames | Animals in sport |
| Characteristics | |
| Mixed-sex | No |
| Type | Traditional sport |
| Venue | Open ground |
| Presence | |
| Country or region | Karnataka, India |
| Olympic | No |
| Paralympic | No |


title: Noh Young-hak

abstract: Noh Young-hak is a South Korean actor. He began his career as a child actor, and has since appeared in several television series.

text:
# Noh Young-hak

**Noh Young-hak** (born April 1, 1993) is a South Korean actor. He began his career as a child actor, and has since appeared in several television series.

## Filmography

### Film

| Year | Title | Role | Notes |
| --- | --- | --- | --- |
| 2008 | *Unforgettable* | Jae-yong |  |
| 2011 | *Sin of a Family* | Jo Kyung-soo |  |
| 2014 | *Tuning Fork* | Lee Young-joon |  |
| 2015 | *Minority Opinion* | Kim Hee-taek | Cameo |
| | *The Long Way Home* | Staff sergeant Choi |  |
| 2019 | *Seongamdo* | Dual swordsman |  |
| 2020 | *Boys Be!* | Hyun-tae |  |
| 2021 | *Mission: Possible* | Hacker |  |
| | *Homecoming 1930* | Moo-young |  |
| 2022 | *2037* | Correctional officer |  |
| | *Fight for the Seat 815* | Myung-jin |  |
| TBA | *Open the Door* |  | Upcoming |
|

### Television series

| Year | Title | Role | Notes |
| --- | --- | --- | --- |
| 2002–2004 | *Magic Kid Masuri* |  |  |
| 2004 | *Oolla Boolla Blue-jjang* |  |  |
| 2006 | *Hwarang Fighter Maru* | Ho-tae |  |
| 2007–2008 | *The King and I* | Grand Prince Jinseong |  |
| 2008 | *The Great King, Sejong* | Prince Gyeongnyeong (young) |  |
| | *Iljimae* | Soo-mak | Guest (episodes 1–2) |
| | *Gourmet* | Lee Sung-chan (young) |  |
| 2009 | *Queen Seondeok* | Suk-poom (young) |  |
| 2010 | *The Reputable Family* | Kim Won-il (young) |  |
| | *Giant* | Jo Min-woo (young) |  |
| | *Road No. 1* | Heo Chan-sik |  |
| | *Drama Special Series* – "Rock, Rock, Rock" | Kim Tae-won's brother |  |
| 2010–2011 | *Pure Pumpkin Flower* | Oh Hyo-joon (young) |  |
| 2011 | *The Duo* | Chun-doong (young) |  |
| | *Gyebaek* | Uija (young) |  |
| 2011–2012 | *Insu, the Queen Mother* | Grand Prince Haeyang |  |
| 2012 | *Drama Special Series* – "Little Girl Detective Park Hae-sol" | Kim Jin-hyuk |  |
| 2012–2013 | *Dream of the Emperor* | Kim Yu-sin (young) |  |
| | *The Great Seer* | Lee Jung-geun (young) |  |
| 2013 | *7th Grade Civil Servant* | Kim Min-ho |  |
| | *Don't Look Back: The Legend of Orpheus* | Oh Joon-young (young) |  |
| | *Goddess of Fire* | Prince Gwanghae (young) |  |
| | *Who Are You?* | Im Sung-chan |  |
| 2013–2014 | *Hold My Hand* | Han Joon-young |  |
| 2014 | *Triangle* | Jang Dong-soo (young) |  |
| 2014–2015 | *KBS TV Novel* – "Single-minded Dandelion" | Kang Dong-soo / Jin Do-young |  |
| 2015 | *The Jingbirok: A Memoir of Imjin War* | Prince Gwanghae |  |
| | *The Man in the Mask* | Ha Dae-chul (young) |  |
| | *Second 20s* | Na Soon-nam |  |
| 2015–2016 | *Sweet, Savage Family* | Chul-yi |  |
| 2016 | *The Master of Revenge* | Ha Jung-tae (young) |  |
| 2016–2017 | *KBS TV Novel* – "That Sun in the Sky" | Cha Min-woo |  |
| 2017 | *Saimdang, Memoir of Colors* | Crown Prince Lee Ho (past) / Rod (present) |  |
| 2019 | *Haechi* | Prince Yeollyeong | Guest (episodes 1–8) |
| 2020 | *Team Bulldog: Off-Duty Investigation* | Park Jae-min | Guest (episodes 6, 8–9) |
| 2022 | *Doctor Lawyer* | Jung Hee-kyung |  |
|

### Web

| Year | Title | Role | Notes |
| --- | --- | --- | --- |
| 2018 | *The Birth of a Pro 2* | Jang Soo-dong | Web series |
|

## Awards and nominations

| Year | Award | Category | Nominated work | Result |
| --- | --- | --- | --- | --- |
| 2012 | 26th KBS Drama Awards | Best Young Actor | *Dream of the Emperor* | Won |
|

## InfoBox

| Noh Young-hak | |
| --- | --- |
| Born | (1993-04-01) April 1, 1993<br>Seoul, South Korea |
| Education | Actor |
| Occupations |  |
| Years active | 2002–present |
| Agent | K美Star Entertainment |
|  | |
|  | |
| Korean name | |
| Hangul | 노영학 |
| Revised Romanization | *No Yeong-hak* |
| McCune–Reischauer | *No Yŏng-hak* |


title: Noh masks of the Konparu school

abstract: The Noh masks of the Konparu school are a set of 47 noh masks formerly owned by the famous Konparu family of noh actors and playwrights, now part of the collection of the Tokyo National Museum. These masks span five centuries, from the Muromachi to the Edo period, and are designated Important Cultural Properties. The Konparu school was originally led by Konparu Zenchiku and his grandson Konparu Zenpō. The troupe prospered during the Azuchi–Momoyama period (1573–1603), with a critical factor for their success being the patronage of the daimyō Toyotomi Hideyoshi (1537–1598), at a time when the leader of the Konparu school was Konparu Ansho (1549–1621), a retained actor of Toyotomi. During the late Edo period (1603–1868) the troupe faced difficulties and started to lose vitality, and during the Bakumatsu and the period of the Meiji Restoration in the late 19th century, many of the noh masks and other properties of the Konparu family were sold throughout Japan. In around 1868 this set of masks together with some other noh costumes and stage props were transferred to the Kasuga-taisha shrine in Nara. It was a group of ten volunteers in Nara, known collectively as Teirakusha, who dedicated themselves to preserve and protect them, purchasing many of the items and allowing the actors to continue using them. In 1950 after World War II the 47 masks and 196 costumes in the possession of the Teirakusha became part of the collection of the Tokyo National Museum in Tokyo, where they are now kept and exhibited occasionally.

text:
# Noh masks of the Konparu school

The **Noh masks of the Konparu school** are a set of 47 noh masks formerly owned by the famous Konparu family of noh actors and playwrights, now part of the collection of the Tokyo National Museum. These masks span five centuries, from the Muromachi to the Edo period (15th to 19th century), and are designated Important Cultural Properties.

The Konparu school was originally led by Konparu Zenchiku (1405 – ca. 1470) and his grandson Konparu Zenpō (1454 – ca. 1532). The troupe prospered during the Azuchi–Momoyama period (1573–1603), with a critical factor for their success being the patronage of the *daimyō* Toyotomi Hideyoshi (1537–1598), at a time when the leader of the Konparu school was Konparu Ansho (1549–1621), a retained actor of Toyotomi.

During the late Edo period (1603–1868) the troupe faced difficulties and started to lose vitality, and during the Bakumatsu and the period of the Meiji Restoration in the late 19th century, many of the noh masks and other properties of the Konparu family were sold throughout Japan. In around 1868 this set of masks together with some other noh costumes and stage props were transferred to the Kasuga-taisha shrine in Nara. It was a group of ten volunteers in Nara, known collectively as *Teirakusha*, who dedicated themselves to preserve and protect them, purchasing many of the items and allowing the actors to continue using them.

In 1950 after World War II the 47 masks and 196 costumes in the possession of the *Teirakusha* became part of the collection of the Tokyo National Museum in Tokyo, where they are now kept and exhibited occasionally.

## InfoBox

| Noh masks of the Konparu school | |
| --- | --- |
|  | |
| Year | 15-19th century |
| Catalogue | C-1528 to C-1574 (TNM catalogue) |
| Type | Noh masks, wood (colored) |
| Designation | Important Cultural Property |
| Location | Tokyo National Museum, Tokyo, Japan |


title: Non-biological complex drugs

abstract: Non-biological Complex Drugs (NBCDs) are medical compounds that cannot be defined as small molecular, fully identifiable drugs with active pharmaceutical ingredients. They are highly complex and cannot be defined as biologicals as they are not derived from living materials. NBCDs are synthetic complex compounds and they contain non-homomolecular, closely related molecular structures with often nanoparticular properties. This is, for instance, the case with the iron sucrose and its similars. But also with other drug products, e.g. polypeptides (glatiramoids), swelling polymers, liposomes as the NBCD class is growing. Hence and due to their complexity and specific composition mix, such colloidal iron carbohydrate drugs cannot be fully identified, characterized, quantitated and/or described by physiochemical means to define their pharmaceutical properties. Therefore, contradictory to the generic paradigm pathway, relying on a full pharmaceutical identity and sameness in vitro evaluation exercise, they need additional evaluation with a reference product to assess comparability e.g. in tissue targeting in the body. This requires an appropriate, yet to be defined and be harmonized regulatory approach for these new class of medicinal products. The profile and the performance of NBCDs is defined by the multi-step manufacturing process, which is laborious, difficult to control and not disclosed by intellectual property. Minimal changes in for instance the starting materials or the process conditions might result in significant clinical differences affecting therapeutic effects or safety.

text:
# Non-biological complex drugs

**Non-biological Complex Drugs** (NBCDs) are medical compounds that cannot be defined as small molecular, fully identifiable drugs with active pharmaceutical ingredients. They are highly complex and cannot be defined as **biologicals** as they are not derived from living materials. NBCDs are synthetic complex compounds and they contain non-homomolecular, closely related molecular structures with often nanoparticular properties. This is, for instance, the case with the iron sucrose and its similars. But also with other drug products, e.g. polypeptides (glatiramoids), swelling polymers, liposomes as the NBCD class is growing. Hence and due to their complexity and specific composition mix, such colloidal iron carbohydrate drugs cannot be fully identified, characterized, quantitated and/or described by physiochemical means to define their pharmaceutical properties. Therefore, contradictory to the generic paradigm pathway, relying on a full pharmaceutical identity and sameness in vitro evaluation exercise, they need additional (biological, in vivo) evaluation with a reference product to assess comparability e.g. in tissue targeting in the body. This requires an appropriate, yet to be defined and be harmonized regulatory approach for these new class of medicinal products. The profile and the performance of NBCDs is defined by the multi-step manufacturing process, which is laborious, difficult to control and not disclosed by intellectual property. Minimal changes in for instance the starting materials or the process conditions might result in significant clinical differences affecting therapeutic effects or safety.

