title: Pitching Tents

abstract: Pitching Tents is a 2017 American comedy-drama film directed by Jacob Cooney, starring Michael Grant, Jim Norton, Booboo Stewart, Samantha Basalari and Jonathan Lipnicki.

text:
# Pitching Tents

***Pitching Tents*** is a 2017 American comedy-drama film directed by Jacob Cooney, starring Michael Grant, Jim Norton, Booboo Stewart, Samantha Basalari and Jonathan Lipnicki.

## Cast

## Reception

Katie Walsh of the *Los Angeles Times* wrote that the film "is all cutesy retro raunchiness without any innovation or comedic payoff", and that "it might have been excusable back in the day, but now it’s just boring."

Joe Leydon of *Variety* wrote that "the perpetrators of this throwback flotsam have been so diligent in their efforts to replicate the look, tone and smirk of those instantly forgettable trifles, their movie could almost pass for a thirtysomething-year-old feature only recently recovered from a time capsule."

## InfoBox

| Pitching Tents | |
| --- | --- |
| Directed by | Jacob Cooney |
| Written by | Rob A. Fox
Jayme Petrille |
| Produced by | Rob A. Fox
David Gere
Jayme Petrille |
| Starring |  |
| Cinematography | Christopher Bye |
| Edited by | David Hopper |
| Music by | Zack Ryan |
| Production
company | Meritage Pictures |
| Release date | * 31 March 2017 (2017-03-31) |
| Running time | 92 minutes |
| Country | United States |
| Language | English |


title: Pitching moment

abstract: In aerodynamics, the pitching moment on an airfoil is the moment produced by the aerodynamic force on the airfoil if that aerodynamic force is considered to be applied, not at the center of pressure, but at the aerodynamic center of the airfoil. The pitching moment on the wing of an airplane is part of the total moment that must be balanced using the lift on the horizontal stabilizer. More generally, a pitching moment is any moment acting on the pitch axis of a moving body. The lift on an airfoil is a distributed force that can be said to act at a point called the center of pressure. However, as angle of attack changes on a cambered airfoil, there is movement of the center of pressure forward and aft. This makes analysis difficult when attempting to use the concept of the center of pressure. One of the remarkable properties of a cambered airfoil is that, even though the center of pressure moves forward and aft, if the lift is imagined to act at a point called the aerodynamic center, the moment of the lift force changes in proportion to the square of the airspeed. If the moment is divided by the dynamic pressure, the area and chord of the airfoil, the result is known as the pitching moment coefficient. This coefficient changes only a little over the operating range of angle of attack of the airfoil. The moment coefficient for a whole airplane is not the same as that of its wing. The figure on the right shows the variation of moment with AoA for a stable airplane. The negative slope for positive α indicates stability in pitch. The combination of the two concepts of aerodynamic center and pitching moment coefficient make it relatively simple to analyse some of the flight characteristics of an aircraft.

text:
# Pitching moment

In aerodynamics, the **pitching moment** on an airfoil is the moment (or torque) produced by the aerodynamic force on the airfoil if that aerodynamic force is considered to be applied, not at the center of pressure, but at the aerodynamic center of the airfoil. The pitching moment on the wing of an airplane is part of the total moment that must be balanced using the lift on the horizontal stabilizer. More generally, a pitching moment is any moment acting on the pitch axis of a moving body.

The lift on an airfoil is a distributed force that can be said to act at a point called the center of pressure. However, as angle of attack changes on a cambered airfoil, there is movement of the center of pressure forward and aft. This makes analysis difficult when attempting to use the concept of the center of pressure. One of the remarkable properties of a cambered airfoil is that, even though the center of pressure moves forward and aft, if the lift is imagined to act at a point called the aerodynamic center, the moment of the lift force changes in proportion to the square of the airspeed. If the moment is divided by the dynamic pressure, the area and chord of the airfoil, the result is known as the pitching moment coefficient. This coefficient changes only a little over the operating range of angle of attack of the airfoil.

The moment coefficient for a whole airplane is not the same as that of its wing. The figure on the right shows the variation of moment with AoA for a stable airplane. The negative slope for positive α indicates stability in pitch. The combination of the two concepts of *aerodynamic center* and *pitching moment coefficient* make it relatively simple to analyse some of the flight characteristics of an aircraft.

## Measurement

The aerodynamic center of an airfoil is usually close to 25% of the chord behind the leading edge of the airfoil. When making tests on a model airfoil, such as in a wind-tunnel, if the force sensor is not aligned with the quarter-chord of the airfoil, but offset by a distance **x**, the pitching moment about the quarter-chord point, $M\_{c/4}$ is given by

$$M\_{c/4}=M\_{\text{indicated}+\mathbf {x} \times (D\_{\text{indicated},L\_{\text{indicated})}}}$$

where the indicated values of *D* and *L* are the drag and lift on the model, as measured by the force sensor.

## Coefficient

The **pitching moment coefficient** is important in the study of the longitudinal static stability of aircraft and missiles.

The *pitching moment coefficient* $C\_{m}$ is defined as follows

$$C\_{m}={\frac {M}{qSc}}$$

where *M* is the pitching moment, *q* is the dynamic pressure, *S* is the wing area, and *c* is the length of the chord of the airfoil. $C\_{m}$ is a dimensionless coefficient so consistent units must be used for *M*, *q*, *S* and *c*.

**Pitching moment coefficient** is fundamental to the definition of aerodynamic center of an airfoil. The *aerodynamic center* is defined to be the point on the chord line of the airfoil at which the *pitching moment coefficient* does not vary with angle of attack, or at least does not vary significantly over the operating range of angle of attack of the airfoil.

In the case of a symmetric airfoil, the lift force acts through one point for all angles of attack, and the *center of pressure* does not move as it does in a cambered airfoil. Consequently, the *pitching moment coefficient* about this point for a symmetric airfoil is zero.

The pitching moment is, by convention, considered to be positive when it acts to pitch the airfoil in the nose-up direction. Conventional cambered airfoils supported at the aerodynamic center pitch nose-down so the *pitching moment coefficient* of these airfoils is negative.

## Bibliography


title: Pipe recovery operations

abstract: Pipe recovery is a specific wireline operation used in the oil and gas industry, when the drill string becomes stuck downhole. Stuck pipe prevents the drill rig from continuing operations. This results in costly downtime, ranging anywhere from $10,000-1,000,000 per day of downtime, therefore it is critical to resolve the problem as quickly as possible. Pipe recovery is the process by which the location of the stuck pipe is identified, and the free pipe is separated from the stuck pipe either by a backoff or a chemical cut. This allows fishing tools to subsequently be run down hole to latch onto and remove the stuck pipe.

text:
# Pipe recovery operations

**Pipe recovery** is a specific wireline operation used in the oil and gas industry, when the drill string becomes stuck downhole. Stuck pipe prevents the drill rig from continuing operations. This results in costly downtime, ranging anywhere from $10,000-1,000,000 per day of downtime, therefore it is critical to resolve the problem as quickly as possible. Pipe recovery is the process by which the location of the stuck pipe is identified, and the free pipe is separated from the stuck pipe either by a backoff or a chemical cut. This allows fishing tools to subsequently be run down hole to latch onto and remove the stuck pipe.

## Causes of Stuck Pipe

Differentially Stuck Pipe

The geological formation downhole occasionally has a significantly lower pressure than the drilling fluid being used. When the pipe string comes into contact with the exposed formation the difference in pressure will cause the pipe to be sucked against the formation. If the rig is able to circulate drilling fluid back to the surface that is often a good indication of differentially stuck pipe. One technique for freeing the stuck pipe, or avoiding the issue to begin with, is to rotate the pipe string while pulling out of the hole.

Key Seated Stuck Pipe

Key seating occurs when the drill string becomes off-centered in the wellbore, and the pipe collars become caught on a deviation in the wellbore. If the rig is able to move the drill string freely downhole, but every time the drill string is pulled upward it becomes stuck at the same point, then it is likely that the pipe is caught in a key seat.

Cave-in Stuck Pipe

An unstable formation can result in a cave in. The collapse of the formation can pin the pipe inside the wellbore preventing its movement.

Mechanically Stuck Pipe

This can be the result of objects, i.e. slips or pipe wrenches, being dropped down the hole lodging against the BHA.

Communication between Wells

In areas with a high concentration of oil wells, it is not unusual for wells to communicate through the formation for distances of up to mile. During a fracking operation thousands of gallons of fluid and sand are pumped down one well to open up the formation surrounding that wellbore. Often large amounts of that proppant and fluid will travel through the formation and into a nearby well. This sand can lodge on top of a packer or coil tubing in the well sticking the pipe.

Tubing Stuck in Production Wells

Tubing in production wells is often exposed to a number of highly corrosive chemicals, such as H2S. This corrosion can deteriorate the tubing to the point that it separates from the wellhead causing the tubing to fall downhole. The impact of several thousands of pounds of tubing on the bottom of the hole can severely damage the tubing, causing kinks or a corkscrew effect in the tubing, making it difficult to retrieve out of the hole. Sand coming in through holes in the casing or a malfunctioning production packer can also cause tubing to become stuck in production wells.

## Free point

The term free point is used to describe the delineating point between the stuck pipe and the free pipe in a pipe string. Every joint of pipe above the free point is free, meaning it can rotate freely and be moved in and out of the hole, provided it was not attached to the remaining joints of stuck pipe below the free point. A good way to visualize this is to hold a piece of string with your left hand. With your right hand grab the bottom third of that string. The 2/3rds of the string above your right hand would be considered free, since you can move the string however you may like. The section of string inside and below your right hand is stuck, since no matter what you do to the free string it will not affect the string in or below your right hand.

Pipe Stretch Free Point Estimate

The pipe stretch free point estimate is a good starting point for identifying the free point.

1. Pull the drillstring to the pipe's neutral weight, which is the combined weight of blocks and the weight of the drill string and make a mark(X1)(in) at the top of the rotary table.
2. Identify the recommended overpull by multiplying 2208.5 by pipe weight/ft. Pull the calculated overpull(F) (Not to exceed the yield strength of the pipe) causing the free portion of the pipe to stretch to a new position (X2)(in).
3. Use the following equation to calculate the free point from the rig floor:

Lsp = 735,294(X2  X1)Wdp ÷ F where Lsp = depth of stuck point (ft), (X2-X1)= The stretch of the pipe from the reference point (in.), Wdp = weight of drill pipe (lbs/ft), and F = the additional pull required (lbs.) It is important to note that the stretch test does not take into account drill collars, heavyweight drill pipe, and/or wellbore deviation.

The following tools are operated using a wireline truck.

Traditional Free Point Tools

The traditional freepoint tool is an electromechanical tool designed to measure the amount of torque or stretch of a given length of tubing, drill pipe, or casing. The traditional freepoint tool uses either bow springs or magnets to anchor itself inside the pipe. After obtaining an estimate of the free point by using the pipe stretch estimate technique, the traditional freepoint tool is run in the hole to 1000 feet above the estimated stuck point. The tool is anchored in place. Stretch and or torque is then applied to the pipe. This allows the pipe recovery engineer to obtain a baseline reading of the free pipe. This will give him a starting point to compare his later freepoint readings to. The tool is then run roughly 500 feet past the estimated stuck point. Stretch and torque are applied, and readings are taken. If the tool indicates that the pipe is stuck at that point the tool is pulled uphole and readings are taken again. By applying the bracketing technique, the pipe recovery engineer is quickly able to identify the exact point that the pipe is free.

