title: Meena Kumari (weightlifter)

abstract: Meena Kumari is an Indian weightlifter and appointed to the post of Inspector in Punjabi Police, who placed fifth in the women's 58 kg weight class at the 2014 Commonwealth Games in Glasgow.

text:
# Meena Kumari (weightlifter)

**Meena Kumari** (born 15 August 1989) is an Indian weightlifter and appointed to the post of Inspector in Punjabi Police, who placed fifth in the women's 58 kg weight class at the 2014 Commonwealth Games in Glasgow.

## Career

### Police service

Kumari joined the Punjab police as a constable after attending college. By 2016, she was appointed to the post of Inspector in Punjabi Police.

### Sports career

Kumari was previously a mountaineer and skydiver. She was selected for the 2007-8 National Cadet Corps expedition to Everest, though she did not participate.

Kumari took up weightlifting in 2008 when she attended college at the encouragement of her uncle, who himself participated. After joining the police she was coached by police weightlifter Saranjeet Kundan and sponsored by legislator Pawan Kumar Tinu. She won the gold medal in women's weightlifting in the 63 kg category at the All-India Police Games in December 2013, her third consecutive gold medal at these games. She lifted 110 kg in clean and jerk, two kilos better than her gold in the 58 kg category the previous year.

At the Commonwealth Games in Glasgow in July 2014, Kumari came fifth in the 58 kg category, lifting a total of 194 kg, 83 kg in snatch and 111 kg in clean and jerk.

In May 2016 at the Punjab and Haryana High Court, Kumari successfully appealed a three-year ban imposed by the Indian Weightlifting Federation in November 2014 for unspecified alleged behaviour in training and at the Commonwealth Games but was later proved non guilty and ban was lifted.

In 2017, Kumari took part in the Senior National Powerlifting Championship in Kerala and won a silver medal in the deadlift and bronze in the squat, and came third in the 63 kg category.

## Personal life

Kumari is from Jattewali village in Adampur, Punjab, where her father is a tailor. She has three older brothers.

## InfoBox

Meena Kumari
| Meena Kumari showing face | |
| --- | --- |
| Personal information | |
| Nationality | Indian |
| Born | (1989-08-15) 15 August 1989<br>Punjab, India |
| Height | 1.60 m (5 ft 3 in) (2014) |
| Weight | 58 kg (128 lb) (2014) |
| Sport | |
| Country | India |
| Sport | Weightlifting |
| Event | 58 kg |
| Achievements and titles | |
| Highest world ranking | Snatch 90kg Clean&jerk 125kg |


title: Valeriya Zhandarova

abstract: Valeriya Zhandarova is a Georgian long-distance runner who specialises in the 5000 metres. She holds the Georgian national record for the distance, with her best of 15:33.10 minutes, as well as the national record for the 3000 metres steeplechase (10:13.69). Zhandarova initially competed for Russia.

text:
# Valeriya Zhandarova

**Valeriya Zhandarova** (born 17 March 1994) is a Georgian long-distance runner who specialises in the 5000 metres. She holds the Georgian national record for the distance, with her best of 15:33.10 minutes, as well as the national record for the 3000 metres steeplechase (10:13.69). Zhandarova initially competed for Russia.

## Career

Internationally, she represented her country at the 2019 World Athletics Championships. She won two silver medals in the 3000 metres at the Balkan Athletics Indoor Championships in 2018 and 2019, finishing behind Albania's Luiza Gega both times. She was the gold medalist over that distance at the 2018 Championships of the Small States of Europe.

She made her debut over the half marathon distance in Kraków in 2019, placing seventh with a time of 1:14:14 hours.

## International competitions

Representing  Georgia
| Year | Competition | Venue | Position | Event | Result | Notes |
| --- | --- | --- | --- | --- | --- | --- |
| 2018 | Balkan Indoor Championships | Istanbul, Turkey | 2nd | 3000 m | 9:16.48 |  |
| | Championships of the Small States of Europe | Schaan, Liechtenstein | 1st | 3000 m | 9:13.20 |  |
| 2019 | Balkan Indoor Championships | Istanbul, Turkey | 2nd | 3000 m | 9:16.56 |  |
| | European Team Championships 2nd League | Varaždin, Croatia | 4th | 3000 m | 9:24.02 |  |
| | | 5th | 5000 m | 16:15.11 |  |
| | World Championships | Doha, Qatar | 23rd (h) | 5000 m | 15:52.11 | 12th in heat 2 |

## InfoBox

Valeriya Zhandarova
| Personal information | |
| --- | --- |
| National team | Georgia |
| Born | (1994-03-17) 17 March 1994 |
| Sport | |
| Sport | Athletics |
| Event | Long-distance running |


title: Listed buildings in Findern

text:
# Listed buildings in Findern

Findern is a civil parish in the South Derbyshire district of Derbyshire, England. The parish contains eight listed buildings that are recorded in the National Heritage List for England. All the listed buildings are designated at Grade II, the lowest of the three grades, which is applied to "buildings of national importance and special interest". The parish contains the village of Findern and the surrounding area. The listed buildings consist of houses and associated structures, and a church and its churchyard wall.

## Buildings

| Name and location | Photograph | Date | Notes |
| --- | --- | --- | --- |
| Corner House
52°52′17″N 1°32′34″W / 52.87146°N 1.54264°W / 52.87146; -1.54264 (Corner House) |  | Early 18th century | The house is in rendered brick with floor bands, and a tile roof with coped gables and plain kneelers. There are two storeys, an L-shaped plan, and a front of three bays. In the centre is a gabled porch, and the windows are sashes with wedge lintels, the middle window in the upper floor blind. |
| 19 Main Street and outbuilding
52°52′12″N 1°32′40″W / 52.87007°N 1.54458°W / 52.87007; -1.54458 (19 Main Street and outbuilding) |  | 18th century | The house and outbuilding are in red brick with a tile roof. There are two storeys and two bays. The left bay is lower, and has a dentilled cornice, a casement window in the ground floor and a horizontally-sliding sash window above. The taller right bay contains a segmental-headed doorway, and a sash window in each floor. The single-storey outbuilding continues to the right. |
| Somerville House and outbuilding
52°52′13″N 1°32′40″W / 52.87014°N 1.54435°W / 52.87014; -1.54435 (Somerville House and outbuilding) |  | Mid 18th century | The house and outbuilding are in red brick. The house has a dentilled cornice, a tile roof, two storeys and an attic, and a symmetrical front of five bays. In the centre is a gabled porch with a wavy bargeboard, the door has a fanlight, and the windows are sashes with wedge lintels. Along the front is a low wall with railings, and to the left is a carriageway linked to a barn with a Welsh slate roof containing windows and blocked slit vents. |
| Tower House
52°52′23″N 1°33′06″W / 52.87318°N 1.55164°W / 52.87318; -1.55164 (Tower House) |  | Late 18th century | A windmill that has been extended and converted into a house, it is in rendered brick with a tile roof. The house has two storeys and the mill has three. The mill is circular and tapering, and has an octagonal roof. It contains a doorway with a fanlight, and windows with slightly segmental heads. |
| Willow Farmhouse and outbuildings
52°52′21″N 1°32′38″W / 52.87250°N 1.54382°W / 52.87250; -1.54382 (Willow Farmhouse and outbuildings) |  | Early 19th century | The farmhouse and outbuildings are in red brick. The house has a dentilled cornice, a Welsh slate roof, two storeys, and a symmetrical front of five bays. In the centre is a doorway with Doric half-columns, an entablature, and a rectangular fanlight. The windows are sashes with wedge lintels. To the rear are outbuildings on a chamfered plinth, with tile roofs, and a dentilled cornice. They contain a segmental-headed opening, a square opening, and vents in a diamond pattern. |
| Cowhouse southeast of 19 Main Street
52°52′12″N 1°32′40″W / 52.86989°N 1.54449°W / 52.86989; -1.54449 (Cowhouse southeast of 19 Main Street) |  | 1862 | The cowhouse is in red brick with a tile roof. There is a single storey, and it contains three doorways and three windows, all with segmental heads. |
| All Saints' Church
52°52′15″N 1°32′33″W / 52.87073°N 1.54263°W / 52.87073; -1.54263 (All Saints' Church) |  | 1863–64 | The church is built in sandstone with Welsh slate roofs, and consists of a nave, a north aisle, a south porch, a chancel and north vestry, and a west steeple. The steeple has a tower with two stages, clasping buttresses, a chamfered string course, clock faces, a corbel table, a pyramidal spire with lucarnes acting as bell openings, and a weathervane. |
| Walls and gateway,
All Saints Churchyard
52°52′14″N 1°32′33″W / 52.87042°N 1.54242°W / 52.87042; -1.54242 (Walls and Gateway, All Saints Churchyard) |  | c. 1864 | The walls enclose the south and west sides of the churchyard, and are in sandstone with chamfered copings. On the west side, they rise to form piers with two-tier chamfered tops. Between the piers are a decorative arch and a pair of gates, all in wrought iron. |
|