## Clinical Data

Studies have shown differences in therapeutic and safety effects between originator NBCDs and approved similar, even though these compounds had shown high similarities in physicochemical character. The structures responsible for these therapeutic differences are unknown. The differences in efficiency and safety (in vivo profile) cannot be detected in in vitro testing, as it is impossible to isolate and fully characterize these compounds. Nor are there defined models for proper evaluation. Furthermore, it is unknown what to look for and what causes the differences, due to a lack of understanding of the exact composition. This calls for additional characterization in biological systems including clinical head-to-head analysis to define the extent of similarity and the place in therapy as therapeutic alternatives or interchangeable/substitutable medicinal products. Clear evidence for these observations comes from retrospective studies on iron sucrose and iron sucrose similars.

## Approval challenges for iron sucrose similars

NBCDs have been approved according to the **classical generic paradigm** based on pharmaceutical equivalence and bioequivalence without realizing the nano-properties of these type of medicinal compounds. Therefore, these compounds were seen as therapeutically equivalent. As mentioned above such an approach is not valid for follow-on versions of NBCDs. The classical generic approach disregards the complexity of NBCD compounds (pharmaceutical and biodistribution aspects) as they cannot be fully characterized in vitro, which is a prerequisite for the generic approach to predict pharmaceutical (quality) equivalence. The reason is the complexity and the non-homologous composition of these synthetic large molecular products. Even slight differences in manufacturing might result in therapeutic or safety differences not to be attributed to a known or defined component.

The existing and defined **biosimilar pathway**, taking into consideration the complexity of biologics and its follow-on products, is neither applicable for NBCDs and its similars. Since NBCDs are by definition not biologicals but are rather synthetic. However, basic principles can be used for an NBCD similar evaluation. Since the NBCD follow-on versions are not identical but only similar to the originator product, they are never the same as it is with generic small molecule products. NBCDs and their similars containing nanoparticulate can also be referred to as **nanosimilars** (see figure 1). A stepwise quality, non-clinical and clinical approach is suggested for market approval of NBCD nanosimilars and to show comparability. There is a lack of non-clinical models to test such products like e.g. the rodent approach addressed by EMA in their reference paper for the NBCDs iron sucrose and its similars. Recently, the hatching egg model was used as an alternative model to study time-dependent iron concentrations in heart and liver avian tissues for various intravenous iron complexes applied in equimolar doses. Such models need in-depth evaluation and validation to demonstrate robustness and to further define potential use in an evaluation and comparison testing. When evaluated similar enough, the challenge then still is to define to either use them as a therapeutic alternative or as an equivalent product and if at the end the follow-on version can substitute the reference product or can be interchanged which also needs head-to-head comparisons in patients to prove therapeutic equivalence and comparable safety.

Both the European Medicines Agency (EMA) and the US Food and Drug Administration (US FDA) have drafted reference papers and guidance’s for the industry for several types of NBCDs, e.g. for iron nanoparticles products. Also regulatory science initiatives have addressed lacking investigations. For the comparability exercise the question stays to evaluate the totality of evidence for enough similarity of such test drugs with the reference product to conclude of the extent of comparability and its impact on use. Currently, the FDA follows a case-by-case approach for the evaluation of NBCD follow-on products, which is iterative, adaptive and flexible but also more general. The EMA on the other hand is supporting a class-related approach including non-clinical testing. A harmonized approach is, however, still missing.

1. Crommelin, D. J., & de Vlieger, J. S. (2015). Epilogue: What Did We Learn? What Can We Expect in the Future? Concluding Remarks and Outstanding Issues. In *Non-Biological Complex Drugs* (pp. 381-388). Springer International Publishing.
2. Borchard, G., Flühmann, B., & Mühlebach, S. (2012). Nanoparticle iron medicinal products–Requirements for approval of intended copies of non-biological complex drugs (NBCD) and the importance of clinical comparative studies. *Regulatory Toxicology and Pharmacology*, *64*(2), 324-328.
3. Crommelin D. J., de Vlieger J. S., Weinstein V., Mühlebach S., Shah V. P., Schellekens H. Different pharmaceutical products need similar terminology. *AAPS J.* 16, 11–14 (2014).
4. Toblli, J. E., Cao, G., Oliveri, L., & Angerosa, M. (2012). Comparison of oxidative stress and inflammation induced by different intravenous iron sucrose similar preparations in a rat model. *Inflammation & allergy drug targets*, *11*(1), 66.
5. Toblli JE, Cao G, Oliveri L, Angerosa M. Differences between the original iron sucrose complex Venofer® and the iron sucrose similar Generis®, and potential implications. *Port. J. Nephrol. Hypert.* 23(1), 53–63 (2009).
6. GDUFA Regulatory Science. 2015. https://www.fda.gov/ForIndustry/UserFees/GenericDrugUserFees/ucm370952.htm
7. Agüera, M. L., Martin-Malo, A., Alvarez-Lara, M. A., Garcia-Montemayor, V. E., Canton, P., Soriano, S., & Aljama, P. (2015). Efficiency of Original versus Generic Intravenous Iron Formulations in Patients on Haemodialysis. *PLoS ONE*, *10*(8), e0135967.
8. Stein, J., Dignass, A., & Chow, K. U. (2012). Clinical case reports raise doubts about the therapeutic equivalence of an iron sucrose similar preparation compared with iron sucrose originator. *Current Medical Research & Opinion*, *28*(2), 241-243.
9. EMA CHMP/SWP. Draft reflection paper on the data requirements for intravenous iron-based nano-colloidal products developed with reference to an innovator medicinal product. www.ema.europa.eu
10. Toblli, J. E., Cao, G., & Angerosa, M. (2015). Nitrosative stress and apoptosis in non-anemic healthy rats induced by intravenous iron sucrose similars versus iron sucrose originator. *BioMetals*, *28*(2), 279-292.
11. Schellekens H., Klinger E., Mühlebach S., Brin J., Storm G., Crommelin D. J. The therapeutic equivalence of complex drugs. *Regul. Toxicol. Pharmacol.* 59, 176–183 (2011).
12. Mühlebach S., Vulto A., de Vlieger J. S. B., Weinstein V., Flühmann B., Shah V. P. The authorization of non-biological complex drugs (NBCDs) follow-on versions: specific regulatory and interchangeability rules ahead? *GaBI J.* 2(4), 1–4 (2013).
13. EMA CHMP/SWP/2015. Draft reflection paper on the data requirements for intravenous iron-based nano-colloidal products developed with reference to an innovator medicinal product. www.ema.europa.eu
14. Spicher, K., Brendler-Schwaab, S., Schlösser, C., Catarinolo, M., Fütterer, S., Langguth, P., & Enzmann, H. (2015). Differences in tissue distribution of iron from various clinically used intravenous iron complexes in fetal avian heart and liver. *Regulatory Toxicology and Pharmacology*, *73*(1), 65-72.
15. EMA EMA/CHMP/SWP/100094/2011. Reflection paper on non-clinical studies for generic nanoparticle iron medicinal product applications. http://www.ema.europa.eu/docs/en\_GB/document\_library/Scientific\_guideline/2011/04/WC500105048.pdf
16. EMA CHMP/SWP/620008/2012. Overview of comments received on Reflection paper on the data requirements for intravenous iron-based nano-colloidal products developed with reference to an innovator medicinal product.
17. FDA Draft guidance on Iron Sucrose rev. http://www.fda.gov
18. FDA. Guidance for industry considering whether an FDA-regulated product involves the application of nanotechnology. http://www.fda.gov
19. FDA Guidance for Industry Scientific Considerations in Demonstrating Biosimilarity to a Reference Product. http://www.fda.gov


title: Hour 25

abstract: Hour 25 was a radio program focusing on science fiction, fantasy, and science. It was broadcast weekly on Pacifica radio station KPFK in Southern California from 1972 to 2000. In its heyday, Hour 25 featured numerous interviews with famous authors of science fiction and fantasy, in addition to luminaries of the scientific community. On its archival website, there is an extensive archive of older shows featuring interviews with popular authors, including Terry Pratchett, Larry Niven, Laurie R. King, Frank Kelly Freas, and Neil Gaiman. The program was hosted by Mike Hodel from 1972 to 1986; Hodel was succeeded by Harlan Ellison, who was the regular host in 1986-87. Notable science fiction authors Steven Barnes, Arthur Byron Cover, David Gerrold and J. Michael Straczynski also hosted the show at various times in the 1980s and 1990s. The show left radio in 2000, but continued as an increasingly erratically-scheduled podcast, hosted by Warren James. Interviews were phased out, the frequency of new shows dropped dramatically, and after about 2006, the show was only heard a few times a year. The final internet broadcast to date occurred in December, 2018.

text:
# Hour 25

***Hour 25*** was a radio program focusing on science fiction, fantasy, and science. It was broadcast weekly on Pacifica radio station KPFK in Southern California from 1972 to 2000. In its heyday, *Hour 25* featured numerous interviews with famous authors of science fiction and fantasy, in addition to luminaries of the scientific community. On its archival website, there is an extensive archive of older shows featuring interviews with popular authors, including Terry Pratchett, Larry Niven, Laurie R. King, Frank Kelly Freas, and Neil Gaiman.