Halliburton Free Point Tool

The Halliburton Freepoint Tool is based around the magnetorestrictive property of steel. This principle states that when torque or stretch is applied to free pipe, the magnetization will change. Stuck pipe will have no change in magnetization. There is a magnet on the bottom of the tool that creates a small magnetic field. There are four co-planar orthogonal multi-axis high sensitivity magnetometers located above the magnet. The magnetometers measure the change in the magnetization of the pipe. The pipe is set at neutral weight, then the tool is run downhole logging the entire pipe string. Once it is at the bottom of the string, torque or stretch is applied to the pipe. The tool is then pulled uphole logging the entire string. The tool will detect differences in the magnetization of the pipe, thereby indicating free and stuck sections of pipe.

## Backing off pipe

Backing off pipe, is an industry term which means unscrewing the pipe at a desired depth downhole.

Inside Back Off or String Shot

Once the free point of a stuck pipe string is determined, the stringshot back-off service can be used to remove the free portion from the well. The string-shot is a metal rod wrapped in explosive primer cord. The back-off procedure applies left-hand torque to the stuck pipe string. The CCL is used to help position the string shot at the predetermined pipe joint, and then the string shot is detonated. The explosion produces a similar effect as an intense hammer blow and allows the joint to be unscrewed at the proper connection. Several factors such as pipe size, weight and condition, back-off depth, mud or borehole fluid weight and well temperature are carefully considered when making up the proper string-shot assembly.

Manual Back Off

Manual back offs are the least preferred technique for removing free pipe from the hole since there is very little control. When performing a manual back off you take the desired back off depth(ft.) and multiply it by the weight of one foot of pipe. This will give you a rough estimate of the neutral weight of the pipe at the desired depth. By setting the pipe at neutral weight at the desired depth you are reducing any tension on the threads at the desired depth, thereby increasing your odds of the pipe unscrewing there. The driller will pickup the string to the back off neutral weight, and then left hand torque is applied until the pipe unscrews. There is no guarantee that the pipe will unscrew at the desired point making the manual back off the last resort for backing off pipe.

## Tools for cutting pipe

Chemical Cutter

Chemical cutters use a propellant to generate pressure forcing the chemical, usually Bromine Trifluoride, through a catalyst. The resulting chemical reaction is expelled through the severing head of the cutter at a high temperature and pressure, which cuts the wall of the tubing. The resulting cut is a very smooth cut that does not require any dressing before further pipe recovery operations can take place.

Jet Cutters

Jet cutters use a circular-shaped charge to produce the cutting action. Jet cutters are capable of severing pipe despite significant downhole pressure. This makes them an ideal choice for extremely deep wells, greater than 20,000 feet deep. They typically leave a flare on the severed pipe string. This flare must be removed, typically by using a mill, before further fishing operations can take place.

Radial Cutting Torch(RCT)

Radial cutting torches use a mixture of powdered metals contained inside the torch body, those metals burn at a very high temperature on ignition by the gas generator. The resultant molten plasma is then ejected through the radial graphic ceramic nozzle and onto the target tubing. The result is a clean, non flared cut. The highly energized plasma is capable of overcoming nearly any wellbore condition, and has a cutting success rate of 77%. The RCT does not contain explosives; this greatly reduces transportation costs and logistical problems.

Drill Collar Severing Tool (DCST)

The Drill Collar Severing Tool is often used to separate heavy weight drill pipe or drill collars. The DCST contains an explosive charge at either end of the tool; both charges are detonated simultaneously. The explosive shock waves meet in the center of the tool and combine to produce a very high energy wave capable of cutting through the thickest of pipe. The severed pipe is typically split and deformed, requiring milling.


title: Pipe rack

abstract: Structural steel pipe racks typically support pipes, power cables and instrument cable trays in petrochemical, chemical and power plants. Occasionally, pipe racks may also support mechanical equipment, vessels and valve access platforms. Main pipe racks generally transfer material between equipment and storage or utility areas. Storage racks found in warehouses are not pipe racks, even if they store lengths of pipe. A pipe rack is the main artery of a process unit. Pipe racks carry process and utility piping and may also include instrument and cable trays as well as equipment mounted over all of these. Pipe racks consist of a series of transverse beams that run along the length of the pipe system, spaced at uniform intervals typically around 20 ft. To allow maintenance access under the pipe rack, the transverse beams are typically moment frames. Transverse beams are typically connected with longitudinal struts. There are different types of pipes on the pipe rack. Utility pipes which include steam, cooling water, extinguishing water, fuel oil, and so on. These pipes are mostly located in the middle of a one-level pipe rack or on the top level when there are two levels. Then there are the process pipes. These pipes carry product that is part of the chemical reaction itself. These are placed on the outside of the utility pipes or on the bottom level when there are multiple levels. Lastly, relief and flare pipes which fulfill a safety goal. They protect the installation against too much pressure and are always located on the outside of the rack.

text:
# Pipe rack

**Structural steel pipe racks** typically support pipes, power cables and instrument cable trays in petrochemical, chemical and power plants. Occasionally, pipe racks may also support mechanical equipment, vessels and valve access platforms. Main pipe racks generally transfer material between equipment and storage or utility areas. Storage racks found in warehouses are not pipe racks, even if they store lengths of pipe.

A pipe rack is the main artery of a process unit. Pipe racks carry process and utility piping and may also include instrument and cable trays as well as equipment mounted over all of these.

Pipe racks consist of a series of transverse beams that run along the length of the pipe system, spaced at uniform intervals typically around 20 ft. To allow maintenance access under the pipe rack, the transverse beams are typically moment frames. Transverse beams are typically connected with longitudinal struts.

There are different types of pipes on the pipe rack. Utility pipes which include steam, cooling water, extinguishing water, fuel oil, and so on. These pipes are mostly located in the middle of a one-level pipe rack or on the top level when there are two levels. Then there are the process pipes. These pipes carry product that is part of the chemical reaction itself. These are placed on the outside of the utility pipes (especially if they are heavy) or on the bottom level when there are multiple levels. Lastly, relief and flare pipes which fulfill a safety goal. They protect the installation against too much pressure and are always located on the outside of the rack.

1. Drake, Richard M., P.E., S.E., SECB and Walter, Robert J., P.E., S.E. "Seismic Design of Structural Steel Pipe Racks". Structure Magazine. February 2012.
2. Bausbacher, Ed (1993). *Process Plant Layout and Piping Design*. New Jersey: PTR Prentice-Hall, inc. p. 261. ISBN 0-13-138629-8.
3. Translated from: "piping een vak apart" Zadkine Contract Activiteiten bv/ Technology Consultancy Centre 2001, first edition.


title: Placosaris udealis

abstract: Placosaris udealis is a moth in the family Crambidae. It was described by Eugene G. Munroe and Akira Mutuura in 1970. It is found in Assam, India.

text:
# Placosaris udealis

***Placosaris udealis*** is a moth in the family Crambidae. It was described by Eugene G. Munroe and Akira Mutuura in 1970. It is found in Assam, India.

## InfoBox

| *Placosaris udealis* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Lepidoptera |
| Family: | Crambidae |
| Genus: | *Placosaris* |
| Species: | ***P. udealis*** |
| Binomial name | |
| ***Placosaris udealis***<br>Munroe & Mutuura, 1970 | |
|


title: Platform Post-production

abstract: Platform is a London-based post-production company established in 2001. Starting out as an editing house for children and sports programmes, the Soho-based facility now covers a variety of long-form and short-form projects in broadcast and advertising with its services offering audio, online editing, grading, visual effects and graphics. The creative team at Platform is currently led by managing director Jo Beighton, recently appointed in the summer of 2017 after a period of consultancy, partner and online editor Simon Cruse and partner and lead VFX artist John Cryer, all sharing a third of the company.

text:
# Platform Post-production

**Platform** is a London-based post-production company established in 2001. Starting out as an editing house for children and sports programmes, the Soho-based facility now covers a variety of long-form and short-form projects in broadcast and advertising with its services offering audio, online editing, grading, visual effects and graphics.

The creative team at Platform is currently led by managing director Jo Beighton, recently appointed in the summer of 2017 after a period of consultancy, partner and online editor Simon Cruse and partner and lead VFX artist John Cryer, all sharing a third of the company.

## History

At the time of its establishment Platform was founded in 2001 by creative director and graphic designer David Tasker and editor Simon Cruse. Occupying the top 2 floors of no.6 D'Arblay Street in Soho and working with their personal existing client base, Platform established itself as the go to post house for sports programming, with Matchroom being their first client, as well as for children's programming. Platform has hosted numerous children shows such as Art Attack, Chucklevision, SMart, Thomas and Friends, It's a Mystery, and Horrible Histories and by 2005 Platform was the largest supplier of post-production to the BBC children's department with approximately 25% of their output being finished at the facility. The first programme edited in the building was ‘Freestyle’ for the BBC.

In 2008 VFX editor and colourist John Cryer from The Joint joined Platform investing a share of the company and contributing high-end visual effects to Platform's creative offering. This kick started Platform's commercial presence, diversifying the company's client base and ensured the company's ability to take on graphic and VFX heavy projects.

Platform has undergone expansion of the facility in Soho in order to broaden its range of genres, which has seen it grow from a three suite outfit into a creative hub of twenty-four operational area offering 12 Avid suites, 3 studios, 4 flames suites and a grading suites with Baselight.


title: Platform Pro Cycling

abstract: Platform Pro Cycling is a Canadian women's road bicycle racing team which participates in elite women's races. The team was established in 2019.

text:
# Platform Pro Cycling

**Platform Pro Cycling** is a Canadian women's road bicycle racing team which participates in elite women's races. The team was established in 2019.

## Team roster

*As of 18 May 2021.*

| Rider Date of birth  Ngaire Barraclough (CAN)  (2002-07-20) 20 July 2002  Caroline Baur (SUI)  (1994-04-17) 17 April 1994  Isabella Bertold (CAN)  (1991-02-04) 4 February 1991  Gillian Ellsay (CAN)  (1997-03-26) 26 March 1997  Rotem Gafinovitz (ISR)  (1992-06-09) 9 June 1992  Elizabeth Gin (CAN)  (2001-02-02) 2 February 2001 |  | Rider Date of birth  Rachel Langdon (GBR)  (1988-09-25) 25 September 1988  Vera Looser (NAM)  (1993-10-28) 28 October 1993  Harriet Owen (GBR)  (1993-12-16) 16 December 1993  Sonia Taylor (CAN)  (1989-06-02) 2 June 1989  Gabby Traxler (CAN)  (1998-05-10) 10 May 1998 |
| --- | --- | --- |

## Major results

2021 UCI Track Cycling World Cup (Team Pursuit), Ngaire Barraclough 2022 Stage 4 Tour of the Gila, Maddy Ward

## National champions

2021  Namibia Time Trial, Vera Adrian  Namibia Road Race, Vera Adrian  Israel Time Trial, Rotem Gafinovitz

## InfoBox

Platform Pro Cycling
| Team information | |
| --- | --- |
| UCI code | * INS (2019) * ILP (2020–) |
| Registered | Canada |
| Founded | 2019 (2019) |
| Status | National (2019)
UCI Women's Continental Team (2020–) |
| Team name history | |
| 2019–2020
2021–2023
2024– | InstaFund La Prima
InstaFund Racing
Platform Pro Cycling |


title: Platyceps saharicus

abstract: Platyceps saharicus is a species of snake of the family Colubridae. The snake is found in Algeria, Libya, Chad, Sudan, Egypt, Israel, Jordan, and Saudi Arabia.

text:
# Platyceps saharicus

***Platyceps saharicus*** is a species of snake of the family Colubridae.

The snake is found in Algeria, Libya, Chad, Sudan, Egypt, Israel, Jordan, and Saudi Arabia.