### Citations

### Sources

* Historic England, "Corner House, Findern (1372039)", *National Heritage List for England*, retrieved 3 July 2022
* Historic England, "No. 19 Main Street and Attached Outbuilding, Findern (1040005)", *National Heritage List for England*, retrieved 3 July 2022
* Historic England, "Somerville House and Attached Outbuilding, Findern (1096530)", *National Heritage List for England*, retrieved 3 July 2022
* Historic England, "Tower House, Findern (1372036)", *National Heritage List for England*, retrieved 3 July 2022
* Historic England, "Willow Farmhouse and Attached Outbuildings, Findern (1096528)", *National Heritage List for England*, retrieved 3 July 2022
* Historic England, "Cowhouse to south east of No. 19 Main Street, Findern (1334570)", *National Heritage List for England*, retrieved 3 July 2022
* Historic England, "Church of All Saints, Findern (1040028)", *National Heritage List for England*, retrieved 3 July 2022
* Historic England, "Walls and Gateway to All Saints Churchyard, Findern (1096529)", *National Heritage List for England*, retrieved 3 July 2022
* Hartwell, Clare; Pevsner, Nikolaus; Williamson, Elizabeth (2016) \[1978\]. *Derbyshire*. The Buildings of England. New Haven and London: Yale University Press. ISBN 978-0-300-21559-5.
* Historic England, *Listed Buildings*, retrieved 3 July 2022


title: MLB in Omaha

abstract: MLB in Omaha was a Major League Baseball (MLB) specialty game played between the American League (AL) Central's Detroit Tigers and Kansas City Royals on June 13, 2019. The game was played at TD Ameritrade Park in Omaha, Nebraska, two days before the start of that season's College World Series, held at the same venue. This was the first regular-season MLB contest played in the state of Nebraska. The game, sponsored by GEICO and broadcast on ESPN, was won by the Royals, 7–3.

text:
# MLB in Omaha

**MLB in Omaha** was a Major League Baseball (MLB) specialty game played between the American League (AL) Central's Detroit Tigers and Kansas City Royals on June 13, 2019. The game was played at TD Ameritrade Park in Omaha, Nebraska, two days before the start of that season's College World Series, held at the same venue. This was the first regular-season MLB contest played in the state of Nebraska. The game, sponsored by GEICO and broadcast on ESPN, was won by the Royals, 7–3.

## Background

In June 2018, MLB announced that the Tigers and Royals would play a regular season game at TD Ameritrade Park in Omaha, Nebraska. MLB wanted a way to connect College Baseball with Major League Baseball, and did so by scheduling an MLB game two days before the 2019 College World Series in Omaha.

## Game

### Recap

The Royals served as the home team, while the Tigers were the visitors. Matthew Boyd was the starting pitcher for Detroit, and Homer Bailey started for Kansas City. Nicky Lopez hit his first career home run where he played college baseball to start the scoring for the Royals. Homer Bailey pitched six scoreless innings and got the win while Matthew Boyd was given the loss. The Royals won the game 7–3.

### Line score

June 13, 2019 7:08 p.m. CDT (8:08 p.m. EDT) at TD Ameritrade Park
| Team | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 |  |  |  |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| Detroit Tigers | 0 | 0 | 0 | 0 | 0 | 0 | 1 | 1 | 1 | 3 | 7 | 1 |
| **Kansas City Royals** | 0 | 2 | 0 | 3 | 1 | 1 | 0 | 0 | × | 7 | 10 | 1 |
| **WP:** Homer Bailey (5–6)   **LP:** Matthew Boyd (5–5)   **Sv:** Ian Kennedy (6)
**Home runs:**
Away: None
Home: Nicky Lopez (1) | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | |

### Box score

1. Flanagan, Jeffrey; Falkoff, Robert (June 13, 2019). "Tigers, Royals enjoy colorful pregame in Omaha". *MLB.com*. MLB Advanced Media. Retrieved August 9, 2021.
2. McDowell, Sam (June 13, 2019). "Nicky Lopez hits first career HR to lead Royals to win in MLB game in Omaha". *The Kansas City Star*. Retrieved August 9, 2021.
3. "Tigers, Royals to play in Omaha on June 13, 2019". *The Detroit News*. June 21, 2018. Retrieved August 9, 2021.
4. McCosky, Chris (June 20, 2018). "Tigers, Royals to play in Omaha before 2019 CWS". *The Detroit News*. Retrieved August 9, 2021.
5. "Detroit Tigers at Kansas City Royals Box Score, June 13, 2019". *Baseball-Reference.com*.
6. "Tigers vs. Royals - Game Summary". *ESPN*. June 13, 2019. Retrieved August 9, 2021.

## InfoBox

MLB in Omaha
|  | |
| --- | --- |
| 1 2 3 4 5 6 7 8 9     Detroit Tigers 0 0 0 0 0 0 1 1 1 3 7 1  Kansas City Royals 0 2 0 3 1 1 0 0 × 7 10 1 | |
| Date | June 13, 2019 |
| Venue | Charles Schwab Field Omaha |
| City | Omaha, Nebraska |
| Managers |  |
| Umpires | HP: Alan Porter
1B: Joe West
2B: John Libka
3B: Eric Cooper |
| Attendance | 25,454 |
| Time of game | 7:08 PM CDT |
| Ceremonial first pitch | 8 players from the final 8 schools in the 2019 College World Series |
| Television | ESPN |
| TV announcers | Karl Ravech (play-by-play)
Eduardo Pérez (analyst)
Kyle Peterson (analyst) |


title: Fabio Tempestivi

abstract: Fabio Tempestivi(died 1616) was a Roman Catholic prelate who served as Archbishop of Dubrovnik (1602–1616).

text:
# Fabio Tempestivi

**Fabio Tempestivi** (also **Fabio Tempestivo**)(died 1616) was a Roman Catholic prelate who served as Archbishop of Dubrovnik (1602–1616).

## Biography

On 12 August 1602, Fabio Tempestivi was appointed during the papacy of Pope Clement VIII as Archbishop of Dubrovnik. On 25 August 1602, he was consecrated bishop by Domenico Pinelli, Cardinal-Priest of Santa Maria in Trastevere, with Paolo Alberi, Archbishop Emeritus of Dubrovnik, and Leonard Abel, Titular Bishop of *Sidon*, serving as co-consecrators. He served as Archbishop of Dubrovnik until his death in 1616. While bishop, he was the principal co-consecrator of Gerolamo Mezzamico, Bishop of Trevico.