The program was hosted by Mike Hodel (working with a series of co-hosts) from 1972 to 1986; Hodel was succeeded by Harlan Ellison, who was the regular host in 1986-87. Notable science fiction authors Steven Barnes, Arthur Byron Cover, David Gerrold and J. Michael Straczynski also hosted the show at various times in the 1980s and 1990s.

The show left radio in 2000, but continued as an increasingly erratically-scheduled podcast, hosted by Warren James. Interviews were phased out, the frequency of new shows dropped dramatically, and after about 2006, the show was only heard a few times a year. The final internet broadcast to date occurred in December, 2018.

## History

*Hour 25* was one of the longest-running science-fiction radio programs, surpassed by only *Hour of the Wolf*, and surpassing *Shockwave Radio Theater'*s 28-year run. In its first years, *Hour 25* functioned almost as a science-fiction "web page" for the Los Angeles area fan base before computer technology made it much simpler to keep up-to-date on news and events in the relatively small world of science-fiction fandom. It was also one of the earliest programs to be taken seriously by both authors and publishers.

*Hour 25* was originally hosted by Katherine Calkin and Mitchell Harding, who were quickly joined by Mike Hodel after the first few months. The trio's appreciation for the genre and differing tastes brought a unique quality to the program, which was an eclectic mixture of science-fiction news, reviews, readings, filk music, occasional on-air listener phone calls, interviews, and playing of science-fiction radio shows such as *X Minus One* and *The Hitchhiker's Guide to the Galaxy*.

The show went through a number of hosts and can be usefully subdivided into different eras by host tenure:

### Mike Hodel era (1972-1986)

Co-hosts Katherine Calkin (1972-1976) Mitchell Harding (1972-1981) Mel Gilden (1981-1986)

*Hour 25* first took to the air in January 1972, and was created by Mitchell Harding, Katherine Calkin, Mike Hodel and Terry Hodel. Though Mike Hodel was involved in the show's creation from the very beginning, he was initially unable to host it due to other commitments, and *Hour 25* was originally hosted by Katherine Calkin, with engineer Mitchell Harding serving as *de facto* co-host, often identifying himself on-air as "John Henry Thong". ("Mitchell Harding" was itself also a pseudonym—his real name was Eugene Loring Ware.) Mike Hodel would join the on-air cast within the first few months, and with a now-permanent trio of co-hosts in place, *Hour 25* began to take on its most well-remembered form.

The show took a certain amount of pride in fostering the LA science-fiction community. Terry Hodel, Mike Hodel's wife, maintained and read on the air each week a calendar of science-fiction related events in the Los Angeles area, which, before electronic media and the internet, was the only way many science-fiction fans learned of conventions and book signings. *Hour 25* also adopted a fan-friendly method of operation in Southern California; the outer door of the station was deliberately propped open during the program, allowing fans to come and go as they pleased. Fans would often drop by the station to meet the evening's guests, or to deliver refreshments.

Originally, the three-hour show aired Friday nights from 10:00 PM to 1:00 AM, but when the management at KPFK threatened to cancel the show, the producers were able to negotiate a schedule change. The last hour of the program, which was largely devoted to playing old-time radio shows, was eliminated, and beginning in May 1975, *Hour 25* aired on Saturday morning from midnight to 2:00 AM. In October, 1976, the show moved back to its original starting time, Fridays at 10:00 PM, and ended at midnight. It would then continue airing in this timeslot for the next two decades.

As the show became more of a fixture in the LA science-fiction community, noted authors began to make appearances on the show. Theodore Sturgeon was the first author to be interviewed by the show, in 1973; in the years following, *Hour 25* interviewed virtually every major writer in the field. One well-known recorded interview was with author Philip K. Dick in 1976, in which Mike Hodel talked with Dick about his new book, *A Scanner Darkly*, and Dick read some passages which he said were inspired by his own use of drugs. The original recording was over three hours long, but the broadcast version was edited to be much shorter. Some time after being aired, Hodel realized that neither version of the interview could be found in the station archives, but a 75-minute version of the Dick interview is now available and a transcript is held on the Internet Archive.

*Hour 25* was also one of the first US radio programs to introduce the American audience to *The Hitchhiker's Guide to the Galaxy* before NPR gained rights and aired it. It was broadcast as two series of six shows with a "bridge" episode, and was replayed until NPR gained the rights. *Hour 25* later featured Douglas Adams as an in-studio guest.

Calkin, one of the show's original creators and co-hosts, departed in 1976 for a position at KUSC, and was not replaced. After co-host/engineer Mitchell Harding departed from *Hour 25* in 1981 to take a position at KCRW-FM, Hodel co-hosted the show with science-fiction and television writer Mel Gilden, who was then just beginning his career. At this same time, Harding's engineering duties were taken over by Joe Adams, who would occasionally co-host shows that featured discussions of various comics. Later, Burt Handlesman, who was often affectionately identified on-air as "Burt Handlesman, Crack Engineer", would become the program's engineer and announcer. As well, for several years in the early 1980s, Bill Warren was a once-a-month "media" co-host.

One frequently discussed concept in the show was the "Group Mind", which consisted of all the listeners. Hodel often said there was no topic that some "cell" of the Group Mind wouldn't have information about. Many times members of the "Group Mind" would call in with answers as the show aired, presaging live shows today which have chat rooms for the same function.

Harlan Ellison was a frequent and favorite guest on the program. On August 14, 1976, he was the guest and after explaining what would happen that night he started work on a story. He began with the audience suggesting words and phrases he could use. He picked three and began typing, describing what he was doing and occasionally asking the hosts and audience for help. This continued so long that the host of the following show gave him more air time. The show lasted over three and 1/2 hours, but he was unable to finish the story that night. Ellison came back on August 28 and continued writing. He returned once more on September 4, 1976 and read the completed story, "Hitler Painted Roses."

Ellison later "immortalized" *Hour 25* (and some of its staff) in a story, "The Hour That Stretches", which featured the radio show as a central element.

### Harlan Ellison era (1986-1987)

When Mike Hodel became gravely ill in early 1986, Ellison took over co-hosting the show with Mel Gilden. After Mike Hodel died on May 6, 1986, Ellison became the official new co-host on May 9, the memorial program for Mike Hodel. Gilden left the show a month later, leaving Ellison as the sole host. Terry Hodel continued with the show as executive producer, and also continued to maintain and read the calendar listings.

Ellison opened each program by reading vignettes of his own composition while music from the opening credits of *Dark of the Sun* played in the background. Ellison renamed the program "Mike Hodel's Hour 25", and began closing each show by saying "Goodnight, Mike." As the sole host of *Hour 25*, Ellison began to find it challenging to create two hours of original content every week; the Harlan Ellison FAQ (which is overseen by Ellison) also mentions that Ellison felt that the people at Pacifica Radio/KPFK were being "less than civil" and "abusive" to him. Ellison left the show after the broadcast of June 19, 1987.

### J. Michael Straczynski/Larry DiTillio era (1987-1989)

Frequent substitute host David Gerrold (1988-1989)

When Harlan Ellison decided to leave *Hour 25*, he contacted writer J. Michael Straczynski and asked him to take over the show as its weekly host. Straczynski brought Larry DiTillio on as co-host; the two hosted *Hour 25* for a little over two years, although David Gerrold was a frequent substitute host during this era. The show continued to interview such guests as Ray Bradbury, Norman Corwin, John Carpenter, Dean Koontz, Walter Koenig, Neil Gaiman and scores of other writers, directors and actors.

### Rotating hosts era (1989-1992)

Beginning in 1989, the show moved to using a series of rotating hosts. The hosts sometimes worked solo, more often in pairs or even trios with little week-to-week continuity. Amongst the regular pool of hosts and co-hosts during this era were Straczynski, DiTillio, Arthur Byron Cover, Steven Barnes and Warren W. James. Author David Gerrold hosted one show solo and co-hosted at least one show with DiTillio during this era, though he was not a regular host.

In 1992, Straczynski, DiTillio and Cover all left *Hour 25* due to creative differences with KPFK station management—particularly with regard to language used on the air, and management's request for advance notice of the program's content. This left only James and Barnes as hosts.

### Warren James era (1992-2018)

Regular substitute host Steven Barnes (1992-1995)

As of 1992, the show was now hosted primarily by Warren James, with Steven Barnes taking over as host approximately once a month. After a few years, Barnes left the show to move to the Pacific Northwest, leaving James as the show's sole host, although Jeff Laube, Nick Smith and Sandy Rymer occasionally (and individually) co-hosted the show with James on an informal basis. A special 25th anniversary show aired in January, 1997, and featured several co-hosts from years past, including Mitchell Harding, Katherine Calkin, Mel Gilden and J. Michael Straczynski.

In 1998, the show was cut from its longstanding two-hour running time to one hour. Terry Hodel continued as the executive producer of the show (and as the presenter of the calendar listings) until her death in March 1999. At this time, Suzanne Gibson became producer, and also took over as the compiler and presenter of the calendar listings. Gibson also frequently functioned as an unofficial co-host, participating in interview segments and story readings.

#### Podcast era (2000-2018)

The show left KPFK in the fall of 2000, and became a podcast at that time. (Note that this development predated the creation of the actual word "podcast" by four years.) With the time restrictions of fitting into a specific radio station timeslot lifted, *Hour 25* episodes now lasted anywhere from 60 to 150 minutes, depending on the subject matter and material available for broadcast. After the first few weeks as a podcast, calendar listings were no longer read aloud but were instead posted on the show's website — although even this practice petered out in early 2002.

The show kept to a weekly schedule through mid-2002, after which the frequency with which new episodes were produced started to decline. New episodes were generally heard approximately twice a month through 2004, then roughly once a month in 2005. Dedicated author interviews became rare: from 2006-2011, *Hour 25* produced between 2 and 6 new episodes each year, usually centered around reports from Loscon, or readings of Christmas and/or Hallowe'en-themed science fiction stories. After 2008, episode lengths were consistently kept to under an hour, and Loscon reports were discontinued after 2010.