## InfoBox

| *Platyceps saharicus* | |
| --- | --- |
| Conservation status | |
|
Least Concern  (IUCN 3.1) | |
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Chordata |
| Class: | Reptilia |
| Order: | Squamata |
| Suborder: | Serpentes |
| Family: | Colubridae |
| Genus: | *Platyceps* |
| Species: | ***P. saharicus*** |
| Binomial name | |
| ***Platyceps saharicus***
Schätti & McCarthy, 2004 | |
|


title: Pitts' Folly

abstract: Pitts' Folly is a historic antebellum Greek Revival residence located in Uniontown, Alabama. The house was built by Philip Henry Pitts as his main house. It was designed by architect B. F. Parsons, who also designed the nearby Perry County Courthouse in Marion. Many local legends detail how the house gained its name, but they all center on the people of Uniontown believing it to be folly, or foolishness, that Pitts was building such a large house.

text:
# Pitts' Folly

**Pitts' Folly** is a historic antebellum Greek Revival residence located in Uniontown, Alabama. The house was built by Philip Henry Pitts as his main house. It was designed by architect B. F. Parsons, who also designed the nearby Perry County Courthouse in Marion. Many local legends detail how the house gained its name, but they all center on the people of Uniontown believing it to be folly, or foolishness, that Pitts was building such a large house.

## History

Phillip Henry Pitts was born June 3, 1814, in Essex County, Virginia. He was the son of Thomas Daniel Pitts, a veteran of the War of 1812 who moved his family to Uniontown in 1833. Pitts married in 1841 to Margaret Davidson, the sister of Alexander C. Davidson. The Davidsons were descendants of William Lee Davidson, a general during the American Revolutionary War and founder of Davidson College in North Carolina. Pitts himself was a large contributor to the college within his lifetime and his plantation diaries were later donated to it for preservation. Phillip Pitts recorded in his diary that construction of the house began on February 27, 1852. He also recorded the house being completed in April 1853. His assets by 1860 were valued at $175,300. At this time he owned two additional plantations, "Rurill Hill" and "Kings" for a total of 2,200 acres (890 ha). The 1860 United States Census of Perry County indicates that Phillip Henry Pitts owned 75 slaves in that year, though his children are individually listed as owning an additional 68 slaves. Pitts also owned stock in the Alabama-Mississippi Railroad. The Pitts had ten children, most of whom were raised in the house, with two dying in the American Civil War. Phillip Pitts remained a cotton planter until his death on April 22, 1884. The house continues to be occupied by the descendants of Phillip Pitts to the present day.

## Architecture

Pitts' Folly is a two-story wood-frame structure with wooden clapboarding. The roof is gabled on the east and west sides, with a flat roof over the portico. The front and eastern elevations feature a two-story portico with fourteen masonry Doric columns, nine across the front and five on the east side. A cantilevered second floor balcony wraps both sides of the house under the portico. The interior is divided on both floors by a central hallway. Several rooms feature decorative plasterwork. The house and grounds were surveyed in 1935 and 1936 by the Historic American Buildings Survey. It was added to the National Register of Historic Places in 1984.

## InfoBox

|  | |
| --- | --- |
| Pitts' Folly | |
| U.S. National Register of Historic Places | |
|  | |
| The front elevation of Pitts' Folly in 2008 | |
|  | |
| Location | Old Cahaba Rd., Uniontown, Alabama |
| Coordinates | 32°26′42.22″N 87°30′29.88″W / 32.4450611°N 87.5083000°W / 32.4450611; -87.5083000 |
| Area | 9.6 acres (3.9 ha) |
| Built | 1852-53 |
| Architect | B. F. Parsons |
| Architectural style | Greek Revival |
| NRHP reference No. | 84000717 |
| Added to NRHP | August 9, 1984 |


title: Pleurotoma mediocris

abstract: Pleurotoma mediocris is a species of sea snail, a marine gastropod mollusk in the family Turridae. According to the World Register of Marine Species, this is a nomen dubium.

text:
# Pleurotoma mediocris

***Pleurotoma mediocris*** is a species of sea snail, a marine gastropod mollusk in the family Turridae.

According to the World Register of Marine Species, this is a nomen dubium.

## Distribution

This marine species occurs off Réunion and New Caledonia.

## InfoBox

| *Pleurotoma mediocris* | |
| --- | --- |
|
| Scientific classification | |
| Kingdom: | Animalia |
| Phylum: | Mollusca |
| Class: | Gastropoda |
| (unranked): |  |
| Superfamily: | Conoidea |
| Family: | Turridae |
| Genus: | *Turris*;  Alternative genus name (synonym): *Pleurotoma* (Lamarck, 1799) |
| Species: | ***P. mediocris*** |
| Binomial name | |
| ***Pleurotoma mediocris***<br>Deshayes, 1863 | |
|
| Synonyms | |
| *Tylotiella mediocris* (Deshayes, 1863) | |


title: Pleurotomella granuliapicata

abstract: Pleurotomella granuliapicata is a species of sea snail, a marine gastropod mollusk in the family Raphitomidae.

text:
# Pleurotomella granuliapicata

***Pleurotomella granuliapicata*** is a species of sea snail, a marine gastropod mollusk in the family Raphitomidae.

## Description

## Distribution

This marine species occurs off Japan.

* Tucker, J.K. (2004). "Catalog of recent and fossil turrids (Mollusca: Gastropoda)" (PDF). *Zootaxa*. **682**: 1–1295.

## InfoBox

| *Pleurotomella granuliapicata* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Mollusca |
| Class: | Gastropoda |
| Subclass: | Caenogastropoda |
| Order: | Neogastropoda |
| Superfamily: | Conoidea |
| Family: | Raphitomidae |
| Genus: | *Pleurotomella* |
| Species: | ***P. granuliapicata*** |
| Binomial name | |
| ***Pleurotomella granuliapicata***<br>Okutani, 1964 | |
|


title: Pixar Short Films Collection, Volume 2

abstract: Pixar Short Films Collection, Volume 2 is a 2012 DVD and Blu-ray compilation of the Pixar animated short films following the 2007 Pixar Short Films Collection Volume 1 and the 1996 Tiny Toy Stories. It features 12 shorts that were released from 2007 through 2012 and it includes some student films from Pixar's directors as bonus features. Volume 2 was released on November 9, 2012, by Walt Disney Studios Home Entertainment. It is followed by Pixar Short Films Collection, Volume 3, which was released on November 9, 2018.

text:
# Pixar Short Films Collection, Volume 2

***Pixar Short Films Collection, Volume 2*** is a 2012 DVD and Blu-ray compilation of the Pixar animated short films following the 2007 *Pixar Short Films Collection Volume 1* and the 1996 *Tiny Toy Stories*. It features 12 shorts that were released from 2007 through 2012 and it includes some student films from Pixar's directors as bonus features. *Volume 2* was released on November 9, 2012, by Walt Disney Studios Home Entertainment. It is followed by *Pixar Short Films Collection, Volume 3*, which was released on November 9, 2018.

## Main shorts

Shorts included in *Pixar Short Films Collection, Volume 2*
| No. | Title | Directed by | Written by | Original release date |
| --- | --- | --- | --- | --- |
| 1 | *Your Friend the Rat* | Jim Capobianco | Jim Capobianco | November 2, 2007 (2007-11-02) |
| 2 | *Presto* | Doug Sweetland | Doug Sweetland | June 10, 2008 (2008-06-10) |
| 3 | *BURN-E* | Angus MacLane | Andrew Stanton, Angus MacLane, Derek Thompson | November 18, 2008 (2008-11-18) |
| 4 | *Partly Cloudy* | Peter Sohn | Peter Sohn | May 29, 2009 (2009-05-29) |
| 5 | *Dug's Special Mission* | Ronnie del Carmen | Ronnie del Carmen, Bob Peterson | November 10, 2009 (2009-11-10) |
| 6 | *George and A.J.* | Josh Cooley | Josh Cooley | November 12, 2009 (2009-11-12) |
| 7 | *Day & Night* | Teddy Newton | Teddy Newton | June 18, 2010 (2010-06-18) |
| 8 | *Hawaiian Vacation* | Gary Rydstrom | Erik Benson, Jason Katz, Gary Rydstrom | June 24, 2011 (2011-06-24) |
| 9 | *Air Mater* | Rob Gibbs | John Lasseter, Rob Gibbs, Jim Capobianco, Daniel Chong, Valerie LaPointe | November 1, 2011 (2011-11-01) |
| 10 | *Small Fry* | Angus MacLane | Angus MacLane | November 23, 2011 (2011-11-23) |
| 11 | *Time Travel Mater* | Rob Gibbs | John Lasseter, Rob Gibbs, Scott Morse | June 5, 2012 (2012-06-05) |
| 12 | *La Luna* | Enrico Casarosa | Enrico Casarosa | June 6, 2011 (2011-06-06) |

## Bonus features

The collection also includes student films by Pixar directors John Lasseter, Andrew Stanton and Pete Docter:

* *Nitemare*
* *Lady & the Lamp*
* *Somewhere in the Arctic*
* *A Story*
* *Winter*
* *Palm Springs*
* *Next Door*

## Story plots for student shorts

*Nitemare* This is one of John Lasseter's student films made for California Institute of the Arts (Cal Arts). In it, a boy cannot go to sleep because he sees his furniture turn into monsters every time he turns out his lights. He keeps turning the lights on and off to see the monsters appear and disappear. Finally one of the monsters does not change back into furniture when the lights are on. The boy goes over to the monster and gives him a pop with his cork and string gun. The monster begins to cry and the boy lets him sleep in his bed with him. The lights go off again, and you can hear the sounds of furniture scuffing the floor. The light goes back on to reveal that all of the monsters are in the bed, which forced the boy onto the floor. *The Lady & the Lamp* Another of John Lasseter's student short films for Cal Arts, the film depicts a lamp shop owner telling all of his lamps to be on their best behavior because he is expecting an important customer. While he gets his shop ready, he accidentally pushes one lamp on the end of a shelf off into the floor, breaking the lamp's bulb. The lamp then goes to look for a lightbulb in a cabinet but accidentally screws in a bottle of gin. The lamp then pulls his cord to turn the light on but all of the alcohol goes down instead. The lamp, now drunk, begins to knock over the other lamps in the shop which causes the whole shop to be busted up. The shop owner comes from the back to see this mess just when the lady (the important customer) comes in. She does not even notice the mess but looks to see the one drunk lamp and exclaims that that is the perfect lamp. She purchases the lamp and the film ends.

## InfoBox

| Pixar Short Films Collection, Volume 2 | |
| --- | --- |
| DVD cover | |
| Production
companies | Pixar Animation Studios
Walt Disney Pictures |
| Distributed by | Walt Disney Studios
Home Entertainment |
| Release date | * November 9, 2012 (2012-11-09) (United States) |
| Running time | 75 minutes |
| Country | United States |
| Languages | * English (menu, *You're Friend the Rat*, *BURN-E*, *Dug's Special Mission*, *George and A.J.*, *Hawaiian Vacation*, *Air Mater*, *Small Fry*, and *Time Travel Mater*) |


title: Pizza (film series)

abstract: Pizza is an Indian Tamil-language horror film series. The franchise is produced by C. V. Kumar and distributed by Abi & Abi Pictures and Sangam Cinemas. Each film starts with a fresh story unrelated with the preceding film's story. However, the theme and the pace remains the same.

text:
# Pizza (film series)

***Pizza*** is an Indian Tamil-language horror film series. The franchise is produced by C. V. Kumar and distributed by Abi & Abi Pictures and Sangam Cinemas. Each film starts with a fresh story unrelated with the preceding film's story. However, the theme and the pace remains the same.