* Cheney, David M. "Diocese of Dubrovnik (Ragusa)". *Catholic-Hierarchy.org*. Retrieved June 16, 2018. (for Chronology of Bishops) \[*self-published*\]
* Chow, Gabriel. "Diocese of Dubrovnik (Croatia)". *GCatholic.org*. Retrieved June 16, 2018. (for Chronology of Bishops) \[*self-published*\]

## InfoBox

| Most Reverend
Fabio Tempestivi | |
| --- | --- |
| Archbishop of Dubrovnik | |
| Church | Catholic Church |
| Archdiocese | Archdiocese of Dubrovnik |
| In office | 1602–1616 |
| Predecessor | Aurelio Novarini |
| Successor | Vincenzo Lanteri |
| Orders | |
| Consecration | 25 August 1602
by Domenico Pinelli |
| Personal details | |
| Died | 1616
Dubrovnik, Croatia |


title: The Emerald Forest

abstract: The Emerald Forest is a 1985 British adventure drama film set in the Brazilian rainforest, directed by John Boorman, written by Rospo Pallenberg, and starring Powers Boothe, Meg Foster, and Charley Boorman with supporting roles by Rui Polanah, Tetchie Agbayani, Dira Paes, Estee Chandler, and Eduardo Conde. The film tells the story of an American boy who is kidnapped by an indigenous tribe in the Amazon jungle. It is allegedly based on a true story, although the accuracy of this claim has been disputed. The film was screened out of competition at the 1985 Cannes Film Festival, where it was chosen as the closing film. In promoting the film for awards competition, Boorman created the first Oscar screeners, but the film received no Academy Award nominations.

text:
# The Emerald Forest

***The Emerald Forest*** is a 1985 British adventure drama film set in the Brazilian rainforest, directed by John Boorman, written by Rospo Pallenberg, and starring Powers Boothe, Meg Foster, and Charley Boorman with supporting roles by Rui Polanah, Tetchie Agbayani, Dira Paes, Estee Chandler, and Eduardo Conde.

The film tells the story of an American boy who is kidnapped by an indigenous tribe in the Amazon jungle. It is allegedly based on a true story, although the accuracy of this claim has been disputed. The film was screened out of competition at the 1985 Cannes Film Festival, where it was chosen as the closing film. In promoting the film for awards competition, Boorman created the first Oscar screeners, but the film received no Academy Award nominations.

## Plot summary

Bill Markham (Powers Boothe) is an engineer who has moved to Brazil with his family to work on a large hydro-electric dam. The film opens on Markham, his wife Jean (Meg Foster), his young son Tommy (William Rodriguez), and his daughter Heather (Yara Vaneau) having a picnic on the edge of the jungle, which is being cleared for the dam's construction. Tommy wanders from the cleared area, and an Indian (Rui Polanah) from one of the indigenous tribes known as the Invisible People notices Tommy and takes him. Markham pursues the pair into the forest but does not find his son.

Ten years later, the dam is nearing completion. A 17-year-old Tommy (Charley Boorman), now called Tomme, has become one of the Invisible People. When his father, Chief Wanadi, the man who took and adopted Tommy, notices Tomme is now smitten with girls, he initiates Tomme's coming-of-age rite, after which Tomme undergoes a vision quest. Tomme's spirit animal tells him he must retrieve sacred stones from a remote spot deep in the jungle. Wanadi warns him that the quest will be dangerous, as it will take him into the territory of the cannibalistic Fierce People.

Meanwhile, Markham has finally identified his son's abductors. Markham and a journalist (Eduardo Conde) decide to set off bottle rockets to attract the attention of the Invisible People. Instead, they attract the Fierce People and are captured. Armed with a CAR-15 carbine, Markham is able to defend himself long enough to talk with Chief Jacareh (Claudio Moreno) who releases Markham for the night, promising to hunt him down in the morning, while the Fierce People kill and butcher the journalist. Close to dawn, Markham stumbles into Tomme collecting the sacred stones. The two recognize each other just as the Fierce People arrive, shooting Markham in the shoulder. Tomme and his father manage to escape, leaving Markham's carbine behind. In the care of the Invisible People, Markham recovers from his injuries and discovers that his son has chosen a wife, a young woman named Kachiri (Dira Paes).

Jacareh, recognizing the destructive power of Markham's carbine, visits a seedy brothel at the edge of the construction zone and arranges to exchange women for ammunition and more guns.

Wanadi presides over the wedding, with Markham seated in honour next to the chief; Markham watches as Tomme and Kachiri are wedded; he is still grief-stricken, even still upset with Wanadi, for his son being taken; Markham asks Chief Wanadi why he took Tommy all those years ago. Wanadi answers that he had thought the white people must be terribly unhappy, since they were destroying the forest, but Tommy had smiled at the Invisible People when he saw them; the Chief says he had taken Tommy to save him.

Wanadi gives Markham the herb to instigate Markham's own vision quest, and he wakes up back at the dam's construction zone.

Tomme and his friends return to their village to discover that many of the Invisible People have been murdered and all the young women abducted by the Fierce People. Tracking the Fierce People, they find their women inside a building protected by unfamiliar, and deadly, technology. In the ensuing battle, the Fierce People kill several members of the Invisible People, including Chief Wanadi. Desperate for help, Tomme navigates the city to his parents' condo, and Markham agrees to help rescue the women from the brothel.

That night, Markham initiates a shootout in the brothel while Tomme and his friends release the enslaved women from captivity. The Fierce Ones arrive to fight the Invisible People, but are defeated with Markham killing Chief Jacareh. Tomme is later sworn in as the new chief of the tribe. Markham warns Tomme that the almost-completed dam will end the tribe's way of life, but Tomme insists that the Invisible People are safe and they will ask the wildlife to bring on sufficient rain to break the dam. Markham does not trust that the dam can be broken with any amount of water that the animals can bring, so he decides to "help" the cause and destroy the dam himself. During the storm, Markham places demolition explosives at key points along the dam, but just as the detonator fails from a falling piece of equipment, the water breaches and destroys the dam, just as Tomme had insisted could happen. Markham watches its destruction with mixed emotions.

The film ends with Tomme and Kachiri sitting at the swimming hole near their village in the jungle, watching the members of their tribe splash about and play.

## Cast

* Powers Boothe as Bill Markham
* Meg Foster as Jean Markham
* Charley Boorman as Tomme/Tommy Markham
    + William Rodriguez as Young Tommy Markham
* Estee Chandler as Heather Markham
    + Yara Vaneau as Young Heather Markham
* Dira Paes as Kachiri
* Eduardo Conde as Uwe Werner
* Ariel Coelho as Padre Leduc
* Peter Marinker as Perreira
* Mario Borges as Costa
* Átila Iório as Trader
* Gabriel Archanjo as Trader's Henchman
* Gracindo Júnior as Carlos
* Arthur Muhlenberg as Rico
* Chico Terto as Paulo
* Claudio Moreno as Jacareh

### Invisible Tribe

* Rui Polanah as Wanadi
* Maria Helena Velasco as Uluru
* Tetchie Agbayani as Caya
* Paulo Vinicius as Mapi
* Aloiso Flores as Samanpo
* Joao Mauricio Ca as Monkey
* Isabel Bicudo as Kachiri's cousin
* Patricia Prisco as Kachiri's cousin
* Silvana de Faria as Pequi

## Production

Dira Paes was chosen after an audition in which she took advantage because she answered the casting director in English. Even counting as experience only the plays she performed at school, she had already shown herself to be professional enough to forget what the word "modesty" means. "I am naked all the time, with a G-string, but with breasts and buttocks exposed. I was 15 and I had my 16th birthday on the last day of shooting. I was a girl and I have that as a reminder of the time I was still a virgin. But it wasn't hard to do, because everyone was Indian and naked. It wasn't great, but it was good to be uninhibited," she said.