The show seemed to have wound down with an episode of Hallowe'en readings broadcast in 2011, but after exactly a one-year absence, Hour 25 returned with another episode of Hallowe'en readings on October 31, 2012. In the show's opening segment, host James explained that *Hour 25'*s dramatically reduced production schedule was due to a number of factors, including medical and financial difficulties. However, he also stated that "reports that *Hour 25* has ended are most certainly in error." An episode of Christmas readings followed on December 25.

A 92-minute interview with author David Brin (following 20 minutes of Hour-25-news) was recorded in February 2013 and posted in March. This was the first episode of Hour 25 since 2010 not to consist of Hallowe'en or Christmas readings. 2014 brought four episodes, two with non-holiday content (one an interview, one a film festival review), but as of 2015, Hour 25 reverted to two episodes per year, consisting solely of Hallowe'en and Christmas readings.

Though no official announcement has been made, the show apparently ceased production at the end of 2018. The final Hour 25 podcast was a series of Christmas readings posted in December 2018.

## On-air personnel timeline

## Theme song

The show's opening theme was, for much of its run, "Needles & Bones" from Vangelis's 1975 album *Heaven and Hell*. "Jupiter, the Bringer of Jollity" from Holst's *The Planets* was also used, as well as Mike Oldfield's *Tubular Bells* and other mixed material. The original opening was created by Joe Adams in 1973, a sound effect collage based on "Dizzy Dizzy" by the Europop group Can. Later versions (under Mike Hodel and then Warren James) were created by Burt Handelsman (BHCE).


title: Non-Muslim Provinces under Early Islam

abstract: Non-Muslim Provinces under Early Islam: Islamic Rule and Iranian Legitimacy in Armenia and Caucasian Albania is a book by Alison Vacca about medieval Armenia and Caucasian Albania. The book deals with the change from Sasanian rule to caliphal rule within these two predominantly Christian polities who were part of the Iranian cultural sphere. The book focusses on the history of Armenia and Caucasian Albania under the Islamic Caliphate, elements of administrative continuity between Sasanian and caliphal rule, and changes in administration by the Marwanids and early Abbasids in relation to these two provinces. Additionally, according to the book description: "Vacca examines historical narrative and the construction of a Sasanian cultural memory during the late ninth and tenth centuries to place the provinces into a broader context of Iranian rule". The book is considered to be within the scope of Islamic, Iranian and Caucasus studies, in addition to being of interest for those studying Iranian identity and Muslim-Christian relations within Western Asia.

text:
# Non-Muslim Provinces under Early Islam

***Non-Muslim Provinces under Early Islam: Islamic Rule and Iranian Legitimacy in Armenia and Caucasian Albania*** is a book by Alison Vacca about medieval Armenia and Caucasian Albania. The book deals with the change from Sasanian rule to caliphal rule within these two predominantly Christian polities who were part of the Iranian cultural sphere. The book focusses on the history of Armenia and Caucasian Albania under the Islamic Caliphate, elements of administrative continuity between Sasanian and caliphal rule, and changes in administration by the Marwanids and early Abbasids in relation to these two provinces. Additionally, according to the book description: "Vacca examines historical narrative and the construction of a Sasanian cultural memory during the late ninth and tenth centuries to place the provinces into a broader context of Iranian rule". The book is considered to be within the scope of Islamic, Iranian and Caucasus studies, in addition to being of interest for those studying Iranian identity and Muslim-Christian relations within Western Asia.

## Further reading

## InfoBox

Non-Muslim Provinces under Early Islam: Islamic Rule and Iranian Legitimacy in Armenia and Caucasian Albania
|  | |
| --- | --- |
| Author | Alison Vacca |
| Published | 2017 (Cambridge University Press) |


title: Museum of Motherhood

abstract: The Museum of Motherhood, also known as M.O.M, was conceived in 2003 and first opened to the public on Main St. in Dobbs Ferry, NY with a small exhibition gallery. The focus of the museum is to explore and understand American mothers, fathers, and families. M.O.M. was founded under the non-profit Motherhood Foundation Inc. 501c3, and has participated in events throughout New York state, including a village-wide display called "The Moms of Rock" in Seneca Falls, home of the Suffragette Movement (2010), as well as family activities each year at the Museum Mile Festival in New York City. In 2011, local Gymboree franchise owners Deb Whitefield and Barry Hanson donated a popup museum space in the Yorkville neighborhood of Manhattan's Upper East Side. During that time the museum leveraged students from surrounding universities: Columbia University, Marymount Manhattan University, and Columbia, Teachers' College to source internships and conduct tours. It is believed to be the only museum to focus on motherhood and the role of the mother. M.O.M. also features the work of international artists and student-made art. An article in the July 2013 issue of the Wall Street Journal addressed the museum's goals of ascribing value to the role of caregiving. The museum's founder, Martha Joy Rose, lead singer of Housewives on Prozac also founded the concept of a "Mom Rock Movement" and coined the phrase "Moms Rock" after founding the Mamapalooza Festival. The festival highlights the value of mothers and their talents, and is organized in conjunction with New York Parks Dept. Rose is believed to be the first person to receive a Master's in Mother Studies, graduating CUNY, The Graduate Center in 2015. Originally scheduled to be open in Upper East Side location through December 2011, the museum remained open on the UES through the summer of 2014. The museum took its exhibits online in 2015 and M.O.M. participated in several international arts presentations including The Art of Motherhood as part of the 2nd annual Jerusalem Biennale for Contemporary Jewish Art at the Hechal Sclomo Museum in Israel. Each May the museum organizes and produces academic conferences on the subject of motherhood. The 2016 conference is the museum's 11th annual gathering, taking place for the second year at Manhattan College. On June 1, 2016, the Museum of Motherhood relocated to an exhibition and teaching space in the Historic Kenwood Artists Enclave at 538 27th St. N. St. Petersburg, Florida 33713. Hours are on Thursday, Friday, and Saturday by appointment only.

text:
# Museum of Motherhood

The **Museum of Motherhood**, also known as M.O.M, was conceived in 2003 and first opened to the public on Main St. in Dobbs Ferry, NY with a small exhibition gallery. The focus of the museum is to explore and understand American mothers, fathers, and families. M.O.M. was founded under the non-profit Motherhood Foundation Inc. 501c3, and has participated in events throughout New York state, including a village-wide display called "The Moms of Rock" in Seneca Falls, home of the Suffragette Movement (2010), as well as family activities each year at the Museum Mile Festival in New York City.

In 2011, local Gymboree franchise owners Deb Whitefield and Barry Hanson donated a popup museum space in the Yorkville neighborhood of Manhattan's Upper East Side. During that time the museum leveraged students from surrounding universities: Columbia University, Marymount Manhattan University, and Columbia, Teachers' College to source internships and conduct tours. It is believed to be the only museum to focus on motherhood and the role of the mother. M.O.M. also features the work of international artists and student-made art. An article in the July 2013 issue of the Wall Street Journal addressed the museum's goals of ascribing value to the role of caregiving.

The museum's founder, Martha Joy Rose, lead singer of Housewives on Prozac also founded the concept of a "Mom Rock Movement" and coined the phrase "Moms Rock" after founding the Mamapalooza Festival. The festival highlights the value of mothers and their talents, and is organized in conjunction with New York Parks Dept. Rose is believed to be the first person to receive a Master's in Mother Studies, graduating CUNY, The Graduate Center in 2015.

Originally scheduled to be open in Upper East Side location through December 2011, the museum remained open on the UES through the summer of 2014. The museum took its exhibits online in 2015 and M.O.M. participated in several international arts presentations including The Art of Motherhood as part of the 2nd annual Jerusalem Biennale for Contemporary Jewish Art at the Hechal Sclomo Museum in Israel. Each May the museum organizes and produces academic conferences on the subject of motherhood. The 2016 conference is the museum's 11th annual gathering, taking place for the second year at Manhattan College.

On June 1, 2016, the Museum of Motherhood relocated to an exhibition and teaching space in the Historic Kenwood Artists Enclave at 538 27th St. N. St. Petersburg, Florida 33713. Hours are on Thursday, Friday, and Saturday by appointment only.

## InfoBox

Museum of Motherhood
|  | |
| --- | --- |
|  | |
| Established | 2003 |
| Visitors | 20,000 2011-2014 |
| Director | Martha Joy Rose |
| Website | Museum of Motherhood |


title: Peter Sippel

abstract: Peter Sippel is a former German football referee who is based in Munich. He refereed for FC Würzburger Kickers of the Bavarian Football Association.

text:
# Peter Sippel

**Peter Sippel** (born 6 October 1969) is a former German football referee who is based in Munich. He refereed for FC Würzburger Kickers of the Bavarian Football Association.

## Refereeing career

From 2004 until 2011, Peter Sippel has refereed quite a few European matches, mainly UEFA Cup matches and qualifiers.

Sippel retired from officiating in 2016 because of personal reasons. His final Bundesliga match officiated was between Darmstadt 98 and Borussia Mönchengladbach.

## Personal life

Sippel has a professional diploma in business administration, and lives in Munich.

## InfoBox

Peter Sippel
| Sippel in 2010 | | | |
| --- | --- | --- | --- |
| Born | (1969-10-06) 6 October 1969<br>Würzburg, West Germany | | |
| Other occupation | Business administrator | | |
| Domestic | | | |
| Years | **League** | **Role** |
| 1996–2016 | DFB | Referee |
| 1997–2016 | 2. Bundesliga | Referee |
| 2000–2016 | Bundesliga | Referee |
| International | | | |
| Years | **League** | **Role** |
| 2003–2011 | FIFA listed | Referee |


title: Government of Uttarakhand

abstract: The Government of Uttarakhand also known as the State Government of Uttarakhand, or locally as State Government, is the subnational government of the Indian state of Uttarakhand and its 13 Districts. It consists of an executive branch, led by the Governor of Uttarakhand, a legislative branch led by the Chief Minister of Uttarakhand and a judiciary branch, led by the Chief Justice of Uttarakhand. Like other states in India, the head of state of Uttarakhand is the Governor, appointed by the President of India on the advice of the Union Government of India. The position of governor is largely ceremonial. The Chief Minister is the head of government and is vested the executive powers. Currently Bhararisain is the summer and Dehradun is the winter capital of Uttarakhand, and houses the Vidhan Sabha and the Secretariat in each capital. The Uttarakhand High Court, located in Nainital exercises jurisdiction over the whole state. The present unicameral legislature of Uttarakhand is the Legislative Assembly of Uttarakhand. It comprises 70 Members of the Legislative Assembly (MLAs).

text:
# Government of Uttarakhand

The **Government of Uttarakhand** also known as the **State Government of Uttarakhand**, or locally as **State Government**, is the subnational government of the Indian state of Uttarakhand and its 13 Districts. It consists of an executive branch, led by the Governor of Uttarakhand, a legislative branch led by the Chief Minister of Uttarakhand and a judiciary branch, led by the Chief Justice of Uttarakhand.