## Films

| Film | Release date | Director | Screenwriter(s) | Story by | Producer(s) |
| --- | --- | --- | --- | --- | --- |
| *Pizza* | 19 October 2012 | Karthik Subbaraj | | Karthik Subbaraj, Prasath Ramar | C. V. Kumar |
| *Pizza II: Villa* | 14 November 2013 | Deepan Chakravarthy | Deepan Chakravarthy, K. Manikandan | | |
| *Pizza 3: The Mummy* | 28 July 2023 | Mohan Govind | | | |
|

### *Pizza*

The first installment of the series, based on a fictional incidents. The film is written and directed by Karthik Subbaraj and produced by C. V. Kumar. It stars Vijay Sethupathi, Remya Nambeesan in lead roles.*Pizza* was released on 19 October 2012 by Sangam Cinemas Chennai, in 600 theatres and gained positive response from audiences. It earned ₹8 crore worldwide against a budget of ₹1.5 crore. The satellite rights of the film were acquired by Sun TV.

The film follows Michael, a pizza delivery boy, who lives with Anu, an aspiring horror fiction writer. One day, while delivering food, he goes to a bungalow where mysterious events begin to take place.

### *Pizza 2*

After the success of Pizza, C. V. Kumar and Santhosh Narayanan re-unite once again for sequel. The film was titled as *Pizza II: Villa* and also second installment in this series. The film stars Ashok Selvan and Sanchita Shetty in lead roles. The film was released on 14 November 2013 worldwide. and gained positive response from audiences. Proving to be similarly successful to the first entry in the series, the film emerged as a huge box office success collected ₹20 crore worldwide.

*Pizza 2* features Jebin and his girlfriend Aarthi as they find a series of paintings in an ancient mansion. Trouble begins when the incidents from the paintings begin to come true.

### *Pizza 3*

On October 15, a teaser was released on Vasy Music Entertainment. The film is titled Pizza 3: The Mummy.

## Recurring cast and characters

This table lists the main characters who appear in the *Pizza* film series.

> **List indicator(s)** * A dark grey cell indicates the character was not in the film.
> * TBA blue cell indicates the character name not fixed yet in the film.

| Actors | Films | | |
| --- | --- | --- | --- |
| | *Pizza* | *Pizza II: Villa* | *Pizza 3: The Mummy* |
| Vijay Sethupathi | Michael Karthikeyan |  | |
| Remya Nambeesan | Anu |  | |
| Aadukalam Naren | Shanmugan |  | |
| Pooja Ramachandran | Smitha |  | |
| Ashok Selvan |  | Jebin M. Jose |  |
| Sanchita Shetty |  | Aarthi |  |
| Ajmal Ameer |  | Gnabry |  |
| Kaali Venkat |  | Ponraj | Daamu |
| Nassar |  | Marshall P. Jose |  |
| Ashwin Kakumanu |  | | Nalan |
| Pavithra Marimuthu |  | | Kayal |
| Gaurav Narayanan |  | | Prem Kumar |
| Anupama Kumar |  | | Rani |
| Raveena Daha |  | | Ghost |
|

## Additional crew and production details

| Occupation | Film | | |
| --- | --- | --- | --- |
| | *Pizza*
(2012) | *Pizza II: Villa*
(2013) | *Pizza 3: The Mummy*
(2023) |
| Director | Karthik Subbaraj | Deepan Chakravarthy | Mohan Govind |
| Producer | C. V. Kumar | | |
| Writer | Karthik Subbaraj, Prasath Ramar | Deepan Chakravarthy, K. Manikandan | Mohan Govind |
| Editor | Leo John Paul | | Ignaitious Aswin |
| Music | Santhosh Narayanan | | Arun Raj |
| Production Companies | Thirukumaran Entertainment | Studio Green, Thirukumaran Entertainment | Thirukumaran Entertainment |
| Distributing Companies | Sangam Cinemas | Abi & Abi Pictures |  |
| Running Time | 128 minutes | 102 minutes | 123 minutes |
|

## Release and revenue

| Film | Release date | Budget | Box office revenue |
| --- | --- | --- | --- |
| *Pizza* | 19 October 2012 | 1.5 crore | 8 crore (US$960,000) |
| *Pizza II: Villa* | 14 November 2013 | 7 crore | 20 crore (US$2.4 million) |
| *Pizza 3: The Mummy* | 28 July 2023 |  | 5 crore (US$600,000) |
| Total | | 8.5 crore (US$1.0 million)
two films | 28 crore (US$3.4 million)
two films |

## Remakes

The original film was remade in Kannada as *Whistle* (2013), in Hindi as *Pizza* (2014) and in Bengali as *Golpo Holeo Shotti* (2014).

## InfoBox

| Pizza | |
| --- | --- |
| Created by | C. V. Kumar |
| Original work | *Pizza* (2012) |
| Owners | Abi & Abi Pictures
Sangam Cinemas |
| Films and television | |
| Film(s) | List of films |
| Audio | |
| Soundtrack(s) | *Pizza*
*Pizza II: Villa* |


title: Pizza (EP)

abstract: Pizza is a concept EP and the third studio release by Horse the Band, released September 5, 2006 through Koch Records. The EP was recorded in place of Horse the Band not finishing their time on The Stampeading Machines Tour. 550 limited edition copies of the EP were pressed in the 10" vinyl format, sold in cardboard pizza boxes, on the band's label LIF Records.

text:
# Pizza (EP)

Professional ratings
| Review scores | |
| --- | --- |
| Source | Rating |
| AllMusic |  |
| Punknews.org |  |

***Pizza*** is a concept EP and the third studio release by Horse the Band, released September 5, 2006 through Koch Records. The EP was recorded in place of Horse the Band not finishing their time on The Stampeading Machines Tour. 550 limited edition copies of the EP were pressed in the 10" vinyl format, sold in cardboard pizza boxes, on the band's label LIF Records.

## Overview

According to the band's MySpace blog, Horse the Band ended their time on "The Stampeding Machines Tour", almost halfway through in order to record the EP. One of their bulletins states:

> "We left that tour because we ate really, really, really good pizza in Lou Malnati's in Chicago with Dave's grandparents. The pizza was such that we were inspired by God to write music of the kind not heard in this world since Mozart was fed his first currywurst. A copy of Nietzsche's 'The Gay Science' was onhand and for 2 days we struggled with the question posed in 'The Greatest Weight' passage, which follows. In essence, it asks the reader to examine their every action if they had to repeat their lives exactly for all eternity, begging the question \[*sic*\] in each and every thing, 'Do you desire this once more, and innumerable times more?' We couldn't decide if we should stay in Chicago and keep eating pizza for the rest of our lives. But after two days of rigorous theory, we realized we had to write divine music about the pizza. We decided to drive home immediately and write and record a 5-song EP called "Pizza" before Sounds of the Underground and Warped Tour started. God was there."

While recording the EP, fans sent Horse the Band pizza and are included in the liner notes. As a joke, while playing a 2007 show in Chicago, singer Nathan Winneke blamed the crowd (and the city itself) for being responsible for the EP, in a mockingly unaffectionate tone. The band then proceeded to play the song "Anti-Pizza".

In a 2008 interview, keyboardist Erik Engstrom stated that if he could delete anything from Horse the Band's catalog, it would be the *Pizza* EP.

The EP was recorded at 4th Street Recording in Santa Monica, CA.

## Track listing

All lyrics are written by Nathan Winneke, except where noted; all music is composed by Horse the band, except where noted

| No. | Title | Writer(s) | Length |
| --- | --- | --- | --- |
| 1. | "Anti-Pizza" |  | 4:34 |
| 2. | "Crippled by Pizza (Pizzarrhea in the Pizzeria)" |  | 3:09 |
| 3. | "Werepizza" |  | 6:33 |
| 4. | "Pizza Nif" |  | 3:31 |
| 5. | "Teenage Mutant Ninja Turtles" | Chuck Lorre, Dennis C. Brown | 2:28 |
| Total length: | | | 20:15 |

## Personnel

Horse the Band * Nathan Winneke – vocals
* David Isen – guitar
* Erik Engstrom – keyboards
* Dashiell "Dash" Arkenstone – bass
* Chris Prophet – drums

Production * Tracking by Chris Mullings at 4th Street Recording
* Mastered by Tom Baker at Precision Mastering
* Packaging design by LevinMedia

## InfoBox

| Pizza | |
| --- | --- |
|  | |
| EP by Horse the Band | |
| Released | September 5, 2006 |
| Genre | Nintendocore, metalcore, chiptune |
| Length | 20:15 |
| Label | Koch |
| Producer | Dan Koch |
| Horse the Band chronology | |
| *The Mechanical Hand*
(2005) ***Pizza***
(2006) *A Natural Death*
(2007) | |


title: Please to See the King

abstract: Please to See the King is the second album by Steeleye Span, released in 1971. A major personnel change following their previous effort, Hark! The Village Wait, brought about a substantial change in their overall sound, including a lack of drums and the replacement of one female vocalist with a male vocalist. The band even reprised a song from their debut, "The Blacksmith", with a strikingly different arrangement making extensive use of syncopation. Re-recording songs would be a minor theme in Steeleye's output over the years, with the band eventually releasing an entire album of reprises, Present – The Very Best of Steeleye Span. The title of the album is derived from the "Cutty Wren" ceremony. A wren in a cage is paraded as if it were a king. This rite was carried out on 26 December, Saint Stephen's Day, and is connected to early Christmas celebrations. The song "The King", appearing on the album, addresses this, and is often performed as a Christmas carol. Steeleye Span returned to this subject on Live at Last with "Hunting the Wren" and on Time with the song "The Cutty Wren". The custom of Wrenboys is mostly associated with Ireland, but it has been recently revived in England. All songs appearing on the original album are traditional. "The False Knight on the Road" is one of the Child Ballads (#3), and concerns a boy's contest with the devil in a game of riddles. Tim Hart and Maddy Prior had already recorded a version of the song on their album Summer Solstice. "The Lark in the Morning", one of their more popular songs, has the same title as a different song about a lusty ploughboy, though there are strong similarities. This version was collected by Ralph Vaughan Williams. "Boys of Bedlam", a variant of "Tom o' Bedlam", is told from the perspective of a member of a lunatic asylum. Carthy and Prior open the song by singing into the back of banjos, producing a muffled effect. The band uses the earliest printed version of the song, from Wit and Mirth, or Pills to Purge Melancholy by Thomas d'Urfey. Melody Maker made this its folk album of the year. Music journalist Colin Irwin describes it in his book In Search of Albion as one of his favourite folk-rock albums. It reached number 45 in the UK album charts, originally on B & C Records; before the year was out the rights were acquired by Mooncrest Records, which re-released it the same year with different cover art. It was issued in the US at the same time on Big Tree Records, when the small label was distributed by Ampex. It sold poorly and was deleted quite soon after release. Remaining copies were bought up by a couple of the 'cut-out' distributors and by that time, the band had signed with Chrysalis and the cut-out original sold very well. When stock ran out, poor-quality bootleg copies started to turn up in huge quantities. Musically, this was their most electric, dense recording, with loud guitars and strong looping bass lines and no drums. In 2006, Castle Music re-issued the album as a double CD with numerous additional tracks, taken from radio and TV appearances.

text:
# Please to See the King

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

***Please to See the King*** is the second album by Steeleye Span, released in 1971. A major personnel change following their previous effort, *Hark! The Village Wait*, brought about a substantial change in their overall sound, including a lack of drums and the replacement of one female vocalist with a male vocalist. The band even reprised a song from their debut, "The Blacksmith", with a strikingly different arrangement making extensive use of syncopation. Re-recording songs would be a minor theme in Steeleye's output over the years, with the band eventually releasing an entire album of reprises, *Present – The Very Best of Steeleye Span*.

The title of the album is derived from the "Cutty Wren" ceremony. A wren in a cage is paraded as if it were a king. This rite was carried out on 26 December, Saint Stephen's Day, and is connected to early Christmas celebrations. The song "The King", appearing on the album, addresses this, and is often performed as a Christmas carol. Steeleye Span returned to this subject on *Live at Last* with "Hunting the Wren" and on *Time* with the song "The Cutty Wren". The custom of Wrenboys is mostly associated with Ireland, but it has been recently revived in England.