## Reception

### Box office

The film made its worldwide debut in France on 25 June 1985, where its recent Cannes buzz made it a sizeable hit. With 2,652,685 admissions nationwide, including 711,929 in Greater Paris, it was the 12th most popular film of the year in the country, and the 10th most popular in the capital region.
In the United States, *The Emerald Forest* opened on 5 July 1985 via independent distributor Embassy Pictures, on a moderate 1,110 screens. It finished its run at the local box office with $24,468,550.
The film opened in its native U.K. on 23 August 1985, in second place, but quickly fell off the charts, only drawing a lackluster £765,000 domestically.

### Critical

On review aggregator Rotten Tomatoes, 84% of 19 critics gave the film a positive review, with an average rating of 7.2/10. *The Emerald Forest* was designated a Critics' Pick by a *New York Times* reviewer, who called it "compelling and richly atmospheric". Derek Malcolm of *The Guardian* wrote, "This simplicity of expression, combined with Boorman's usual sophisticated visual technique, makes it a genuine oddity. But, whatever its faults, it looks glorious, tells a fascinating story and is a piece of sheer cinema you have to see." In a negative review, Paul Attanasio of *The Washington Post* called it "long, wheezy tribute to the Noble Savage" and more of "a National Geographic special" than a proper film.

### Accolades

In addition to its Cannes selection, *The Emerald Forest* received three nominations at the 39th BAFTA Awards, for Best Cinematography (Philippe Rousselot), Best Original Music (Junior Homrich and Brian Gascoigne) and Best Makeup and Hair (Peter Frampton, Paul Engelen, Anna Dryhurst, Luis Michelotti and Beth Presares).

## Inspiration

The film was promoted as "based on a true story". Critic Harlan Ellison in his book *Harlan Ellison's Watching* wrote that attempts by SCAN to get background information on the real story revealed that Rospo Pallenberg's original screenplay was based on several stories, including an article in the *Los Angeles Times* about a Peruvian labourer whose child had been abducted by a local Indian tribe and located sixteen years later almost fully assimilated. Pallenberg's agent told SCAN that while director John Boorman had said that he read the original *L.A. Times* article, in fact, he had not, but was simply working from Pallenberg's screenplay. According to SCAN, Boorman told NPR's *All Things Considered* that the son was still living with the tribe in 1985, and identified the tribe as "the Mayoruna", yet detailed anthropological studies of that tribe do not mention an adopted outsider.

A possible additional source for *The Emerald Forest* is the book *Wizard of the Upper Amazon* (1971). The story is an autobiographical account of Manuel Córdova-Rios’ kidnapping when he was a teenager working for rubber cutters in the Amazon in the early 1900s. He was taken by a group of Native Amazonians to their remote Indian village. These Amazonians were fiercely independent and had fled into the interior because they refused to live under the subservient conditions imposed by the rubber barons at that time. Cordova-Rios was incorporated into their tribe and describes a life strikingly similar to the one depicted in *The Emerald Forest*.

Contrary to Ellison's conclusion, a contemporaneous January 1985 review in *Variety* magazine states up front that the movie is "\[b\]ased on an uncredited true story about a Peruvian whose son disappeared in the jungles of Brazil." The *Los Angeles Times* article also mentioned that the Peruvian child had at the time decided as an adult to stay with his adoptive tribe.

## First Oscar screeners

Because Embassy Pictures was struggling in the year of *Emerald Forest'*s release, the film did not receive a traditional "For Your Consideration" advertising campaign for the 1985 Academy Awards. Boorman took the initiative to promote the film himself by making VHS copies available for no charge to Academy members at several Los Angeles-area video rental stores. Boorman's idea later became ubiquitous during Hollywood's award season, and by the 2010s, more than a million Oscar screeners were mailed to Academy members each year. However, *Emerald Forest* itself received no nominations from Boorman's strategy.

## Further reading

## InfoBox

| The Emerald Forest | |
| --- | --- |
|  | |
| Directed by | John Boorman |
| Written by | Rospo Pallenberg |
| Produced by | John Boorman
Michael Dryhurst
Edgar Gross |
| Starring |  |
| Cinematography | Philippe Rousselot |
| Music by | Brian Gascoigne
Junior Homrich |
| Production
company | Christel Films |
| Distributed by | Embassy Films Associates (through Rank Film Distributors) |
| Release dates | * 3 July 1985 (1985-07-03) (United States)  * 23 August 1985 (1985-08-23) (United Kingdom) |
| Running time | 114 minutes |
| Country | United Kingdom |
| Languages | English
Portuguese |
| Budget | $15 million |
| Box office | $24,468,550 (U.S. and Canada) |


title: List of non-marine molluscs of Poland

text:
# List of non-marine molluscs of Poland

There are approximately 265 species of non-marine molluscs living in the wild in Poland.

## Systematic list

The list is in zoological order rather than alphabetical order. The Polish common name (where one exists) of each mollusc is given first, in parentheses, and then the scientific name.

The source for the non-marine species on this list is: CLECOM-PROJECT: Checklist of species-group taxa of continental Mollusca living in the Netherlands (CLECOM Section I) 14-07-2002 with changes.

### Gastropoda

Neritidae

Aciculidae

Viviparidae

Bithyniidae

Hydrobiidae

Amnicolidae

Valvatidae

Acroloxidae

Lymnaeidae

Physidae

Planorbidae

Ellobiidae

Succineidae

Cochlicopidae

Orculidae

Argnidae

Valloniidae

Pupillidae

Pyramidulidae

Chondrinidae

Vertiginidae

Enidae

Clausiliidae

Ferussaciidae

Punctidae

Helicodiscidae

Discidae

Pristilomatidae

Euconulidae

Gastrodontidae

Oxychilidae

Milacidae

Vitrinidae

Boettgerillidae

Limacidae

Agriolimacidae

Arionidae

Bradybaenidae

Helicodontidae

Hygromiidae

Helicidae

### Bivalvia

Margaritiferidae

Unionidae

Sphaeriidae

Dreissenidae

Lists of molluscs of surrounding countries:


abstract: The 1924 United States Senate election in New Jersey was held on November 4, 1924. Incumbent Republican Senator Walter Evans Edge was re-elected to a second term in office. He would not complete the term, resigning from office in 1929 to be sworn in as the U.S. Ambassador to France.

text:
# 1924 United States Senate election in New Jersey

The **1924 United States Senate election in New Jersey** was held on November 4, 1924. Incumbent Republican Senator Walter Evans Edge was re-elected to a second term in office. He would not complete the term, resigning from office in 1929 to be sworn in as the U.S. Ambassador to France.

## Republican primary

### Candidates

#### Declined

### Campaign

Edge ran as a decided "wet," or opponent of Prohibition, while Kean was supported by the Anti-Saloon League. Kean also accused Edge of disloyalty to President Calvin Coolidge.

### Results

Edge defeated Kean by a large plurality.

## Democratic primary

### Candidates

### Results

Donnelly was unopposed for the Democratic nomination.