Like other states in India, the head of state of Uttarakhand is the Governor, appointed by the President of India on the advice of the Union Government of India. The position of governor is largely ceremonial. The Chief Minister is the head of government and is vested the executive powers. Currently Bhararisain is the summer and Dehradun is the winter capital of Uttarakhand, and houses the Vidhan Sabha (Legislative Assembly) and the Secretariat in each capital. The Uttarakhand High Court, located in Nainital exercises jurisdiction over the whole state.

The present unicameral legislature of Uttarakhand is the Legislative Assembly of Uttarakhand. It comprises 70 Members of the Legislative Assembly (MLAs).

## InfoBox

Government of Uttarakhand
|  | |
| --- | --- |
| Seat of Government |  |
| Website | uk.gov.in |
| Legislative branch | |
| Assembly |  |
| Speaker | Ritu Khanduri Bhushan, BJP |
| Deputy Speaker | *vacant* |
| Members in Assembly | 70 |
| Executive branch | |
| Governor | Gurmit Singh |
| Chief Minister | Pushkar Singh Dhami, BJP |
| Chief Secretary | Radha Raturi, IAS |
| Judiciary | |
| High Court | Uttarakhand High Court |
| Chief Justice | Ritu Bahri |
| District Courts | 13 |


title: Mike McKone

abstract: Michael McKone is a British comic book artist.

text:
# Mike McKone

**Michael McKone** is a British comic book artist.

## Career

McKone's first published works for the major companies included *Justice League of America* and *Justice League International* for DC Comics and *The Punisher War Zone* for Marvel Comics. However, it was his work on Marvel's *Exiles* which brought him instant attention, and led him to work on two of DC's *Teen Titans* and Marvel's *Fantastic Four*.

McKone is currently providing covers for Marvel, DC and Dynamite comics.

## Awards and recognition

In July 2010, McKone was named Inkwell Awards Special Ambassador.

## Bibliography

### DC

### Image

* *Spartan: Warrior Spirit*, miniseries, #1-4 (1995)

### Marvel

## InfoBox

| Mike McKone | |
| --- | --- |
| McKone at the Big Apple Convention in Manhattan, 18 October 2009 | |
| Born | Michael McKone |
| Nationality | British |
| Area(s) | Penciller |
| Notable works | *Exiles*
*Fantastic Four*
*Teen Titans*, vol. 3 |


title: Gold number

abstract: The gold number is the minimum weight of a protective colloid/lyophilic colloid required to prevent the coagulation of 10 ml of a standard hydro gold sol when 1 ml of a 10% sodium chloride solution is added to it. It was first used by Richard Adolf Zsigmondy in 1901. An electrical double layer is normally present on the gold sol particles, resulting in electrostatic repulsion between the particles. The sodium chloride ions disrupt this electrical double layer, causing coagulation to occur. The coagulation of gold sol results in an increase in particle size, indicated by a colour change from red to blue or purple. The higher the gold number, the lower the protective power of the colloid, because a greater amount of colloid is required to prevent coagulation. The gold number of some colloids are given below.

text:
# Gold number

The **gold number** is the minimum weight (in milligrams) of a protective colloid/lyophilic colloid required to prevent the coagulation of 10 ml of a standard hydro gold sol when 1 ml of a 10% sodium chloride solution is added to it. It was first used by Richard Adolf Zsigmondy in 1901.

An electrical double layer is normally present on the gold sol particles, resulting in electrostatic repulsion between the particles. The sodium chloride ions disrupt this electrical double layer, causing coagulation to occur.

The coagulation of gold sol results in an increase in particle size, indicated by a colour change from red to blue or purple. The higher the gold number, the lower the protective power of the colloid, because a greater amount of colloid is required to prevent coagulation.

The gold number of some colloids are given below.

| Protective Colloid | Gold Number |
| --- | --- |
| Gelatin | 0.005-.01 |
| Haemoglobin | 0.03-0.07 |
| Egg Albumin | 0.15-0.25 |
| Potato Starch | 20-25 |
| Gum arabic | 0.15-0.25 |
| Caseinate | 0.01-0.02 |
| Sodium Oleate | 1-5 |
| Dextrin | 125-150 |
|


title: Maori i Crni Gonzales

abstract: Maori i Crni Gonzales is the debut album by the Serbian punk rock band Atheist Rap, released by Scorned Records in 1993. The album, previously available only on compact cassette, was rereleased by Take It Or Leave It Records, featuring bonus material.

text:
# Maori i Crni Gonzales

***Maori i Crni Gonzales*** is the debut album by the Serbian punk rock band Atheist Rap, released by Scorned Records in 1993. The album, previously available only on compact cassette, was rereleased by Take It Or Leave It Records, featuring bonus material.

## Track listing

All music and lyrics written by Atheist Rap. Some of the lyrics and music inspired by Dr Fuzz, Pekinška Patka, Deep Purple, Obojeni Program, Eddy Grant, Lazar Stojanović, Vranešević. Track 1 features the sampled speech of Josip Broz Tito.

| No. | Title | Length |
| --- | --- | --- |
| 1. | "Ljubav" (Love) | 3:25 |
| 2. | "Blu Trabant" (Blue Trabant) | 4:50 |
| 3. | "Wartburg limuzina" (Wartburg Limousine) | 5:00 |
| 4. | "Ritam" (Rhythm) | 2:15 |
| 5. | "Sarajevo" (Sarajevo) | 3:22 |
| 6. | "Piloti" (Pilots) | 1:26 |
| 7. | "Štrikanje" (Knitting) | 3:25 |
| 8. | "Pomoćni - Đubre!!!" (Assistant \- Garbage!!!) | 4:22 |
| 9. | "U Zmajevom gnezdu" (In The Dragon's Nest) | 2:55 |
| 10. | "Ora je pravi način da..." (YWA Is The Right Way To...) | 4:35 |
| 11. | "Plitka poezija" (Shallow Poetry) | 5:00 |

### Bonus tracks on the 1996 reissue

| No. | Title | Length |
| --- | --- | --- |
| 1. | "Ritam (Live)" (Rhythm (Live)) | 1:58 |
| 2. | "Ora je pravi način da... (Live)" (YWA Is The Right Way To... (Live)) | 4:00 |
| 3. | "Ljubav (Live)" (Love (Live)) | 4:37 |
| 4. | "Gusti sok" (Treacle) | 3:38 |
| 5. | "Stomak eliminator" (Stomach Eliminator) | 3:08 |
| 6. | "Novosadski vašar" (Novi Sad Fair) | 3:08 |
| 7. | "Gril 13" (Grill 13) | 2:57 |

## Personnel

* Zare (Zoran Zarić; bass)
* Acke (Aleksandar Milovanov; drums)
* Goja (Stevan Gojkov; guitar)
* Radule (Vladimir Radusinović; guitar, vocals)
* Dr. Pop (Aleksandar Popov; vocals)
* Pećinko (Vladimir Kozbašić; vocals)

### Additional personnel

* Voja (artwork by \[design\])
* Marko Emer (photography))
* Ljuba (Ljubomir Pejić; producer)
* Peđa (Predrag Pejić; producer)

* EX YU ROCK enciklopedija 1960-2006, Janjatović Petar; ISBN 978-86-905317-1-4
* Maori i Crni Gonzales at Discogs

## InfoBox

| Maori i Crni Gonzales | |
| --- | --- |
|  | |
| Studio album by Atheist Rap | |
| Released | 1994
1996 (reissue) |
| Recorded | November–December 1992
*Do-Re-Mi* studio, Novi Sad |
| Genre | Punk rock, hardcore punk, pop punk, comedy rock |
| Length | 41:12
63:05 (reissue) |
| Label | Scorned Records, Take It Or Leave It Records (reissue) |
| Producer | Ljubomir Pejić, Predrag Pejić, Atheist Rap |
| Atheist Rap chronology | |
| ***Maori i Crni Gonzales***
(1994) *Ja eventualno bih ako njega eliminišete*
(1995) | |
|  | |
| Alternate cover | |
|  | |
| **The 1996 reissue cover** | |
|  | |
|  | |


title: Quest for Camelot Dragon Games

abstract: Quest for Camelot Dragon Games is a 1998 video game based on the Warner Bros. film Quest for Camelot and developed by Knowledge Adventure. It was released as a tie-in with the release of the film.

text:
# Quest for Camelot Dragon Games

***Quest for Camelot Dragon Games*** is a 1998 video game based on the Warner Bros. film *Quest for Camelot* and developed by Knowledge Adventure. It was released as a tie-in with the release of the film.

## Gameplay and plot

This game contains a collection of mini-games for children based around the characters of the Warner Bros. animated film *Quest for Camelot.*

*Working Mother* magazine explains, "What child wouldn't jump at the chance to raise a baby dragon? With this game, kids can give their critter a bottle, rock it to sleep, entertain it when it reaches middle childhood and supervise it during the dreaded teen years."

## Critical reception

In their review of the game, SuperKids said: "Even fans of the Warner Brothers animated feature "Quest for Camelot" will be disappointed with this uninspiring software adventure. In fact, if not for the addition of a virtual pet - a charismatic dragon that the user raises from a hatchling to a self-sufficient pre-teen, the program would be a total ho-hum."