All songs appearing on the original album are traditional. "The False Knight on the Road" is one of the Child Ballads (#3), and concerns a boy's contest with the devil in a game of riddles. Tim Hart and Maddy Prior had already recorded a version of the song on their album *Summer Solstice*. "The Lark in the Morning", one of their more popular songs, has the same title as a different song about a lusty ploughboy, though there are strong similarities. This version was collected by Ralph Vaughan Williams. "Boys of Bedlam", a variant of "Tom o' Bedlam", is told from the perspective of a member of a lunatic asylum. Carthy and Prior open the song by singing into the back of banjos, producing a muffled effect. The band uses the earliest printed version of the song, from *Wit and Mirth, or Pills to Purge Melancholy* by Thomas d'Urfey.

*Melody Maker* made this its folk album of the year. Music journalist Colin Irwin describes it in his book *In Search of Albion* as one of his favourite folk-rock albums. It reached number 45 in the UK album charts, originally on B & C Records; before the year was out the rights were acquired by Mooncrest Records, which re-released it the same year with different cover art. It was issued in the US at the same time on Big Tree Records, when the small label was distributed by Ampex. It sold poorly and was deleted quite soon after release. Remaining copies were bought up by a couple of the 'cut-out' distributors and by that time, the band had signed with Chrysalis and the cut-out original sold very well. When stock ran out, poor-quality bootleg copies started to turn up in huge quantities.

Musically, this was their most electric, dense recording, with loud guitars and strong looping bass lines and no drums. In 2006, Castle Music re-issued the album as a double CD with numerous additional tracks, taken from radio and TV appearances.

## Bonus tracks

"Rave On!" is an a cappella version of a Buddy Holly song. It was meant as a prank to mock Ashley Hutchings' solemnity, but he ended up liking it. In 2006, Castle Music re-issued the album with the 10 original tracks and 25 bonus tracks, on two CDs. The bonus tracks were all poorly recorded tapes of live BBC radio broadcasts (three from TV). Only six of these were tracks not already available in good studio versions, although the arrangements are different on some. The song "I Was a Young Man" is very different from the version on *Battle of the Field* by the Albion Country Band. The song "Gallant Poacher" was also on that album. Steeleye Span's bonus track version is very similar. "College Grove/Silver Spear" is a pair of jigs by Peter Knight. "Lay Down Your Weary Tune" is a Bob Dylan song, sung a cappella. "Farther Along" is a traditional gospel-blues song, also sung a cappella. "Let's Dance" is the well-known hit by Chris Montez. "Bring 'Em Down/A Hundred Years Ago" is a pair of sea shanties. "Hitler's Downfall" is actually the instrumental "Bryan O'Lynn", already available in a studio recording.

## Personnel

Steeleye Span

## Track listing

**Original album released by B&C Records CAS 1029 in 1971 and re-issued by Mooncrest Records CREST 8 in 1974:**

1. "The Blacksmith"
2. "Cold Haily, Windy Night"
3. "Jigs: Bryan O'Lynn / The Hag with the Money"
4. "Prince Charlie Stuart"
5. "Boys of Bedlam"
6. "False Knight on the Road"
7. "The Lark in the Morning"
8. "Female Drummer"
9. "The King"
10. "Lovely on the Water"

**Additional track on Mooncrest re-issue CREST 005 (vinyl) and CRESTCD 005 (CD) in 1991:**

11. "Rave On!"

**Additional tracks on the Castle Music re-issue CMQDD 1253 in 2006:**

*BBC "Top Gear" session rec. 23 June 1970*

11. "The Blacksmith" 12. "Female Drummer" 13. "Rave On!" 14. "I Was a Young Man" 15. "The Lark in the Morning"

*BBC "Stuart Henry Show" session 23 July 1970*

16. "The King" 17. "Prince Charlie Stuart" 18. "The Bold Poachers"

**Additional tracks on the Castle Music re-issue CMQDD 1253 bonus CD in 2006:**

*BBC "Folk on 1" session 17 October 1970*

01. "College Grove / Silver Spear" 02. "Lay Down Your Weary Tune" 03. "False Knight on the Road" 04. "Jigs: Hitler's Downfall / The Hag with the Money" 05. "Female Drummer (Mk I)" 06. "Wee Weaver" 07. "Reel"

*BBC "Stuart Henry Show" session 4 February 1971*

08. "Female Drummer (Mk II)" 09. "General Taylor 10. "Farther Along" 11. "Two Reels"

*BBC "Top Gear" session 27 March 1971*

12. "Let's Dance" 13. "Bring 'em Down / A Hundred Years Ago" 14. "The Lark in the Morning"

*BBC TV (date unknown)*

15. "The King" 16. "Jigs: Bryan O'Lynn / The Hag with the Money" 17. "The Blacksmith"

## InfoBox

| Please to See the King | |
| --- | --- |
|  | |
| Studio album by Steeleye Span | |
| Released | March 1971 |
| Recorded | Late 1970 |
| Studio | Sound Techniques, London |
| Genre | British folk rock |
| Length | 41:39 |
| Label | B&C (UK)
Big Tree (US)
Mooncrest (1st UK reissue)
Chrysalis (UK & US reissue) |
| Producer | Sandy Roberton |
| Steeleye Span chronology | |
| *Hark! The Village Wait*
(1970) ***Please to See the King***
(1971) *Ten Man Mop, or Mr. Reservoir Butler Rides Again*
(1971) | |


title: Plexciton

abstract: Plexcitons are polaritonic modes that result from coherently coupled plasmons and excitons. Plexcitons aid direct energy flows in exciton energy transfer (EET). Plexcitons travel for 20 μm, similar to the width of a human hair.

text:
# Plexciton

**Plexcitons** are polaritonic modes that result from coherently coupled plasmons and excitons. Plexcitons aid direct energy flows in exciton energy transfer (EET). Plexcitons travel for 20 μm, similar to the width of a human hair.

## History

Plasmons are a quantity of collective electron oscillations. Excitons are excited electrons bound to the hole produced by their excitation.

Molecular crystal excitons were combined with the collective excitations within metals to create plexcitons. This allowed EET to reach distances of around 20,000 nanometers, an enormous increase over the some 10 nanometers possible previously. However, the transfer direction was uncontrolled.

Topological insulators (TI) act as insulators below their surface, but have conductive surfaces, constraining electrons to move only along that surface. Even materials with moderately flawed surfaces do not impede current flow. Topological plexcitons make use of the properties of TIs to achieve similar control over the direction of current flow.

Plexcitons were found to emerge from an organic molecular layer (excitons) and a metallic film (plasmons). Dirac cones appeared in the plexcitons' two-dimensional band-structure. An external magnetic field created a gap between the cones when the system was interfaced to a magneto-optical layer. The resulting energy gap became populated with topologically protected one-way modes, which traveled only at the system interface.

## Potential applications

Plexcitons potentially offer an appealing platform for exploring exotic matter phases and for controlling nanoscale energy flows.

* Ozel, Tuncay; Hernandez-Martinez, Pedro Ludwig; Mutlugun, Evren; Akin, Onur; Nizamoglu, Sedat; Ozel, Ilkem Ozge; Zhang, Qing; Xiong, Qihua; Demir, Hilmi Volkan (2013-07-10). "Observation of Selective Plasmon-Exciton Coupling in Nonradiative Energy Transfer: Donor-Selective versus Acceptor-Selective Plexcitons". *Nano Letters*. **13** (7): 3065–3072. Bibcode:2013NanoL..13.3065O. doi:10.1021/nl4009106. hdl:11693/12141. ISSN 1530-6984. PMID 23755992.


title: Plexifilm

abstract: Plexifilm was an independent DVD label and film production company co-founded by Gary Hustwit and Sean Anderson in 2001. Plexifilm produced original films, released films theatrically, and produced, distributed and marketed DVDs.

text:
# Plexifilm

**Plexifilm** was an independent DVD label and film production company co-founded by Gary Hustwit (formerly VP of Salon.com) and Sean Anderson (formerly Director of DVD Development of The Criterion Collection) in 2001. Plexifilm produced original films, released films theatrically, and produced, distributed and marketed DVDs.

## Controversy

In late 2008, after the band Wilco heard of Plexifilm's interest in releasing a Blu-ray version of the Sam Jones documentary *I Am Trying to Break Your Heart: A Film About Wilco*, the band urged fans in emails and on television appearances to not buy the new version. Wilco's stance was that the cost does not substantiate any gained value for the money to their fans. Plexifilm responded on their website that the quality of the transfer to Blu-ray is beneficial. As of January 2024, *I Am Trying to Break Your Heart* has not had an official Blu-ray release.

## Releases

## InfoBox

Plexifilm
| Company type | Film distributor and production company |
| --- | --- |
| Industry | Motion pictures |
| Founder | Gary Hustwit<br>Sean Anderson |
| Headquarters | United States |


title: Pocky & Rocky 2

abstract: Kiki Kaikai: Tsukiyo Soushi Pocky & Rocky 2, released in Japan as Kiki Kaikai: Tsukiyo Soushi, is a shoot 'em up video game developed and published by Natsume in Japan and North America, and published in PAL regions by Ocean Software for the Super NES video game console. It is the sequel to Pocky & Rocky.

text:
# Pocky & Rocky 2

***Pocky & Rocky 2***, released in Japan as ***Kiki Kaikai: Tsukiyo Soushi*** (奇々怪界 月夜草子, "Mysterious Ghost World: A Moonlit Night"), is a shoot 'em up video game developed and published by Natsume in Japan and North America, and published in PAL regions by Ocean Software for the Super NES video game console. It is the sequel to *Pocky & Rocky*.

## Gameplay

The game is played in a top-down view, featuring many elements from classic shoot 'em up games but giving the player free eight-directional movement. Player one controls the main protagonist, Pocky, who attacks by throwing ofuda talismans (referred to as "cards" in English versions). Pocky can pick up items to improve her attack power and new clothes to protect herself from damage, as well as throw player 2's character and use magic. Player 2 assumes a supporting role as one of Pocky's friends each possessing a unique attack and unlimited lives. If there is no second player, the supporting character will be CPU-controlled.

Pocky can use Player 2's character as a utility in various ways. Using "magic", she can force herself into her partner's mind and control their body for a short time, enabling unique abilities depending on who she possesses. Additionally, she can throw her partner at enemies to attack, doing massive damage to the enemy but temporarily killing the thrown character. This exploitation of player 2 is a departure from the previous game, in which player 1 and player 2 had similar powers and were equally valuable.

## Reception

The four reviewers of *Electronic Gaming Monthly* gave the game rave reviews, praising the additional characters with unique abilities, the graphics, and the gameplay design. Though one of the reviewers voiced dislike for the fact that the other characters act as mere subordinates to Pocky, they gave it a unanimous score of 8 out of 10. *GamePro* likewise praised the additional characters with the new strategy they add, the graphics, and the cute design. They particularly noted that "Even the tiniest animals and items display precise detail." Out of 5, the review rated it 4.5 for graphics, 3.5 for sound, 4.5 for control and 5.0 for fun factor.

*VideoGames* selected as a runner-up for the Best Adventure Game award. *IGN* ranked the game 73rd on its "Top 100 SNES Games of All Time."