## General election

### Candidates

### Results

1924 United States Senate election in New Jersey
| Party | | Candidate | Votes | % |
| --- | --- | --- | --- | --- |
|  | **Republican** | **Walter Evans Edge (incumbent)** | **608,020** | **61.84%** |
|  | Democratic | Frederick W. Donnelly | 331,034 | 33.67% |
|  | Progressive | George L. Record | 37,795 | 3.84% |
|  | Prohibition | Grafton E. Day | 3,961 | 0.40% |
|  | Workers | Rudolf Vollgraf | 1,127 | 0.11% |
|  | Socialist Labor | John C. Butterworth | 1,000 | 0.10% |
|  | Commonwealth Land | Herman G. Loew | 238 | 0.02% |
| Majority | | | 276,986 | 28.17% |
| Turnout | | | 983,175 |  |
|  | Republican **hold** | | | |

## InfoBox

1924 United States Senate election in New Jersey
| --- | |
| --- | --- |
|  | |
| Nominee **Walter Evans Edge** Frederick W. Donnelly   Party Republican Democratic  Popular vote **608,020** 331,034  Percentage **61.84%** 33.67% | |
| ---  Results by county
**Edge**:      50-60%      60-70%      70-80%
**Donnelly**:      50-60% | |
| ---  **Senator before election**
Walter Evans Edge
Republican **Elected Senator**
Walter Evans Edge
Republican | |


title: Pick the Wildwood Flower

abstract: "Pick the Wildwood Flower" is a song written by Joe Allen, and recorded by American country music artist Gene Watson. It was released in June 1979 as the third single from the album Reflections. The song reached #5 on the Billboard Hot Country Singles & Tracks chart.

text:
# Pick the Wildwood Flower

"**Pick the Wildwood Flower**" is a song written by Joe Allen, and recorded by American country music artist Gene Watson. It was released in June 1979 as the third single from the album *Reflections*. The song reached #5 on the *Billboard* Hot Country Singles & Tracks chart.

## Charts

### Weekly charts

| Chart (1979) | Peak
position |
| --- | --- |
| US Hot Country Songs (*Billboard*) | 5 |
| Canadian *RPM* Country Tracks | 2 |

### Year-end charts

| Chart (1979) | Position |
| --- | --- |
| US Hot Country Songs (*Billboard*) | 36 |

## InfoBox

| "Pick the Wildwood Flower" | |
| --- | --- |
| Single by Gene Watson | |
| from the album  *Reflections* | |
| B-side | "Mama Sold Roses" |
| Released | June 9, 1979 |
| Genre | Country |
| Length | 2:23 |
| Label | Capitol |
| Songwriter(s) | Joe Allen |
| Producer(s) | Russ Reeder |
| Gene Watson singles chronology | |
| "Farewell Party"
(1979) "**Pick the Wildwood Flower**"
(1979) "Should I Come Home (Or Should I Go Crazy)"
(1979) | |


title: Plumbeous ibis

abstract: The plumbeous ibis, also formerly called the blue ibis, is a large distinctive ibis species endemic to parts of central South America.

text:
# Plumbeous ibis

The **plumbeous ibis** (***Theristicus caerulescens***), also formerly called the blue ibis, is a large distinctive ibis species endemic to parts of central South America.

## Taxonomy and systematics

The plumbeous ibis has historically undergone frequent reclassification and been placed in various genera such as *Molydophanes*, *Geronticus*, *Theresticus* and *Harpiprion*. It has also been referred to as *Ibis caerulescens* and *Theresticus* (*Harpiprion*) *caerulescens*. Nevertheless, this ibis has traditionally been assigned to the monotypic genus *Harpiprion*, carrying the binomial name *Harpiprion caerulescens*; on the basis that this species was previously believed to have no close relatives. However, phylogenetic analyses based on both nuclear and mitochondrial DNA markers have suggested that the plumbeous ibis is closely related to other ibis species in the genus *Theresticus* such as the buff-necked ibis; given the markedly low genetic distances between the plumbeous ibis and other *Theresticus* species. Hence, the current placement of the plumbeous ibis in the genus *Theresticus* appears justified.

## Description

### Appearance

This large ibis measures 71–77 cm in length, with a wing length of 397-450mm in males and 360-406mm in females. The culmen length is 145-167mm in males, and 126-147mm in females. The sexes are similar in appearance, but the female is slightly smaller. The plumbeous ibis is easily recognisable through a distinctive shaggy crest comprising long grey plumes that extend from the back of head 10 cm down the nape. A prominent, narrow, white feathered band also extends around the forehead, which has earned this species the German common name *Stirnbandibis* (headband ibis). Overall, it is readily distinguishable in the field from other ibises by its solid colouration and thick neck. The plumbeous ibis is the most morphologically similar to the sympatric buff-necked ibis *Theresticus caudatus*, but differs in colouration and neck structure.

The adult plumage is usually grey; but can be bluish grey, greenish grey or brownish grey. The dorsal feathers are mottled greyish-brown, so that the plumage appears lighter below than above. The flight and tail feathers are dark brown or black, superimposed with a glossy greenish bronze. It has also been reported as having various other subtle tinges on the body depending on the light. When the bird is seen in the correct light, Hudson has described the plumage as appearing silvery grey, the top of the head as dark brown with a greenish tinge, the primary feathers as dark blue, the tail as dark green, and the feathers of the throat and neck as light brown with an occasional pinkish tinge.

The black, downward-curved bill is serrated between the mandibles. The bare skin of the lores and throat is black or dark grey. The legs are a pinkish orange, darkening in the breeding season in preparation for courtship. The iris is deep orange, but has been noted to be slightly paler around the pupil. In some individuals, the iris has also been reported to be brownish yellow.

The chicks have light grey downy plumage that lacks the more sophisticated tinges in adults. Fledged young are also distinguishable from adults by a dark iris, grey legs, a less developed nuchal crest, a more extensive white band on the forehead and red bare skin patches. The white band on the forehead begins to develop in the young after 18 days of age and up close appears a brighter white than that of adults.

Through its powerful musculature, this ibis is sturdy and direct in flight; stretching out its neck and wings and steadily beating its wings with intermittent gliding.

### Vocalisations

The loud vocalisations uttered by this species are diverse. The basic call is a high-pitched, rapid *pi-pi-pi-pi* which has a somewhat metallic timbre and can be uttered when the bird stands on the ground during daytime. This call has been said to resemble the sound of a *banjo with brass strings so big that it could be heard a mile and a half away*.

This ibis also makes a slow but energetic trumpeting flight call that has been transcribed as *kree kreee kree* or *k k kuh kuh KEE KEE KEE KEE KEE KEE KEE keh kuh kuh*. While making flight calls, it glides through the air with motionless downward curved wings. It also utters a nasal, high-pitched, rapid series of cackles when perched on branches or at the nest site transcribed as *tututututu*; sometimes interspersed with elements of ti-ti and often in duet between mates large distances apart. Another contact call is made between foraging mates and has been transcribed as a cackling *kuk-kuk…kuk-kuk…kuk kuk*. Overall, the broad range of loud distinctive calls of this species indicates the importance of long-range communication between individuals, especially mates.

## Distribution and habitat

The plumbeous ibis has a relatively narrow range that extends through parts of central South America. It occurs in south-western Brazil, especially in southern Mato Grosso and Rio Grande do Sul; Paraguay, especially in the Chaco and in the Paraguayan section of the Parana Basin; Uruguay; north-eastern Argentina and northern and eastern Bolivia. The northern Bolivian population is geographically isolated from the larger continuous population spanning the remaining part of this ibis's range. The westernmost part of its range extends into the Andean foothills in central Bolivia and Tucuman. In Argentina, it has been occasionally sighted as far south as the Cordoba and Buenos Aires provinces; but is non-native in these regions.

Although this species appears to be relatively common, it is patchily distributed throughout its global range; being relatively abundant in some regions but less so in others. For example, it is endemic but actually uncommon in Rio Grande do Sul, but frequently occurs in the northern Lagoa dos Patos. It is relatively common in the Chaco of Paraguay, especially in the northern Chaco where large numbers of individuals occur throughout the expanses of freshwater, so that this species is considered emblematic of the wetland avifauna of this region. Conversely, it has rarely been recorded in the pampas of northern Argentina in the southernmost part of its distribution; with an occasional handful of individuals at a time having been sighted during surveys throughout the 1990s in the Laguna Melincue Ramsar Site in the southern Santa Fe Province.