## InfoBox

| Quest for Camelot Dragon Games | |
| --- | --- |
|  | |
| Developer(s) | Knowledge Adventure |
| Publisher(s) | Knowledge Adventure |
| Platform(s) | Windows/Mac |
| Release | 1998 |
| Genre(s) | Action, Strategy |


title: Meads, Kentucky

abstract: Meads is an unincorporated community in Boyd County, Kentucky, United States. It is located along the U.S. Highway 60 corridor south of Ashland. Meads is centered on the junction of U.S. Route 60, Kentucky Route 538 and Mead-Springer Road. It was named for the long closed Mead's station, a train station and general store located on the C&O(now CSX) railroad that still runs through the community. Very little if anything remains of the original community besides the railroad and a few homes. With the upgrading of U.S. 60 beginning in the early 1970s, new growth began to happen at Meads, as it was reborn as a suburb of Ashland. In 1974 a large subdivision named Rockdale was developed on the hills above Meads, with several hundred tract homes. In 1991, Mead Station Plaza was constructed with over 20 commercial units and serves the nearby communities along U.S. 60. Several other commercial units have followed suit in recent years. Meads is a part of the Huntington-Ashland Metropolitan Statistical Area (MSA). As of the 2010 census, the MSA had a population of 287,702. New definitions from February 28, 2013, placed the population at 363,000.

text:
# Meads, Kentucky

**Meads** is an unincorporated community in Boyd County, Kentucky, United States. It is located along the U.S. Highway 60 corridor south of Ashland.

Meads is centered on the junction of U.S. Route 60, Kentucky Route 538 and Mead-Springer Road. It was named for the long closed Mead's station, a train station and general store located on the C&O(now CSX) railroad that still runs through the community. Very little if anything remains of the original community besides the railroad and a few homes. With the upgrading of U.S. 60 beginning in the early 1970s, new growth began to happen at Meads, as it was reborn as a suburb of Ashland. In 1974 a large subdivision named Rockdale was developed on the hills above Meads, with several hundred tract homes. In 1991, Mead Station Plaza was constructed with over 20 commercial units and serves the nearby communities along U.S. 60. Several other commercial units have followed suit in recent years. Meads is a part of the Huntington-Ashland Metropolitan Statistical Area (MSA). As of the 2010 census, the MSA had a population of 287,702. New definitions from February 28, 2013, placed the population at 363,000.

## InfoBox

| Meads | |
| --- | --- |
| Unincorporated community | |
| MeadsLocation within the state of KentuckyMeadsMeads (the United States) | |
| Coordinates: 38°24′45″N 82°42′33″W / 38.41250°N 82.70917°W / 38.41250; -82.70917 | |
| Country | United States |
| State | Kentucky |
| County | Boyd |
| Time zone | UTC-5 (Eastern (EST)) |
| Summer (DST) | UTC-4 (EDT) |


title: Vangueria chariensis

abstract: Vangueria chariensis is a species of flowering plant in the family Rubiaceae. It is endemic to southeastern Chad. It is named after the Chari river.

text:
# Vangueria chariensis

***Vangueria chariensis*** is a species of flowering plant in the family Rubiaceae. It is endemic to southeastern Chad. It is named after the Chari river.

## InfoBox

| *Vangueria chariensis* | |
| --- | --- |
|
| Scientific classification | |
| Kingdom: | Plantae |
| *Clade*: | Tracheophytes |
| *Clade*: | Angiosperms |
| *Clade*: | Eudicots |
| *Clade*: | Asterids |
| Order: | Gentianales |
| Family: | Rubiaceae |
| Genus: | *Vangueria* |
| Species: | ***V. chariensis*** |
| Binomial name | |
| ***Vangueria chariensis***<br>A.Chev. ex Robyns | |
|


title: Vangueria discolor

abstract: Vangueria discolor is a species of flowering plant in the family Rubiaceae. It is found in Burundi, DR Congo, Tanzania, and Zambia. The epithet refers to the difference in colour between the upper and the lower part of the leaves, which is especially visible after drying.

text:
# Vangueria discolor

***Vangueria discolor*** is a species of flowering plant in the family Rubiaceae. It is found in Burundi, DR Congo, Tanzania, and Zambia. The epithet refers to the difference in colour between the upper and the lower part of the leaves, which is especially visible after drying.

## InfoBox

| *Vangueria discolor* | |
| --- | --- |
|
| Scientific classification | |
| Kingdom: | Plantae |
| *Clade*: | Tracheophytes |
| *Clade*: | Angiosperms |
| *Clade*: | Eudicots |
| *Clade*: | Asterids |
| Order: | Gentianales |
| Family: | Rubiaceae |
| Genus: | *Vangueria* |
| Species: | ***V. discolor*** |
| Binomial name | |
| ***Vangueria discolor***<br>(De Wild.) Lantz | |
|
| Synonyms | |
|  | |


title: Vangueria cyanescens

abstract: Vangueria cyanescens, the Kalahari wild-medlar, is a species of flowering plant in the family Rubiaceae. It is found in Angola, Botswana, Namibia, and Zambia. The epithet is a Latin adjective meaning dark or deep blue, referring to the colour of the leaves, especially after drying.

text:
# Vangueria cyanescens

***Vangueria cyanescens***, the **Kalahari wild-medlar**, is a species of flowering plant in the family Rubiaceae. It is found in Angola, Botswana, Namibia, and Zambia. The epithet is a Latin adjective meaning dark or deep blue, referring to the colour of the leaves, especially after drying.

## InfoBox

| *Vangueria cyanescens* | |
| --- | --- |
|  | |
|  | |
|
| Scientific classification | |
| Kingdom: | Plantae |
| *Clade*: | Tracheophytes |
| *Clade*: | Angiosperms |
| *Clade*: | Eudicots |
| *Clade*: | Asterids |
| Order: | Gentianales |
| Family: | Rubiaceae |
| Genus: | *Vangueria* |
| Species: | ***V. cyanescens*** |
| Binomial name | |
| ***Vangueria cyanescens***<br>Robyns | |
|


title: Government Champhai College

abstract: The Government Champhai College is a government university college associated with Mizoram University, located in Champhai, Mizoram, in India. Established as a private college in 1971 by the philanthropists of Champhai town and neighboring villages, the founders' objective was providing collegiate education to the students of this remote hilly tribal town near the international border of India with Myanmar.

text:
# Government Champhai College

The **Government Champhai College** is a government university college associated with Mizoram University, located in Champhai, Mizoram, in India. Established as a private college in 1971 by the philanthropists of Champhai town and neighboring villages, the founders' objective was providing collegiate education to the students of this remote hilly tribal town near the international border of India with Myanmar.

## History

Champhai College was initially affiliated to Gauhati University, then to North Eastern Hill University in 1973. From 2 July 2001, upon the creation of the Mizoram University that came up in Aizawl, the affiliation was directly transferred to the new university. In 1978 the college attained the status of deficit grants-in-aid College under Mizoram Government. The college started degree courses in science in 1997. The pre-university course that was introduced in 1995 has now been delinked and the institute has only under-graduate programmes. The college received UGC recognition under 2f and 12B in 1987.

## Departments

Govt. Champhai College has the following departments:

* **Arts Stream**

1. Department of English
2. Department of Mizo
3. Department of Economics
4. Department of Education
5. Department of Geography
6. Department of History
7. Department of Political Science

* **Commerce Stream**

1. Department of Commerce

* **Computer Science**

1. Department of Computer Science - BCA

* **Science Stream**

1. Department of Physics
2. Department of Chemistry
3. Department of Mathematics
4. Department of Botany
5. Department of Zoology

Champhai college also has facility to learn spoken Hindi, English and Burmese under RUSA scheme.

## Accreditation

NAAC (National Accreditation and Assessment Council), a body under an umbrella of UGC, has sent peer team on March 23, 2004, to inspect the college under a 9-point scale grading system, in which the college secured 70-75 marks to attain a grade “B”. The accreditation is valid for 5 years, extendable to 2 years.

## Campus layout

The college covers an area of 4.72 hectares (11.66 acres) (34.94 bighas) of land, located at an elevation of about 1,400 metres (4,500 ft) above mean sea level. The Chief Minister of Mizoram Pu Lalthanhawla recently inaugurated a Multipurpose Hall, Arts & Commerce building, Science & BCA building, Administrative & Library building, Boys Hostel, Guest House and Staff Quarters costing 9 crore rupees.

## InfoBox

Government Champhai College, Champhai
| Type | Public college |
| --- | --- |
| Established | 1971 |
| Affiliation | Mizoram University |
| Principal | Mr. P. Lalhmingliana |
| Undergraduates | B.A, BCA, B.Com, B.Sc |
| Location | Champhai, Mizoram, 796321, India<br>23°28′57″N 93°19′12″E / 23.4823871°N 93.3199204°E / 23.4823871; 93.3199204 |
| Campus | Urban |
| Language | English, Hindi, Mizo |
| Website | www.champhaicollege.edu.in |
| Location in India | |


title: Grand-Camp, Eure

abstract: Grand-Camp is a commune in the Eure department in northern France.

text:
# Grand-Camp, Eure

**Grand-Camp** (French pronunciation: \[ɡʁɑ̃ kɑ̃\]) is a commune in the Eure department in northern France.

## Population

Historical population
| Year | Pop. | ±% |
| --- | --- | --- |
| 1962 | 267 |  |
| 1968 | 298 | +11.6% |
| 1975 | 334 | +12.1% |
| 1982 | 471 | +41.0% |
| 1990 | 485 | +3.0% |
| 1999 | 453 | −6.6% |
| 2008 | 437 | −3.5% |