## InfoBox

| Pocky & Rocky 2 | |
| --- | --- |
| PAL cover art | |
| Developer(s) | Natsume |
| Publisher(s) | Natsume
 |
| Composer(s) | Hiroyuki Iwatsuki
Kinuyo Yamashita
Haruo Ohashi
Asuka Yamao |
| Series | *Pocky & Rocky* |
| Platform(s) | Super NES |
| Release | * NA: November 1994 * PAL: April 1995 * JP: June 17, 1994 * JP: August 1, 1998 (Nintendo Power) |
| Genre(s) | Shoot 'em up |
| Mode(s) | Single-player
2 player cooperative |


title: Plexxikon

abstract: Plexxikon is an American drug discovery company based in South San Francisco, California. It was co-founded in 2001 by Joseph Schlessinger of Yale University, and Sung-Hou Kim of the University of California, Berkeley. It uses a proprietary structural biology-based platform called Scaffold-Based Drug Discovery to build a pipeline of products in multiple therapeutic areas. This discovery process integrates multiple technologies, including structural screening as one key component, that it hopes will give a significant competitive advantage over other approaches. In April 2011, Plexxikon was acquired by the Japanese pharmaceutical company Daiichi Sankyo for $805 million and an additional $130 million in potential milestone payments. Daiichi Sankyo announced the shutdown of Plexxikon in 2022.

text:
# Plexxikon

**Plexxikon** is an American drug discovery company based in South San Francisco, California. It was co-founded in 2001 by Joseph Schlessinger of Yale University, and Sung-Hou Kim of the University of California, Berkeley.

It uses a proprietary structural biology-based platform called Scaffold-Based Drug Discovery to build a pipeline of products in multiple therapeutic areas. This discovery process integrates multiple technologies, including structural screening as one key component, that it hopes will give a significant competitive advantage over other approaches.

In April 2011, Plexxikon was acquired by the Japanese pharmaceutical company Daiichi Sankyo for $805 million and an additional $130 million in potential milestone payments.

Daiichi Sankyo announced the shutdown of Plexxikon in 2022.

## Drug pipeline

* Plexxikon is collaborating with Wyeth Pharmaceuticals on several products for use in type II diabetes and other metabolic disorders. The most advanced of these agents is indeglitazar (PLX204), which is currently in Phase II clinical trials for type 2 diabetes.

* PLX7486 is a CSF1R antagonist and pan-TRK inhibitor in clinical trials for advanced solid tumors.

## InfoBox

Plexxikon
| Company type | Subsidiary |
| --- | --- |
| Industry | Biotechnology |
| Founded | 2001 (2001) |
| Founder | Joseph Schlessinger |
| Defunct | 2011 (2011) |
| Fate | Acquired by the Daiichi Sankyo |
| Headquarters | South San Francisco, California, United States. |
| Website | www.plexxikon.com |


title: William Lambert Dobson

abstract: Sir William Lambert Dobson was an English-born Australian politician, a Leader of the Opposition and Chief Justice of Tasmania, (Australia).

text:
# William Lambert Dobson

**Sir William Lambert Dobson** KCMG FLS (24 April 1833 – 17 March 1898) was an English-born Australian politician, a Leader of the Opposition and Chief Justice of Tasmania, (Australia).

## Early life

Dobson was born at Carr Hill, Gateshead, Durham, England, the elder son of John Dobson, a solicitor at Gateshead, and his first wife Mary Ann, *née* Atkinson (1811–1837). William was full brother to Frank and half-brother to Alfred and Henry Dobson.

William arrived in Van Diemen's Land (now Tasmania) with his parents on 16 July 1834. He was educated at Christ College and The Hutchins School at Hobart. After leaving school Dobson spent 18 months in the public service, returned to England, and entered at the Middle Temple. At the Inns of Court examination held in June 1856 Dobson took first place and was admitted to the bar on 6 June 1856.

## Career

Dobson returned to Tasmania at the end of 1856 and was admitted to practise as a barrister on 22 January 1857. In 1859 Dobson was appointed crown solicitor. Dobson was elected a member of the house of assembly for Hobart, was Solicitor-General in 1860 and on 6 February 1861 became Attorney-General in the second William Weston ministry. Dobson continued in this position when the ministry was reconstituted under Thomas Chapman, and remained in office until January 1863. Dobson represented Campbell Town 1864-70. When James Whyte became premier, Dobson was elected leader of the opposition, on 24 November 1866 became attorney-general again under Sir Richard Dry, holding the same position in the succeeding James Wilson ministry (after Dry's death) from 4 August 1869 to 5 February 1870. Dobson was then appointed a puisne judge in the Supreme Court of Tasmania, at just 36 years of age. In 1884 he was acting chief justice, and on 2 February 1885 became chief justice. He held this position until his death on 17 March 1898. Dobson acted as deputy-governor in 1884, 1886–87 and 1892-93.

## Legacy

Dobson was chancellor of the University of Tasmania, president of the leading sporting bodies, vice-president of the Royal Society of Tasmania and the Art Society of Tasmania, and trustee of the Tasmanian museum, art gallery and botanical gardens. On 17 March 1859 Dobson married Fanny Louisa Browne (died 1935), daughter of Rev. William Henry Browne the archdeacon of Launceston, who survived him with a son and three daughters. Dobson was knighted in 1886 by Queen Victoria on a visit to London and appointed K.C.M.G. in 1897.

Dobson was a member of the Linnean Society, and much interested in botany and higher education generally. As a member of parliament he brought in the act which made education compulsory, and he was also responsible for the act abolishing imprisonment for debt. Although not giving the impression of being a brilliant lawyer, he was an exceedingly sound one; it has been stated that during his judicial career he never had a decision reversed by a higher court.

## Brothers

One of Dobson's brothers Henry (1841 – 1918) was a premier of Tasmania. Another brother, Frank (1835–95) was a Solicitor-General of Victoria from 1881 to 1883, while a third brother, Alfred (1848–1908), was Attorney-General in the first Philip Fysh ministry from 1877 to 1878, leader of the opposition 1883 to 1884, and speaker of the house from July 1885 to 1887.

## InfoBox

| William Lambert Dobson | |
| --- | --- |
|  | |
| Born | (1833-04-24)24 April 1833
England |
| Died | 17 March 1898(1898-03-17) (aged 64)
Australia |
| Occupation(s) | politician and Chief Justice of Tasmania |


title: Sultana (ship)

abstract:
Several vessels have been named Sultana for the female royal title Sultana.
  - Sultana, the flagship of Ali Pasha during the 1571 Battle of Lepanto
  - Sultana (1787 ship) was launched in 1787 or 1788, at Yarmouth. She traded with the Mediterranean and the West Indies. A French privateer captured her in April 1799. She quickly returned to British ownership, but was recaptured again in 1801 returning to Britain from Halifax, Nova Scotia.
  - Sultana (1833 ship), of 312 tons (bm), armed with 14 cannon, was built in the Bombay Dockyard in 1833 for the Sultan of Oman. He sent her to the United States on what turned out to be a three-month friendship visit to New York. She left Oman on 23 December 1839, touched at Zanzibar and Saint Helena, and arrived at New York on 30 April 1840. She left New York on 7 August and arrived at Zanzibar on 8 December. In 1842 she visited London bearing gifts from Sultan Saeed bin Sultan to Queen Victoria on the occasion of her coronation.
  - Sultana (1854 ship), of 775 tons, was built at Sunderland. She made one voyage transporting convicts to Western Australia. Sultana, Henry Richardson, master, sailed from Plymouth, England on 29 May 1859 bound for the Swan River Colony. She arrived at Fremantle on 19 August 1859. She had embarked 224 male convicts, all of whom survived the voyage. She also carried 142 migrants and other passengers.
  - Sultana (steamboat), was destroyed in 1865 in the worst maritime disaster in US history.

text:
# Sultana (ship)

Several vessels have been named ***Sultana*** for the female royal title Sultana.

* *Sultana*, the flagship of Ali Pasha during the 1571 Battle of Lepanto
* *Sultana* (1787 ship) was launched in 1787 or 1788, at Yarmouth. She traded with the Mediterranean and the West Indies. A French privateer captured her in April 1799. She quickly returned to British ownership, but was recaptured again in 1801 returning to Britain from Halifax, Nova Scotia.
* *Sultana* (1833 ship), of 312 tons (bm), armed with 14 cannon, was built in the Bombay Dockyard in 1833 for the Sultan of Oman. He sent her to the United States on what turned out to be a three-month friendship visit to New York. She left Oman on 23 December 1839, touched at Zanzibar and Saint Helena, and arrived at New York on 30 April 1840. She left New York on 7 August and arrived at Zanzibar on 8 December. In 1842 she visited London bearing gifts from Sultan Saeed bin Sultan to Queen Victoria on the occasion of her coronation.
* *Sultana* (1854 ship), of 775 tons, was built at Sunderland. She made one voyage transporting convicts to Western Australia. *Sultana* , Henry Richardson , master, sailed from Plymouth, England on 29 May 1859 bound for the Swan River Colony. She arrived at Fremantle on 19 August 1859. She had embarked 224 male convicts, all of whom survived the voyage. She also carried 142 migrants and other passengers.
* *Sultana* (steamboat), was destroyed in 1865 in the worst maritime disaster in US history.

## Citations

* Bateson, Charles (1959). *The Convict Ships*. Brown, Son & Ferguson. OCLC 3778075.
* Eilts, Frederick Hermann (1990). *A friendship two centuries old: the United States and the Sultanate of Oman*. Sultan Qa Boos Center, Middle East Institute, Washington, DC.
* Wadia, R. A. (1986) \[1957\]. *The Bombay Dockyard and the Wadia Master Builders*. Bombay.`{{cite book}}`: CS1 maint: location missing publisher (link)


title: Through the Darkness (novel)

abstract: Through the Darkness (2001) by Harry Turtledove is the third book in the Darkness series.

text:
# Through the Darkness (novel)

***Through the Darkness*** (2001) by Harry Turtledove is the third book in the Darkness series.

## Plot summary

Algarve renews an assault in the south of Unkerlant toward the Mamming Hills, which is Unkerlant's source of cinnabar, leading to the mammoth Battle of Sulingen. Kaunian refugees begin showing up in Zuwayza, which takes them in; other Kaunians get away from a caravan in Valmiera and come to the attention of Skarnu and his friends (who had blown up the caravan to disrupt the Algarvians) or are set loose in a Lagoan raid on a camp in Valmiera. Leofsig is killed by Sidroc, who joins the Plegmund's Brigade. Istvan and his squad accidentally eat goat stew in a raid on a camp in Unkerlant's western forest and are purified by their captain. The Algarvians kill Kaunians in the Land of the Ice People in an attempt to use magic against the Lagoans, but the magic from the killed Kaunians slaughters the Algarvian army instead, and Algarve is forced to withdraw from the continent completely, leaving it to the Lagoans. The wear on the Algarvians is showing as they start to rely more on Sibians, Forthwegians and the unreliable Yaninans to keep up the fight against Unkerlant. The Battle of Sulingen is won by the Unkerlanters that winter, with Trasone dying in the final scene in the book. Algarve is on the way to losing the war. The Naantali Project starts and the Kuusamans take Obuda.

## InfoBox

Through the Darkness
|  | |
| --- | --- |
| Author | Harry Turtledove |
| Cover artist | Bob Eggleton |
| Language | English |
| Series | Darkness |
| Genre | Fantasy |
| Publisher | Tor Books |
| Publication date | 2001 |
| Publication place | United States |
| Media type | Print |
| Preceded by | *Darkness Descending* |
| Followed by | *Rulers of the Darkness* |


title: Yana Qaqa (Potosí)

abstract: Yana Qaqa is a mountain in the Bolivian Andes which reaches a height of approximately 4,180 m (13,710 ft). It is located in the Potosí Department, Tomás Frías Province, Potosí Municipality, north of the city of Potosí.

text:
# Yana Qaqa (Potosí)

**Yana Qaqa** (Quechua *yana* black, *qaqa* rock, "black rock", also spelled *Yana Khakha*) is a mountain in the Bolivian Andes which reaches a height of approximately 4,180 m (13,710 ft). It is located in the Potosí Department, Tomás Frías Province, Potosí Municipality, north of the city of Potosí.