Its habitat largely comprises the lowland grassy wetlands of the Pantanal and the Chaco. It is found here foraging at marshes, swamps, lagoons, shallow lakes, flooded pastures, ponds and other moist ground; but also perches in tree branches near or above the water to roost. It has also been sighted in upland marshes, usually up to 600m in elevation; and at small remnant pools in desiccated lagoons and on dry grasslands. Further, this ibis commonly occurs near human habitation and other manmade features; including dams and seasonally-flooded rice fields. It is also a relatively common sight along the Transpantaneira Highway in the Pantanal of Mato Grosso. Finally, it has been recorded close to the east Brazilian coast in wet areas in the Lagoa do Peixe National Park on the peninsula separating Lagoa dos Patos from the Atlantic (Pereira & Poerschke, 2009); but probably avoids the saline and brackish waters.

Individuals are usually sedentary and can remain in a specific area all year round. They have however been reported to migrate on a local scale. Circumstantial evidence from the novel presence of individuals at Incachaca Lake in the Chapare Province of Bolivia suggests that this species may migrate between the geographically separated northern Bolivian and other South American populations, and may use Incachaca as a resting place en route. Since no subspecies have been noted for this species, the world population is probably kept genetically homogenous by short migrations of individuals between the two geographically separated subpopulations. However, it remains unknown whether this species has regular migration patterns. Incidentally, the species’ discovery at Lake Incachaca was its first recorded occurrence in the cloud forest ecoregion and was also a new altitudinal record.

Unlike other ibis species, the plumbeous ibis does not form large intraspecific flocks. It is most often seen singly or in pairs, but is also more rarely seen in groups of up to six individuals. The larger groups appear to consist of two mates accompanied by their fledged juveniles.

## Ecology and behaviour

### Feeding

This ibis's diet comprises aquatic invertebrates; snails, especially apple snails of the genus *Pomacea*; mussels; crabs; frogs; fish and eels. It has also been reported to eat snakes, lizards, skinks and terrestrial invertebrates; which is plausible given its occasional occurrence in dry grasslands. Despite this ibis's apparently generalist diet, it is found to specialise on molluscs in the Paraguay-Parana basin.

The plumbeous ibis often feeds solitarily or in pairs, but may assemble in loose flocks to forage in winter when food is scarcer. Individuals have also been found foraging together with white-faced ibises and jacanas. The plumbeous ibis's typical foraging strategy consists in walking slowly through shallow mud and water, probing fast and repeatedly with its bill in the water in search of prey. Its bill is sometimes completely submerged in the water and its aquatic foraging habits ecologically distinguishes it from the related, sympatric buff-necked ibis which preferentially forages in adjacent dry grassland; although the breeding biology of these two species is regarded to be similar.

Both parents feed the young by regurgitation. Chicks induce the parent to feed them by prodding their bills into the gap between the upper and lower mandibles of the parent's bill. Thereupon, the parent regurgitates food for the nestlings with head movements during which the young hang onto the parent with their bills and sway passively with such movements. With age, the juveniles become more independent in food acquisition as they begin to leave the nest, and are fed less frequently.

### Breeding

Unlike many other ibises, the plumbeous ibis is a non-colonial breeder. Breeding occurs in sparsely wooded areas from March until mid-October. Nest building by both partners begins in March and takes about a month to complete. Nests are commonly constructed above or near to water on horizontal limbs of massive fig trees of *Ficus* species. or in the species *Luehea paniculata*. Some nests in Mato Grosso in Brazil have been found situated in trees above or near to farmsteads, which may further reflect this species’ association with humans. The nest typically measures 25 cm in height and 50 cm in width and consists of a loose, disorderly constructed platform of dry branches or sticks, with a hollow about 20 cm deep lined with dry grass and leaves; therefore resembling that of the wood stork. Both partners contribute to building the nest, which takes about a month to complete and is situated 10-12m above the ground; although some nests built in large fig trees in forested areas in the Pantanal may lie up to 20m above the ground. The same nest may also be used by a pair over consecutive years.

Copulation between mates takes place in April, which is shortly preceded by a relatively simple courtship. During courtship, one individual (male or female) stands on the branch of a dead tree and utters its distinctive metallic-sounding call to summon its mate, which flies onto the branch to join its partner. Thereupon, both mates prod their bills into the tree bark before the male buries his bill in the female's plumage. The male subsequently steps onto the female's back to copulate.

A typical clutch consists of 2-3 eggs, which are pale greenish-grey and weigh 70-74g. Average egg dimensions have been reported as 68.6 x 44.9mm. Some nests have also been found to contain eggs together with young in various developmental stages; which suggests that this ibis may sometimes lay two consecutive clutches per year. The incubation period is 28 days and the young usually hatch in early September. In the chicks’ first 10 days, they are constantly guarded by one of the parents. The two parents alternately guard the nest at night, and the bird returning to the nest signals the change of nest guarding duty with a short sequence of calls and an occasional display whereby both partners prod their bills into each other's neck feathers.

As the chicks age, parents attend the nest less regularly; and gradually leave the young alone for longer periods. Breeding pairs usually produce two surviving young, which fledge after 40–43 days of hatching, coinciding with the end of the dry season in the Pantanal. At fledging, the young may leave the nest and begin to venture further away with age, usually feeding in marshes near the nest. Parents have been noted to fly onto meadows adjacent to the tree containing the nest and utter monosyllabic calls that appear to function as an invitation for the young to follow the parent to adult feeding grounds. The young thenceforth feed with adults away from the nest and continue to use the nest-site tree for sleeping several weeks after fledging.

### Threats and survival

The plumbeous ibis is prey for multiple nest predators. Although brooding parent birds are strongly aggressive toward intruders and can successfully deter small predators such as opossums, jays and vultures; they apparently lose to larger predators such as capuchin monkeys and great black hawks. For example, large groups of capuchins have been observed to attack plumbeous ibis nests, whereby some assailants violently force the parent bird out of the nest while others steal the eggs. Brooding adults of this species also show marked aggression toward human intruders. If approached by a human, this ibis screams loudly; whereby it lowers its body, bristles its feathers and jabs its bill at the intruder. Further, juveniles have been noted to defend themselves with forward lunges of the bill. These defensive behaviours in this ibis reflect the bird's high predation risk and hence the adaptive value of such behaviours for survival.

Like many other sympatric wading birds, it is likely threatened by habitat loss through burning and logging of nesting trees, construction and operation of hydroelectric dams in the Pantanal, and expansion of mining and agriculture. This bird is however not persecuted directly.

The plumbeous ibis's apparent association with humans may render it particularly vulnerable to the effects of pesticides from agriculture, especially in the Taquari Basin. Additionally, pesticides together with physical disturbance to soil through agricultural machinery may reduce local availability of macroinvertebrate prey to this species (Stenert et al. 2009). One study in south Brazil has shown the plumbeous ibis to be more abundant in flooded rice fields during the post-harvest season compared to pre-harvest. This may be due to the cessation of use of agrochemicals and machinery after harvest, leading to greater macroinvertebrate richness and density; so that there is greater abundance of macroinvertebrate prey for the ibis to feed on. Nevertheless, this bird together with many other species still appears to be more abundant in natural wetlands than in flooded farmland. Therefore, a proposed conservation strategy for this species in the face of agricultural expansion that may also benefit other sympatric wading birds has been to retain expanses of natural wetland within the rice cultivation ecosystem.

## Relationship with humans

This species is not typically hunted because it is difficult to kill and skin owing to resistance it puts up in response to being captured, and also emits an unpleasantly musty odour if caught. Nevertheless, it has been kept in captivity several times. For example, Berlin Zoo received three plumbeous ibises from San Carlos Zoo, Uruguay, in 1987. More recently, the plumbeous ibis has been kept in many Brazilian zoos; with one chick having successfully hatched at Brasilia Zoo in 1992.

## Status

The plumbeous ibis has been evaluated by the IUCN as Least Concern since 2004 because this species does not reach the thresholds for Vulnerable under the range size and population trend criteria. The world population has been estimated at 50,000 – 100,000 individuals. However, further information on the plumbeous ibis's biology is required for more successful conservation of the species, and hence safeguard it against large potential future population declines.