## InfoBox

| Grand-Camp | |
| --- | --- |
| Commune | |
| Location of Grand-Camp | |
| Grand-CampGrand-Camp | |
| Coordinates: 49°02′46″N 0°31′40″E / 49.0461°N 0.5278°E / 49.0461; 0.5278 | |
| Country | France |
| Region | Normandy |
| Department | Eure |
| Arrondissement | Bernay |
| Canton | Breteuil |
| Government | |
| Mayor (20202026) | Philippe Boullier |
| Area**1** | 14.11 km2 (5.45 sq mi) |
| Population (2021) | 462 |
| Density | 33/km2 (85/sq mi) |
| Time zone | UTC+01:00 (CET) |
| Summer (DST) | UTC+02:00 (CEST) |
| INSEE/Postal code | 27295 /27270 |
| Elevation | 135–187 m (443–614 ft)
(avg. 189 m or 620 ft) |
| **1** French Land Register data, which excludes lakes, ponds, glaciers \> 1 km2 (0.386 sq mi or 247 acres) and river estuaries. | |


title: Vallée de la Clarée

abstract: The Vallée de la Clarée is a scenic valley in the French Alps near to Montgenèvre, Briançon and the French-Italian border. The Clarée river runs through the valley. The mountains on either side are part of the Massif des Cerces. To the west they are between 2800 and 2900m high, while on the east side they are between 2300 and 2400m high. Consequently, the snow is slow to melt and gives rise to the name of the central commune Névache meaning "snowed". The valley lies at between 1400 and 2000m and contains meadows and larch forest. This alpine situation creates great biological diversity with several different habitats such as flooded soils and peat. These valleys contain 39% of known plant species in the French Alps, and 61% of those in the arrondissement of Briançon. The Vallée de la Clarée and the adjoining Vallée Etroite cover 26,000 hectares and contain famous hiking trails. The valleys are exceptional area in that they have been preserved in their natural state. Agriculture, forestry and the rearing of livestock are still carried out traditionally. Consequently, the valley is one of the most visited parts of the Hautes-Alpes department. Visitors have been estimated at 600,000 visits per year. As a result, and as a result of the campaign led by Émilie Carles, the valleys have been given the status of protected areas since 1992. In the summer the valley is visited by cyclists and walkers and by riders who use the large stables in Les Alberts. The river is used for water sports especially in spring as the snow melts. There are sections of white water, which are used by kayaks and white water rafts. There is a dramatic waterfall at Fontcouverte. The valley in winter is covered in snow, which is enjoyed by many cross-country skiers. There are over 65 km of trails. It has one of the main circuits where the French cross-country team train. Although it is popular for cross-country ski-ing, the valley's protected status has prevented ski-lifts being installed. The valley is famous for its numerous sun-dials.

text:
# Vallée de la Clarée

The **Vallée de la Clarée** is a scenic valley in the French Alps near to Montgenèvre, Briançon and the French-Italian border. The Clarée river runs through the valley.

The mountains on either side are part of the Massif des Cerces. To the west they are between 2800 and 2900m high, while on the east side they are between 2300 and 2400m high. Consequently, the snow is slow to melt and gives rise to the name of the central commune Névache meaning "snowed".

The valley lies at between 1400 and 2000m and contains meadows and larch forest. This alpine situation creates great biological diversity with several different habitats such as flooded soils and peat. These valleys contain 39% of known plant species in the French Alps, and 61% of those in the arrondissement of Briançon.

The Vallée de la Clarée and the adjoining Vallée Etroite cover 26,000 hectares and contain famous hiking trails (GR 57, Tour du Mont Thabor, Grande Traversée des Alpes). The valleys are exceptional area in that they have been preserved in their natural state. Agriculture, forestry and the rearing of livestock are still carried out traditionally.

Consequently, the valley is one of the most visited parts of the Hautes-Alpes department. Visitors have been estimated at 600,000 visits per year. As a result, and as a result of the campaign led by Émilie Carles, the valleys have been given the status of protected areas since 1992. In the summer the valley is visited by cyclists and walkers and by riders who use the large stables in Les Alberts.

The river is used for water sports especially in spring as the snow melts. There are sections of white water, which are used by kayaks and white water rafts. There is a dramatic waterfall at Fontcouverte.

The valley in winter is covered in snow, which is enjoyed by many cross-country skiers. There are over 65 km of trails. It has one of the main circuits where the French cross-country team train. Although it is popular for cross-country ski-ing, the valley's protected status has prevented ski-lifts being installed.

The valley is famous for its numerous sun-dials.

## Access

The valley is accessible by car via the Col de Montgenevre from Briançon in the summer or over the Col de l'Echelle from Bardonecchia (Italy). In July and August is the highest part of the valley is closed to motorised transport. Only a shuttle is allowed to take tourists to the Refuge de Laval at 2000m.

## Places and monuments

## InfoBox

| Vallée de la Clarée | |
| --- | --- |
| View of the Vallée de la Clarée | |
| Vallée de la ClaréeHautes-Alpes, Provence-Alpes-Côte d'Azur, France | |
| Floor elevation | 1,400–2,000 m (4,600–6,600 ft) |
| Length | 33 km (21 mi) south east |
| Geology | |
| Type | Glacial valley |
| Geography | |
| Coordinates | 44°58′00″N 6°40′00″E / 44.9667°N 6.6667°E / 44.9667; 6.6667 |


title: Vantasselite

abstract: Vantasselite is a rare aluminium phosphate mineral with formula: Al4(PO4)3(OH)3 •9H2O. It crystallizes in the orthorhombic system and has a white color, a hardness of 2 to 2.5, a white streak and a pearly luster. It occurs in a quartzite quarry north of Bihain, Belgium It was first described in 1987 and named after Belgian mineralogist René Van Tassel.

text:
# Vantasselite

**Vantasselite** is a rare aluminium phosphate mineral with formula: Al4(PO4)3(OH)3 •9H2O. It crystallizes in the orthorhombic system and has a white color, a hardness of 2 to 2.5, a white streak and a pearly luster.

It occurs in a quartzite quarry north of Bihain, Belgium It was first described in 1987 and named after Belgian mineralogist René Van Tassel.

## InfoBox

| Vantasselite | |
| --- | --- |
| Vantasselite, from Bihain, Vielsalm, Luxembourg Province, Belgium | |
| General | |
| Category | Phosphate minerals |
| Formula
(repeating unit) | Al4(PO4)3(OH)3 •9H2O |
| IMA symbol | Vts |
| Strunz classification | 8.DC.37 |
| Crystal system | Orthorhombic
Unknown space group |
| Unit cell | a = 10.52 , b = 16.54 Å
c = 20.37 Å; Z = 8 |
| Identification | |
| Color | white |
| Luster | pearly |
| References |  |


title: Van der Ham

abstract:
Van der Ham or Van den Ham is a Dutch toponymic surname meaning "from the ham". The Dutch word ham only survives in place names and used to refer to alluvial land in a curve of a river. Several places exist with the name Ham or Den Ham so that the surname, especially in the form Van Ham, could refer to a specific location. Notable people with the surname include:
  - Van der Ham
  - Boris van der Ham, Dutch actor and politician
  - Joanna Vanderham, Scottish actress
  - Katarina Van Derham, Slovak-American model, actress, and publisher
  - Michael van der Ham, Dutch womenswear designer
  - Van den Ham
  - Marieke van den Ham, Dutch water polo player
  - Michael van den Ham, Canadian cyclo-cross cyclist
  - Van Ham
  - Herman van Ham (1931–2012), Dutch head chef
  - Meindert van Ham, military commander from Hamm

text:
# Van der Ham

**Van der Ham** or **Van den Ham** is a Dutch toponymic surname meaning "from the *ham*". The Dutch word *ham* (as well as *hem*) only survives in place names and used to refer to alluvial land in a curve of a river. Several places exist with the name *Ham* or *Den Ham* so that the surname, especially in the form *Van Ham*, could refer to a specific location. Notable people with the surname include:

Van der Ham Van den Ham Van Ham


title: Van der Hagen

abstract:
Van der Hagen is a Dutch-language toponymic surname, meaning "from/of the "haag". A haag was a bushland, hedged lot, or (private) hunting ground. The name could also specifically refer to an origin in The Hague. Some variant spellings of the name are Van der Haagen, Van der Haegen, Van der Haeghen, Van der Hage, and Van der Haghen. People with such names include:
  - Abraham van der Haagen (1587–1639), Dutch painter and engraver
  - Alf van der Hagen, Norwegian journalist
  - Amand Vanderhagen (1753–1822), Flemish clarinetist and teacher
  - Gaspar van der Hagen, Flemish sculptor and ivory carver
  - Joris van der Haagen (c.1615–1669), Dutch landscape painter
  - Steven van der Hagen (1563–1621), Dutch sailor, first admiral of the Dutch East India Company
  - Willem van der Haegen (1430–1510), Flemish-born Azorean nobleman, explorer, and colonizer
  - Willem Van der Hagen, Dutch painter active in Ireland

text:
# Van der Hagen

**Van der Hagen** is a Dutch-language toponymic surname, meaning "from/of the "haag". A haag was a bushland, hedged lot, or (private) hunting ground. The name could also specifically refer to an origin in The Hague (since 1242 known as *De Hage* and variant spellings). Some variant spellings of the name are *Van der Haagen*, *Van der Haegen*, *Van der Haeghen*, *Van der Hage*, and *Van der Haghen*. People with such names include:


title: Graham Bassett

abstract: Graham Raymond Bassett is an English former professional footballer who played as a striker. He was born in Sunderland, Tyne and Wear.

text:
# Graham Bassett

**Graham Raymond Bassett** (born 6 October 1964) is an English former professional footballer who played as a striker. He was born in Sunderland, Tyne and Wear.

## Career

Bassett started his career in the youth team at his hometown club Sunderland. In 1982 Graham spent the 2nd year of his YTS at Ipswich Town scoring 13 goals in 11 youth team games before being released at the end of the season(Source www.prideofanglia.co.uk). He left in 1983 to join Football League Fourth Division side Hartlepool United. He made seven league appearances for the club before transferring to Scottish Football League Second Division outfit Berwick Rangers midway through the season. Bassett scored three times in six league matches, but left the club at the end of the 1983–84 campaign. He then moved into non-league football with Sporting Club Vaux.