## InfoBox

| Yana Qaqa | |
| --- | --- |
| Yana QaqaLocation within Bolivia | |
| Highest point | |
| Elevation | 4,180 m (13,710 ft) |
| Coordinates | 19°31′00″S 65°45′41″W / 19.51667°S 65.76139°W / -19.51667; -65.76139 |
| Geography | |
| Location | Bolivia,<br>Potosí Department |
| Parent range | Andes |


title: WEC 50

abstract: WEC 50: Cruz vs. Benavidez 2 was a mixed martial arts event held by World Extreme Cagefighting that took place on August 18, 2010 at The Pearl at The Palms in Las Vegas.

text:
# WEC 50

***WEC 50: Cruz vs. Benavidez 2*** was a mixed martial arts event held by World Extreme Cagefighting that took place on August 18, 2010 at The Pearl at The Palms in Las Vegas.

## Background

This event marked WEC's first visit to Las Vegas since WEC 45 in December 2009 and was also shown on the TV channel Versus.

Urijah Faber was expected to make his bantamweight debut against Japanese striker Takeya Mizugaki. However, Faber was forced off the card with an injury. As a result, Mizugaki was also pulled from the event. The Faber/Mizugaki bout was simply pushed back, to WEC 52. Faber won the rescheduled matchup by first round submission.

Stephan Bonnar served as color commentator for the event along with Todd Harris.

The event drew an average of 316,000 TV viewers.

## Results

| Main card | | | | | | | |
| --- | --- | --- | --- | --- | --- | --- | --- |
| Weight class |  |  |  | Method | Round | Time | Notes |
| Bantamweight | Dominick Cruz (c) | def | Joseph Benavidez | Decision (split) (47–48, 48–47, 49–46) | 5 | 5:00 |  |
| Lightweight | Anthony Pettis | def | Shane Roller | Submission (triangle choke) | 3 | 4:51 |  |
| Featherweight | Chad Mendes | def | Cub Swanson | Decision (unanimous) (30–27, 29–28, 29–28) | 3 | 5:00 |  |
| Bantamweight | Scott Jorgensen | def | Brad Pickett | Decision (unanimous) (30–27, 30–27, 30–27) | 3 | 5:00 |  |
| Lightweight | Bart Palaszewski | def | Zach Micklewright | KO (punches) | 2 | 0:31 |  |
| Preliminary card | | | | | | | |
| Lightweight | Maciej Jewtuszko | def | Anthony Njokuani | TKO (punches) | 1 | 1:35 |  |
| Featherweight | Javier Vazquez | def | Mackens Semerzier | Submission (rear-naked choke) | 2 | 1:35 |  |
| Lightweight | Ricardo Lamas | def | Dave Jansen | Decision (unanimous) (29–28, 29–28, 29–28) | 3 | 5:00 |  |
| Featherweight | Fredson Paixão | def | Bryan Caraway | Decision (split) (28–29, 29–28, 29–28) | 3 | 5:00 |  |
| Lightweight | Danny Castillo | def | Dustin Poirier | Decision (unanimous) (30–27, 29–28, 30–27) | 3 | 5:00 |  |

## Bonus Awards

Fighters were awarded $10,000 bonuses.

* **Fight of the Night**: **Scott Jorgensen** vs. **Brad Pickett**
* **Knockout of the Night**: **Maciej Jewtuszko**
* **Submission of the Night**: **Anthony Pettis**

## Reported payout

The following is the reported payout to the fighters as reported to the Nevada State Athletic Commission. It does not include sponsor money or "locker room" bonuses often given by the WEC and also do not include the WEC's traditional "fight night" bonuses.

* **Dominick Cruz:** $22,000 (includes $11,000 win bonus) def. Joseph Benavidez: $17,500
* **Anthony Pettis:** $12,000 ($6,000 win bonus) def. Shane Roller: $16,000
* **Chad Mendes:** $11,000 ($5,500 win bonus) def. Cub Swanson: $11,000
* **Scott Jorgensen:** $25,000 ($12,500 win bonus) def. Brad Pickett: $5,000
* **Bart Palaszewski:** $16,000 ($8,000 win bonus) def. Zach Micklewright: $3,000
* **Javier Vazquez:** $16,000 ($8,000 win bonus) def. Mackens Semerzier: $4,000
* **Maciej Jewtuszko:** $6,000 ($3,000 win bonus) def. Anthony Njokuani: $7,000
* **Ricardo Lamas:** $14,000 ($7,000 win bonus) def. Dave Jansen: $4,000
* **Fredson Paixão:** $6,000 ($3,000 win bonus) def. Bryan Caraway: $4,000
* **Danny Castillo:** $19,000 ($9,500 win bonus) def. Dustin Poirier: $3,000

1. "WEC 50 officially draws attendance of 1,861 for $275K live gate". mmajunkie.com. August 25, 2010. Archived from the original on January 28, 2013. Retrieved January 28, 2013.
2. "WEC: Cruz vs. Benavidez". wec.tv. Retrieved 2010-06-14.
3. "Faber moves to 135lbs, faces Mizugaki August 18". mmaweekly.com. June 8, 2010. Archived from the original on July 13, 2010. Retrieved July 9, 2010.
4. "Injury forces Urijah Faber out of WEC 50, Takeya Mizugaki pulled from card". mmajunkie.com. July 9, 2010. Archived from the original on July 12, 2010. Retrieved July 9, 2010.
5. "Urijah Faber out of WEC 50 due to injury". mmajunkie.com. July 9, 2010.
6. "Faber vs Mizugaki Now Targeted For The Fall". MMARising.com. July 26, 2010.
7. "UFCs Stephan Bonnar will be back in booth for WEC 50". mmafighting.com. July 2, 2010.
8. "WEC 50: Cruz vs. Benavidez | MMA Event".
9. "WEC 50 bonuses: Jewtuszko, Pettis, Jorgensen, Pickett earn $10K fighter awards". MMAJunkie.com. 2010-08-19. Archived from the original on 2012-07-12. Retrieved 2012-07-12.
10. "WEC 50 salaries: Jorgensen, Cruz and Castillo lead $221,500 fighter payroll". mmajunkie.com. Retrieved 2010-08-19.

## InfoBox

| WEC 50: Cruz vs. Benavidez 2 | |
| --- | --- |
| The poster for WEC 50: Cruz vs. Benavidez 2 | |
| Promotion | World Extreme Cagefighting |
| Date | August 18, 2010 |
| Venue | The Pearl at The Palms |
| City | Paradise, Nevada, United States |
| Attendance | 1,861 |
| Total gate | $275,340 |
| Event chronology | |
| WEC 49: Varner vs. Shalorus WEC 50: Cruz vs. Benavidez 2 WEC 51: Aldo vs. Gamburyan | |


abstract: Warner Bros. Inc. v. American Broadcasting Companies, Inc., 720 F.2d 231, the case of Superman v. The Greatest American Hero, is the third case in a Second Circuit trilogy of 20th century copyright infringement cases in which the proprietors of Superman copyrights sued other companies for publishing fictional exploits of a cape-wearing superhero. Although the plaintiffs were successful in the first two cases, Superman v. Wonderman and Superman v. Captain Marvel, they were completely unsuccessful in Superman v. The Greatest American Hero. The court held that "as a matter of law... 'The Greatest American Hero' is not sufficiently similar to the fictional character Superman, the hero of comic books, television, and more recently films, so that claims of copyright infringement and unfair competition may be dismissed without consideration by a jury."

text:
# Warner Bros. Inc. v. American Broadcasting Companies, Inc.

***Warner Bros. Inc. v. American Broadcasting Companies, Inc.***, 720 F.2d 231 (2d Cir. 1983), the case of *Superman v. The Greatest American Hero*, is the third case in a Second Circuit trilogy of 20th century copyright infringement cases in which the proprietors of Superman copyrights sued other companies for publishing fictional exploits of a cape-wearing superhero. Although the plaintiffs were successful in the first two cases, *Superman v. Wonderman* and *Superman v. Captain Marvel*, they were completely unsuccessful in *Superman v. The Greatest American Hero*. The court (in an opinion by Circuit Judge Newman) held that "as a matter of law . . . 'The Greatest American Hero' is not sufficiently similar to the fictional character Superman, the hero of comic books, television, and more recently films, so that claims of copyright infringement and unfair competition may be dismissed without consideration by a jury."

## Background

### Facts giving rise to dispute

In January 1981, the American Broadcasting Company (ABC) issued press releases and began to run promotional spots for the TV premiere of *The Greatest American Hero*, which had been created and produced by Stephen J. Cannell Productions. The protagonist of the TV show was Ralph Hinkley, a young Los Angeles high school teacher whose physical attributes are not those of a superhero: he is of medium height, has a scrawny build, has blond curls, and is clumsy.

Hinkley does have similarities, however, to Superman in that, for example, both superheroes: perform feats of miraculous strength; wear tight acrobatic costumes; do battle with villains; fly with their arms extended in front of them and cape billowing behind; are impervious to bullets; have X-ray type vision; have fantastic hearing and sight; fly gracefully in the night sky past a city's lit skyscrapers; lift a car with one hand; lead a double life; benefit mankind by fighting evil-doing villains.

But, in addition to Hinckley's scrawniness and clumsiness, he has other significant differences from Superman. For example: Hinkley derives his power exclusively from a magic suit that an alien gave him, but Superman's strength is a natural attribute of his extraterrestrial origin. Superman wears a blue leotard with red briefs, boots and cape, while Hinkley wears a red leotard, no boots, and a black cape. "Superman has mastered the art of self-propelled flight and accomplishes the feat with grace and verve. Ralph Hinkley, on the other hand, seems to be terrified when flying and each time, without fail, crash-lands. . . . As to the heroes' imperviousness to bullets, while the trait is shared, the expression of the concept differs dramatically. Ralph Hinkley cringes and cowers in the face of gunfire, whereas Superman boldly holds his ground when being fired upon." When flying, Hinckley (unlike Superman) is quite inept: in the pilot episode he "has difficulty steering, barely avoids colliding with a fire escape, and finally crashes into a brick wall, knocking himself out."

### Proceedings in district court

Plaintiffs Warner Bros. Inc., Film Export, A.G., and DC Comics, Inc. sued defendants American Broadcasting Companies, Inc. Stephen J. Cannell Productions for copyright infringement and unfair competition, in the United States District Court for the Southern District of New York. Plaintiffs moved for "a preliminary injunction and temporary restraining order to enjoin the defendant, American Broadcasting Companies, Inc. (ABC), from (1) broadcasting certain promotional television spots relating to its series entitled 'The Greatest American Hero' (Hero); (2) broadcasting the premiere of Hero; and (3) broadcasting any episode of Hero prior to affording the plaintiffs an adequate opportunity to examine the work and to seek appropriate relief." District Judge Constance Baker Motley denied the motion. She found that Superman and *The Greatest American Hero* were not substantially similar, and that even if they were, the latter was a parody of Superman and therefore protected under the fair use doctrine. The district court also determined that it was unlikely that the public would be confused as to the origin of the later work. Plaintiffs then appealed to the Second Circuit, which affirmed the denial or preliminary relief. The court acknowledged similarities, but said they fell within the scenes a faire doctrine.

The case then returned to the district court. Judge Motley dismissed the claims on the merits by granting defendants' motion for summary judgment. Plaintiffs then appealed to the Second Circuit.