## InfoBox

| Plumbeous ibis | |
| --- | --- |
|  | |
| Conservation status | |
|
Least Concern  (IUCN 3.1) | |
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Chordata |
| Class: | Aves |
| Order: | Pelecaniformes |
| Family: | Threskiornithidae |
| Genus: | *Theristicus* |
| Species: | ***T. caerulescens*** |
| Binomial name | |
| ***Theristicus caerulescens***
(Vieillot, 1817) | |
|
|  | |
| Current resident extant range according to the IUCN 2012 | |


title: Meena Kumari (book)

abstract: Meena Kumari is a biography by Vinod Mehta about the Indian actress of the same name. It details her birth in 1933 in Bombay, her 33-year-long acting career, her marriage to Kamal Amrohi, and her death in 1972. It also includes Mehta's analysis on her career and film roles. The first edition published in October 1972 by Jaico Publishing House was praised by critics, but its second edition, Meena Kumari: The Classic Biography, released on 10 July 2013 by HarperCollins, met with mixed criticism. Luiz Vaz of Jaico Publishing House approached Mehta, then a copywriter, to write a biography on Kumari soon after her death in March 1972. Though unfamiliar with Bollywood, Mehta took the opportunity to expand his scope of work. In research, he met her family members and contemporaries, and also collected archived film magazines. His writing style is influenced by New Journalism, where the authors are placed as the narrative's core and refer to themselves with first-person pronouns.

text:
# Meena Kumari (book)

***Meena Kumari*** is a biography by Vinod Mehta about the Indian actress of the same name. It details her birth in 1933 in Bombay (present-day Mumbai), her 33-year-long acting career, her marriage to Kamal Amrohi, and her death in 1972. It also includes Mehta's analysis on her career and film roles. The first edition published in October 1972 by Jaico Publishing House was praised by critics, but its second edition, *Meena Kumari: The Classic Biography*, released on 10 July 2013 by HarperCollins, met with mixed criticism.

Luiz Vaz of Jaico Publishing House approached Mehta, then a copywriter, to write a biography on Kumari soon after her death in March 1972. Though unfamiliar with Bollywood, Mehta took the opportunity to expand his scope of work. In research, he met her family members and contemporaries, and also collected archived film magazines. His writing style is influenced by New Journalism, where the authors are placed as the narrative's core and refer to themselves with first-person pronouns.

## Summary

*Meena Kumari* opens with a foreword by the author, Vinod Mehta, on its development. The book is divided into two sections: the first contains six chapters—"Lies", "Birth", "Rise", "Fall", "Pakeezah", and "Death"—and the second, titled "Personal Appraisal", contains three chapters: "How I Got to Know Her", "The Actress", and "The Woman".

The book starts with brief coverage about Meena Kumari's death on 31 March 1972 and the reactions of her contemporaries and the press. It later chronicles Kumari's birth in Bombay (present-day Mumbai) on 1 August 1932, though Mehta wrote a note clarifying that there are some sources that said the year was 1933. She was born into a Muslim family, and had two sisters (Khursheed and Mahliqa). Her father, Master Ali Bux, was an Urdu-language writer and her mother, Iqbal Begum, was a silent film actress and stage dancer. She made her debut with *Leather Face* (1939) as a child artist, but her first starring role was in *Bachchon Ka Khel* (1946). Kumari won the Filmfare Award for Best Actress for her work in *Baiju Bawra* (1952), and later that year she married Kamal Amrohi on 14 February.

Kumari subsequently starred in more commercially and critically successful films, including *Parineeta* (1953), *Chandni Chowk* (1954), *Azaad* (1955), *Sharada* (1957), *Miss Mary* (1957), *Chirag Kahan Roshni Kahan* (1959), *Kohinoor* (1960), and *Dil Apna Aur Preet Parai* (1960). Her performance as a desperate wife in the 1962 romantic drama *Sahib Bibi Aur Ghulam* is regarded by critics as one of her career's bests, though the film failed at the box office. Following her separation from Amrohi in 1964, she became an alcoholic and led her to suffer from cirrhosis. Mehta dedicated one of the book's chapters for the final film released during her lifetime, *Pakeezah* (1972). Produced within fourteen years, making it one of the films with the longest production times, the film opened to average reception commercially but its revenue rapidly increased after her death.

The last three chapters in the second section are about the writing of the book and Mehta's analysis on Kumari's career and film roles.

## Development and writing

Mehta was working as a copywriter for the advertisement agency Jaisons that was run by Harsh Jain and his four sons, when Luis Vaz of Jaico Publishing House approached Mehta to offer him writing a biography on Kumari as soon as she died in March 1972. He had previously written *Bombay: A Private View*, about his experiences in Bombay during the 1970s and earlier decades. The book, finished in under eight months at his apartment, was self-published and distributed by Thacker and Company. The book costed 5 (equivalent to 230 or US$2.70 in 2023) and became a commercial success. All 3,000 copies of the first edition were sold out after six days. Although he continued to work as a copywriter, the book's success gave him motivation to write more books in the future.

Mehta subsequently accepted Vaz's offers, with 500 (equivalent to 22,000 or US$270 in 2023) as his advance. He took the opportunity to broaden the scope of his work, though he almost had no insights about Bollywood at the time nor met the actress. It was not an easy task for him to collect information about Kumari since she had died when he started writing the biography. Within six months, Mehta finished the manuscript with interviews with her sisters, her husband, and her contemporaries. Mehta planned to meet the actor Dharmendra multiple times, which never happened; he later expressed his disappointment, calling his inability to meet Dharmendra a "void" in *Meena Kumari*. The writer also collected information from available magazine copies, including those for *Filmfare*, *Filmindia*, and *Screen*.

The book emulates the writing style of several writers—often called New Journalism—including Norman Mailer in *The Armies of the Night* (1968). The author is placed inside the narrative, and the use of the pronoun *I* is common. In *Meena Kumari*, Kumari is generally referred to by Mehta as "my heroine". He said, though still journalistic, the style is author-centric and personalized. He added that he copied their idea, asserting that, since he was a new writer that time, he had not many of his own. He added: "All the solecisms and structural weakness were cringingly visible, but ... it was not as bad as I thought. My self-created proximity to the subject posed an obvious and clear danger. Nevertheless, despite the naivety and exhibitionism and hurried judgements, I thought I had managed to capture some fleeting essence of the controversial actress."

## Release and reception

By October 1972, seven months after Kumari's death, Mehta had finished the book's manuscript and sent it to Jaico Publishing House. It was published as a paperback book that costed 5 (equivalent to 230 or US$2.70 in 2023) the same month in Bombay, India. Abbas, whom Mehta interviewed for his research, wrote a positive review of the book for the weekly tabloid *Blitz* in December. Abbas called it "the most objective, the most sympathetic, the most comprehensively researched, and the most readable book" on Kumari. He complimented Mehta's effort to write the biography, and praised him for his ability to write on her explicitly with "restrained and civilised language".

The book's second edition was published by HarperCollins on 10 July 2013 on Amazon Kindle; the paperback version was released on 13 August the same year. Re-titled *Meena Kumari: The Classic Biography*, this edition has another foreword from Mehta dated May 2013. Prior to HarperCollins, many publishers had approached him to re-publish the book, but he rejected their offers, as he believed it does not "\[merit\] the honour"; he later described the book as a part of his "mediocre past". While its original edition was acclaimed by book reviewers, critical reception to *Meena Kumari: The Classic Biography* was mixed. Jai Arjun Singh noted it has many grammatical mistakes, and Rasheeda Bhagat of *Business Line* added: "... a poor caricature of the actress whom Mehta keeps calling, to my great irritation, 'my heroine', through the entire book. What somewhat redeems this atrocious narrative, in which he largely appears cocky at best and flippant and ignorant at worst, is the shy at honesty in the introduction to the new edition."