* Graham Bassett at Post War English & Scottish Football League A–Z Player's Transfer Database

## InfoBox

Graham Bassett
| Personal information | | | |
| --- | --- | --- | --- |
| Full name | Graham Raymond Bassett | | |
| Date of birth | (1964-10-06) 6 October 1964 | | |
| Place of birth | Sunderland, England | | |
| Position(s) | Striker | | |
| Youth career | | | |
|  | Sunderland | | |
| Senior career\* | | | |
| Years | **Team** | **Apps** | **(Gls)** |
| 1983–1984 | Hartlepool United | 7 | (0) |
| 1984 | Berwick Rangers | 6 | (3) |
| \*Club domestic league appearances and goals | | | |


title: Grant Woods (biologist)

abstract: Grant R. Woods is an American biologist specializing in white tail deer and associated land management that increases deer populations, primarily for hunting purposes.

text:
# Grant Woods (biologist)

**Grant R. Woods** (born 1961) is an American biologist specializing in white tail deer and associated land management that increases deer populations, primarily for hunting purposes.

## Personal

Woods is married and has two daughters. He lives near Branson, MO.

## Education

Woods has a Ph.D. in Forest Resources from Clemson University, a master's degree in biology from Southwest Missouri State University, and a B.S. in Zoology/Computer Information Systems, also from Southwest Missouri State University.

## Career

Woods is well known as a consultant on land management for increasing deer herds. He is the founder of growingdeer.com, and is noted for his ability to explain complex technical items in everyday language for hunters managing their lands. His research areas include the pioneering use of remote-activated cameras to record bucks using deer rubs during rutting season.

In 2001, Woods and his wife bought property in the Ozarks of Missouri and over 20 years transformed it into a lush habitat for wildlife. The 1500 acre property was known as the "Proving Grounds". Prior to Woods buying it, it was an abandoned cattle ranch. The improvement process comprised first eradicating invasive species, such as lespedeza, multiflora rose, and knapweed, using selective application of herbicides. Woods then used controlled burns to stimulate the germination of native seeds in the soil. By Woods' estimate, some of the germinated seeds were over 75 years old. He then added "food plots" to provide forage and cover.

In 2021, Woods sold the property and began developing another 900 acre plot known as "Proving Grounds 2.0". Since he was 61 as of 2022, his goal is to develop the land in 1/4 of the time (i.e., 5 years). He also largely eliminated the use of pesticides and herbicides and used a "no erosion" form of roads called "broad-based dips" developed at Clemson.

## Awards and Honors

* Missouri Master Conservationist Award (2018)


title: Grant Woodhams

abstract: Grant Allen Woodhams is an Australian former politician. He was The Nationals member of the Western Australian Legislative Assembly from February 2005 to March 2013.

text:
# Grant Woodhams

**Grant Allen Woodhams** AM (born 7 August 1952 in Sydney, New South Wales) is an Australian former politician. He was The Nationals member of the Western Australian Legislative Assembly from February 2005 to March 2013.

## Career

Arriving in Western Australia in 1967, Woodhams was schooled in Perth and Albany he graduated with a Bachelor of Arts from Murdoch University before starting work with ABC radio. After working with the ABC in Tasmania, New South Wales, Victoria and South Australia, Woodhams returned to Western Australia in 1990 to work in the Mid West. He left the ABC in 2004 to pursue his master's degree in Education.

At the 2005 state election, Woodhams defeated one-term Liberal MP Jamie Edwards to take the seat of Greenough for the Nationals. He was re-elected at the 2008 state election, again defeating an incumbent Liberal MP, Gary Snook, this time for the seat of Moore, following Greenough's abolition. Woodhams was elected Speaker of the Western Australian Legislative Assembly in November 2008. During his first term in the Legislative Assembly, Woodhams's style of oratory became renowned within the chamber for his adaptations of poems and songs, particularly in his budget reply speeches. While Speaker, further poetry was not forthcoming, but he concluded his valedictory speech in 2012 with his own version of "Clancy of the Overflow", entitled "Woodie, the Speaker of the Overflow".

## Personal life

Woodhams announced in 2012 that he would retire at the 2013 state election to spend more time with his family. He was succeeded by Shane Love who went on to hold the seat for the Nationals in 2013.

## InfoBox

| The HonourableGrant WoodhamsAM | |
| --- | --- |
|  | |
|  | |
| 28th Speaker of the Western Australian Legislative Assembly | |
| **In office**
6 November 2008  9 March 2013 | |
| Preceded by | Fred Riebeling |
| Succeeded by | Michael Sutherland |
| Constituency | Greenough (2005–2008)
Moore (2008–2014) |
|  | |
| Personal details | |
| Born | Grant Allen Woodhams
(1952-08-07) 7 August 1952
Sydney |
| Nationality | Australian |
| Political party | The Nationals |
| Spouse | Gabrielle Woodhams |
| Children | Phoebe Woodhams |
|  | |


title: Horst Wendlandt

abstract: Horst Otto Gregor Wendlandt was a German film producer. He produced more than 100 films between 1956 and 2002. In the 1960s Horst Wendlandt's production company Rialto Film produced films based on Edgar Wallace and Karl May, mostly directed by Alfred Vohrer or Harald Reinl. In 1971 Horst Wendlandt founded the film distribution company Tobis Film. Tobis was very successful in the 1970s with European films with Jean-Paul Belmondo, Louis de Funès, Terence Hill and Bud Spencer, also with Dino De Laurentiis-productions like Death Wish, Mandingo and King Kong.

text:
# Horst Wendlandt

**Horst Otto Gregor Wendlandt** (15 March 1922  30 August 2002) was a German film producer. He produced more than 100 films between 1956 and 2002.

In the 1960s Horst Wendlandt's production company Rialto Film produced films based on Edgar Wallace and Karl May, mostly directed by Alfred Vohrer or Harald Reinl. In 1971 Horst Wendlandt founded the film distribution company Tobis Film (named after the old Tobis Film). Tobis was very successful in the 1970s with European films with Jean-Paul Belmondo, Louis de Funès, Terence Hill and Bud Spencer, also with Dino De Laurentiis-productions like *Death Wish*, *Mandingo* and *King Kong*.

## Selected filmography

## InfoBox

| Horst Wendlandt | |
| --- | --- |
|  | |
| Born | (1922-03-15)15 March 1922
Criewen, Brandenburg, Germany |
| Died | 30 August 2002(2002-08-30) (aged 80)
Berlin, Germany |
| Occupation | Film producer |
| Years active | 1956-2002 |


title: Hoshizuka Keiaien Sanatorium

abstract: Hoshizuka Keiaien Sanatorium, is a sanatorium for leprosy patients or ex-leprosy patients in Kanoya-shi, kagoshima-ken, Japan which was established in 1935.

text:
# Hoshizuka Keiaien Sanatorium

**Hoshizuka Keiaien Sanatorium**, (**National Sanatorium Hoshizuka Keiaien**) is a sanatorium for leprosy patients or ex-leprosy patients in Kanoya-shi, kagoshima-ken, Japan which was established in 1935.

## History

### Background

Following the establishment of prefectural sanatoriums, the Japanese government decided to increase sanatoriums, first with National Sanatorium Nagashoma Airakuen in 1930. Hoshizuka Keiaien was the 4th sanatorium which was established in 1935. Unlike other areas, resistance to the establishment of this sanatorium was small.

### Hoshizuka Keiaien

* Oct 28, 1935: The opening ceremony was held. The first director was Fumio Hayashi.
* Feb 1944: The 2nd director was Einosuke Shionuma.
* Mar 18, Jun 8, Aug 12, 1945: Air raids with 6 patients killed.
* Apr 1996: The 1953 Leprosy Prevention Law was abolished.
* Jul 1998: The trial for compensation started.
* May 11, 2001: The trial for compensation ruled that the previous Leprosy Prevention was unconstitutional.
* May 25, 2001: The trial for compensation was confirmed. The compensation of 8,000,000 yen to 14,000,000 yen was given to patients depending on the duration of unconstitutional periods.

### Number of Patients on March 31 next year

The number of in-patients is the sum of patients which changed not only by the newly diagnosed hospitalized and those who died among in-patients, by other factors such as the number of patients who escaped or were discharged, depending on the condition of the times. Recently they were encouraged to be discharged, but the long period of the segregation policy causing leprosy stigma might influence the number of those who went into the society.

## Promin worked

It was at the congress of the Japanese Leprosy Association held in the Keiaien Sanatorium on November 2 and 3, 1947 that the effects of promin were first reported. At first it did not attract attention since cepharanthin, a new drug for leprosy which had been tested earlier proved disappointing. Promin use started in November 1948, and the effects of promin were amazing. "Give us promin" movement began. The first patient cleared with promin was discharged in April, 1953.

* "Rai-iete, En-wo Sariyuru Wakamono o Gaku-narashitsutu Warera Miokuru."
    + (A young man is leaving our sanatorium, cleared of leprosy, we see him go off, with delightfully played march) This was one of the tanka poems recited before the Emperor and Empress of Japan next January.

## Scabies

Leprosy in earlier days has been associated with scabies, and this has been pointed out by Kensuke Mitsuda. There were many cases of scabies.

* 1935: 83cases
* 1937: 195 cases
* 1938: 3146 cases
* 1939: 5298 cases
* 1940: 7950 cases
* 1945: too many
* 1946: 12017
* 1952: No record

## Vasectomy

* Vasectomy was started by Kensuke Mitsuda in 1915. Leprosy usually worsens in women during pregnancy and delivery. Married patients usually could not bring up babies, and children born of leprosy patients could be stigmatized in the future. However, the real reason was to exterminate leprosy patients. There were 334 cases of vasectomy between 1936 and 1971 in the Keiaien Sanatorium.
* There were 45 cases of interrupted pregnancy between 1950 and 1959.

31°20′32″N 130°51′31″E / 31.34222°N 130.85861°E / 31.34222; 130.85861

## InfoBox

| National Sanatorium Hoshizuka Keiaien | |
| --- | --- |
| Hoshizuka Keiaien Sanatorium | |
|  | |
| Geography | |
| Location | 4204 Hoshizukacho, Kanoya, Kagoshima, Japan |
| Organisation | |
| Care system | HealthCare of those who had leprosy |
| Type | National hospital run by Ministry of Health, Labour and Welfare (Japan) |
| Services | |
| History | |
| Opened | 1935 |
| Links | |
| Website | www.hosp.go.jp/~keiaien/ |
| Lists | Hospitals in Japan |