## Second Circuit ruling

The court began its analysis by noting "\[T\]he similarity to be assessed must concern the expression of ideas, not the ideas themselves." The court reviewed the similarities and dissimilarities of Superman and *The Greatest American Hero*. It found the two "profoundly different":

> Superman looks and acts like a brave, proud hero, who has dedicated his life to combating the forces of evil. Hinkley looks and acts like a timid, reluctant hero, who accepts his missions grudgingly and prefers to get on with his normal life. Superman performs his superhuman feats with skill, verve, and dash, clearly the master of his own destiny. Hinkley is perplexed by the superhuman powers his costume confers and uses them in a bumbling, comical fashion. In the genre of superheroes, Hinkley follows Superman as, in the genre of detectives, Inspector Clouseau follows Sherlock Holmes. . . . The overall perception of the way Hinkley looks and acts marks him as a different, non-infringing character who simply has some of the superhuman traits popularized by the Superman character and now widely shared within the superhero genre.

The plaintiffs sought to (but were not allowed to) offer expert testimony that children would be confused because they would not notice the negative language in such phrases as Hinkley: "may be unable to leap tall buildings in a single bound," "may be slower than a speeding bullet," and "may be less powerful than a locomotive." The court dismissed such evidence as immaterial:

> We do not doubt that some viewers may miss the point, but their misunderstanding does not establish infringement. Perhaps if *\[The Greatest American\] Hero* were a children's series, aired on Saturday mornings among the cartoon programs, we would have greater concern for the risk that lines intended to contrast Hinkley with Superman might be mistakenly understood to suggest that Hero was a Superman program. But when a work is presented to a general audience of evening television viewers, the possible misperception of some young viewers cannot prevent that audience from seeing a program that will readily be recognized by the "average lay observer" as poking fun at, rather than copying, a copyrighted work.

As for the unfair competition claims, so far as they relied on confusion, the court said, there was no misrepresentation and no likelihood of confusion as to source. As to "state law claims that rely on the misappropriation branch of unfair competition \[they\] are preempted." As to the "dilution" claim, "no reasonable jury could find that the . . . series or promos blurred or tarnished those marks."

The Second Circuit affirmed the district court's ruling on all points.

## Subsequent developments

The last episode of *The Greatest American Hero* aired in February 1983, approximately one month before the Second Circuit issued its affirmance of the dismissal of this case.

In an interview with *TVparty* after the TV show had been cancelled, the creator-producer Cannell was asked whether he "lost sleep over the lawsuit." He said he did because:

> The show looked like it was going to be a hit and all of a sudden Warner Bros. comes in there and tells us that they own the entire super hero genre, that no one else could ever create another superhero with a cape. ...\[T\]hey believed they owned it and we won that suit and in fact redefined copyright law. That's a landmark suit.

The citations in this article are written in Bluebook style. Please see the talk page for more information.

## InfoBox

| Warner Bros. Inc. v. American Broadcasting Companies, Inc. | |
| --- | --- |
|  | |
| Court | United States Court of Appeals for the Second Circuit |
| Full case name | *Warner Bros. Inc. v. American Broadcasting Companies, Inc.* |
| Argued | March 16, 1983 |
| Decided | October 6 1983 |
| Citations | 720 F.2d 231; 222 U.S.P.Q. 101; 1983 Copr. L. Dec. (CCH) ¶ 25,584 |
| Case history | |
| Prior history | Preliminary injunction denied by District Court; affirmed on appeal at 654 F.2d 204; 211 U.S.P.Q. 97; 1981 Copr. L. Dec. (CCH) ¶ 25,284; 7 Media L. Rep. 1973 (2d. Cir. 1981) |
| Court membership | |
| Judges sitting | Walter Roe Mansfield, Thomas Joseph Meskill, Jon O. Newman |
| Case opinions | |
| Majority | Newman, joined by a unanimous court |


title: United Abstainers F.C.

abstract: United Abstainers Football Club was a football club from Crosshill in Glasgow.

text:
# United Abstainers F.C.

**United Abstainers Football Club** was a football club from Crosshill in Glasgow.

## History

The club, sometimes referred to as the **United Abstainers Athletic Club**, was formed by William Shanks, agent and collector for the Scottish Temperance League. Although the club was nicknamed the Teetotallers, the players were not complete abstainers; their refreshment of choice at at least one game was noted as being stout.

The Abstainers joined the Scottish Football Association and the Glasgow Football Association for the 1887–88 season. The club's first competitive fixture, in the first round of the 1887–88 Scottish Cup, was a 4–1 defeat at Pollokshields Athletic.

In 1888–89 however the team caused "a bit of a surprise" by getting revenge against a "strong" Pollokshields in the first round, beating the Athletics 2–1 at Victoria Park, the winning goal coming about ten minutes from time. In the second round however Battlefield F.C. swept the Abstainers aside, scoring 5 in the first half and 6 in the second, without reply.

The club lost in the first round of the Scottish Cup in the next two seasons, 6–2 at Rangers F.C. in 1889–90 (managing to hold the home side to 3–2 in the first half) and 11–0 at Burnbank Swifts F.C. in 1890–91. After qualifying rounds were introduced, the Abstainers entered for the next three seasons, but, drawn once against Glasgow University F.C. and twice against Battlefield in the first stage, withdrew every time before playing.

The club could not even muster one win in the Glasgow Cup. Its first match in the competition in 1887 was a 10–0 defeat at home to Shettleston F.C., being 1–0 down after four minutes and 4–0 down after a quarter of an hour. After first round defeats by both Rangers and Celtic F.C. in the next two seasons, the club scratched from its last four entries. The last references to the club in the media relate to its being drawn against Pollokshaws F.C. in the Glasgow Cup in 1893.

## Colours

The club played in blue and gold vertical stripes, with white shorts.

## Ground

The club's home ground was Victoria Park in Crosshill.

## InfoBox

United Abstainers
| Full name | United Abstainers Athletic Football Club |
| --- | --- |
| Nickname(s) | the Abstainers, the Teetotallers |
| Founded | 1887 |
| Dissolved | 1893 |
| Ground | Victoria Park, Glasgow |
|  | |
|  | |
|  | |


title: Tinda (fly)

abstract: Tinda is a genus of flies in the family Stratiomyidae.

text:
# Tinda (fly)

***Tinda*** is a genus of flies in the family Stratiomyidae.

## Species

## InfoBox

| *Tinda* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Diptera |
| Family: | Stratiomyidae |
| Subfamily: | Pachygastrinae |
| Genus: | *Tinda*
Walker, 1859 |
|
| Type species | |
| *Tinda modifera*
Walker, 1859 | |
| Synonyms | |
|  | |


title: Morishita Station (Fukuoka)

abstract: Morishita Station is a passenger railway station located in Yahatanishi-ku, Kitakyūshū. It is operated by the private transportation company Chikuhō Electric Railroad (Chikutetsu), and has station number CK06.

text:
# Morishita Station (Fukuoka)

**Morishita Station** (森下駅, *Morishita-eki*) is a passenger railway station located in Yahatanishi-ku, Kitakyūshū. It is operated by the private transportation company Chikuhō Electric Railroad (Chikutetsu), and has station number CK06.

## Lines

The station is served by the Chikuhō Electric Railroad Line and is 2.8 kilometers from the terminus of the line at Kurosaki Station.

## Station layout

The station consists of two side platforms connected by a level crossing. The station is unattended.

## Platforms

| **1** | Chikuhō Electric Railroad Line | for Chikuhō-Nōgata |
| --- | --- | --- |
| **2** | Chikuhō Electric Railroad Line | for Kurosaki |

## Adjacent stations

|  |  | Service |  |  |
| --- | --- | --- | --- | --- |
| Chikuhō Electric Railroad Line | | | | |
| Anō | | Local | Imaike | |

## History

The station opened on 15 October 1956.

## Passenger statistics

In fiscal 2021, the station was used by 420 passengers daily.

## Surrounding area

* Seita no Mori Kitakyushu Golf Course
* Kitakyushu City Yawata Special Needs School
* Takami Shrine
* Kitakyushu City Takesue Elementary School

Media related to Morishita Station (Fukuoka) at Wikimedia Commons

## InfoBox

| Morishita Station
森下駅 | |
| --- | --- |
| Morishita Station platform | |
| General information | |
| Location | 14 Morishitamachi, Yahatanishi Ward, Kitakyushu-shi, Fukuoka-ken 806-0046
Japan |
| Coordinates | 33°51′13.6″N 130°44′27.69″E / 33.853778°N 130.7410250°E / 33.853778; 130.7410250 |
| Operated by | Chikuhō Electric Railroad |
| Line(s) | Chikuhō Electric Railroad Line |
| Platforms | 2 side platforms |
| Other information | |
| Station code | CK06 |
| Website | Official website |
| History | |
| Opened | 15 October 1956 (1956-10-15) |
| Passengers | |
|  | |
| FY2021 | 420 |
|  | |
|  | |
|  | |
|  | |
| Location  Morishita StationLocation within Fukuoka PrefectureMorishita StationMorishita Station (Japan) | |


title: Thors, Charente-Maritime

abstract: Thors is a commune in the Charente-Maritime department in southwestern France.

text:
# Thors, Charente-Maritime

**Thors** is a commune in the Charente-Maritime department in southwestern France.

## Population

Historical population
| Year | Pop. | ±% |
| --- | --- | --- |
| 1962 | 456 |  |
| 1968 | 460 | +0.9% |
| 1975 | 441 | −4.1% |
| 1982 | 454 | +2.9% |
| 1990 | 456 | +0.4% |
| 1999 | 411 | −9.9% |
| 2008 | 411 | +0.0% |

## InfoBox

| Thors | |
| --- | --- |
| Commune | |
| The town hall in Thors | |
| Location of Thors | |
| ThorsThors | |
| Coordinates: 45°49′58″N 0°18′40″W / 45.8328°N 0.3111°W / 45.8328; -0.3111 | |
| Country | France |
| Region | Nouvelle-Aquitaine |
| Department | Charente-Maritime |
| Arrondissement | Saint-Jean-d'Angély |
| Canton | Matha |
| Government | |
| Mayor (20202026) | Fabrice Renaud |
| Area**1** | 5.55 km2 (2.14 sq mi) |
| Population (2021) | 465 |
| Density | 84/km2 (220/sq mi) |
| Time zone | UTC+01:00 (CET) |
| Summer (DST) | UTC+02:00 (CEST) |
| INSEE/Postal code | 17446 /17160 |
| Elevation | 18–36 m (59–118 ft)
(avg. 23 m or 75 ft) |
| **1** French Land Register data, which excludes lakes, ponds, glaciers \> 1 km2 (0.386 sq mi or 247 acres) and river estuaries. | |


title: Plexus

abstract: In neuroanatomy, a plexus is a branching network of vessels or nerves. The vessels may be blood vessels or lymphatic vessels. The nerves are typically axons outside the central nervous system. The standard plural form in English is plexuses. Alternatively, the Latin plural plexūs may be used.

text:
# Plexus

In neuroanatomy, a **plexus** (from the Latin term for "braid") is a branching network of vessels or nerves. The vessels may be blood vessels (veins, capillaries) or lymphatic vessels. The nerves are typically axons outside the central nervous system.

The standard plural form in English is **plexuses**. Alternatively, the Latin plural **plexūs** may be used.

## Types

### Nerve plexuses

The four primary nerve plexuses are the cervical plexus, brachial plexus, lumbar plexus, and the sacral plexus.

#### Cardiac plexus

#### Celiac plexus

#### Renal plexus

### Venous plexus

### Choroid plexus

The choroid plexus is a part of the central nervous system in the brain and consists of capillaries, brain ventricles, and ependymal cells.

## Invertebrates

The plexus is the characteristic form of nervous system in the coelenterates and persists with modifications in the flatworms. The nerves of the radially symmetric echinoderms also take this form, where a plexus underlies the ectoderm of these animals and deeper in the body other nerve cells form plexuses of limited extent.