*Mumbai Mirror*'s Chandrima Pal believed it "is as relevant today as it was at that time". Baradwaj Rangan thought Mehta's writing made the book look more like an autobiography rather than a biography on Kumari. Ziya Us Salam praised Mehta for "\[bringing\] alive memories of an actress and her illustrious career". *The Hindu* called it a "riveting account" about Kumari. *Frontline* concluded it would need talent equal to Billy Wilder's to write a book on her, and the book "suggested a possibility of how it might be done". Utpal Kumar from *The Pioneer* asserted, "So far so good, but the book is not a biography in the true sense, far from being a 'classic' biography. It's a pacy, juicy and engaging account of the country's greatest tragedienne and her marriage and affairs." Biswadeep Ghosh from *India Today* believed "reading this biography will be a fulfilling experience".

## Publication history

Publication history of Meena Kumari
| Region | Release date | Format | Publisher | Ref. |
| --- | --- | --- | --- | --- |
| India | October 1972 | Paperback | Jaico Publishing House |  |
| | 10 July 2013 | Amazon Kindle | HarperCollins |  |
| | 13 August 2013 | | Paperback |  |

## Sources

* Abbas, Khwaja Ahmad (December 1972). "Meena Kumari by Vinod Mehta". *Indian Book Industry*. Vol. 7, no. 3. Retrieved 5 September 2021.
* Bhagat, Rasheeda (17 October 2013). "Finding Meena... and failing". *Business Line*. Archived from the original on 9 July 2021. Retrieved 9 July 2021.
* Ghosh, Biswadeep (28 July 2013). "An ode to tragedy queen Meena Kumari". *India Today*. Archived from the original on 3 September 2021. Retrieved 5 September 2021.
* Kumar, Utpal (18 August 2013). "Starry life, tragic tale". *The Pioneer*. Archived from the original on 3 September 2021. Retrieved 5 September 2021.
* Mehta, Vinod (9 November 2011). *Lucknow Boy*. New Delhi, India: Penguin Books. ISBN 978-0-670-08529-3. OCLC 783522585.
* Mehta, Vinod (10 July 2013). *Meena Kumari*. HarperCollins. ASIN B00E9Y3RX0.
* Mehta, Vinod (13 August 2013). *Meena Kumari*. HarperCollins. ISBN 978-93-50296-25-7.
* Pal, Chandrima (15 August 2013). "Men who loved and left Meena Kumari". *Mumbai Mirror*. Archived from the original on 22 October 2020. Retrieved 9 July 2021.
* "Printpick". *The Hindu*. Thiruvananthapuram, India. 28 August 2013. Archived from the original on 31 August 2013. Retrieved 10 July 2021.
* Rangan, Baradwaj (3 December 2013). "An admirer's account of Meena Kumari". *The Hindu*. Archived from the original on 27 February 2021. Retrieved 9 July 2021.
* Salam, Ziya Us (16 August 2013). "After Mahjabeen turned Meena". *The Hindu*. Archived from the original on 10 February 2014. Retrieved 10 July 2021.
* Singh, Jai Arjun (14 August 2013). "Death and the heroine: Vinod Mehta does Meena Kumari". *Jabberwock*. Archived from the original on 12 June 2021. Retrieved 9 July 2021.
* "Two legends". *Frontline*. 15 November 2013. Archived from the original on 21 January 2021. Retrieved 10 July 2021.

## InfoBox

Meena Kumari
| Cover of the 1972 edition | |
| --- | --- |
| Author | Vinod Mehta |
| Language | English |
| Subject | Meena Kumari |
| Published | October 1972 |
| Publisher | Jaico Publishing House |
| Publication place | India |
| Media type | Print |
| Pages | 187 |
| OCLC | 586134668 |


title: Vamoose (yacht)

abstract: Vamoose was a fast steam-powered private yacht built for William Randolph Hearst by the Herreshoff Manufacturing Company. Designed by Nathanael Greene Herreshoff, she was based on an earlier torpedo boat commissioned by the United States Navy. At one point, Vamoose was claimed to be the fastest boat in the world, and her exploits drew attention from newspapers and yachting enthusiasts of the day. The majority of her life was spent in New York metropolitan area; as a member of the American Yacht Club, she participated in regattas as both a competitor and a press boat. In 1896, Vamoose was outfitted as a private dispatch boat for the New York Evening Journal to cover the Cuban War of Independence.

text:
# Vamoose (yacht)

***Vamoose*** was a fast steam-powered private yacht built for William Randolph Hearst by the Herreshoff Manufacturing Company. Designed by Nathanael Greene Herreshoff, she was based on an earlier torpedo boat commissioned by the United States Navy. At one point, *Vamoose* was claimed to be the fastest boat in the world, and her exploits drew attention from newspapers and yachting enthusiasts of the day. The majority of her life was spent in New York metropolitan area; as a member of the American Yacht Club, she participated in regattas as both a competitor and a press boat. In 1896, *Vamoose* was outfitted as a private dispatch boat for the *New York Evening Journal* to cover the Cuban War of Independence.

## Design and construction

*Vamoose* was commissioned from Herreshoff Manufacturing Company by a young William Randolph Hearst in the winter of 1890. Unlike many yachts of the Gilded Age which were built on a grand scale to luxurious standards (like SY *Liberty*, owned by Hearst's soon-to-be rival Joseph Pulitzer), *Vamoose* was designed for performance. Her purchase contract reportedly stipulated a minimum speed of 25 knots (46 km/h), with a bounty of $2,000 per excess half-knot attained.

In order to satisfy these requirements, lead engineer Nathaniel Herreshoff based the yacht on his earlier design for the U.S. Navy torpedo boat USS *Cushing*. The new project, known as hull number 168, would be 28 feet shorter and have one less engine & propeller than *Cushing*, but would also feature less than half the displacement of the warship. It retained a narrow beam to minimize drag and maximize hull speed. The ship also featured a wood hull framed by steel in order to balance weight with cabin temperature management. A single 875-horsepower quadruple-expansion steam engine was chosen as a powerplant. Thanks to these efforts, *Vamoose* was reportedly Herreshoff's fastest-yet design. During initial sea trials off Newport, Rhode Island she achieved an average speed of 25.5 knots (47.2 km/h).

## Delivery

At the time of *Vamoose*'s commissioning, Hearst primarily resided in his native San Francisco and had yet to begin his East Coast media empire. The yacht's initial delivery was therefore accepted in New York (on August 29, by her chief engineer Theodore Heilbron) with the intention of relocating her to California soon after. Two plans were devised for the transcontinental journey: the first involved fitting her with masts and sailing around Cape Horn. The shorter alternative called for steaming to the Isthmus of Panama, then hauling-out and placing her on a specially-designed crib spanning 3 rail cars for an overland crossing on the Panama Canal Railway (PCR) to the Pacific Ocean. The second plan was ultimately chosen, and multiple bridges over the rail line were even partially-disassembled to accommodate the odd freight dimensions.

Upon reaching Panama, *Vamoose* was refused passage by railway superintendent Alfred Rives. Shortly beforehand, Hearst's *San Francisco Examiner* had reportedly published a poor review of his daughter Amélie Rives' book, and the refusal was interpreted as an act of retaliation. With no way to the Pacific, *Vamoose* returned to New York.

## Service life

### Racing career

Shortly after her delivery in New York, *Vamoose* attracted media attention stemming from her high-profile ownership and high performance. The yacht's first exploits occurred in early September 1891 when she unofficially challenged the fast passenger steamer *Mary Powell* on the Hudson River. After losing an initial bout in unfavorable conditions, *Vamoose* would earn revenge a week later while she hosted Hearst and a number of guest journalists for a cruise around New York Harbor. After paying a visit to the White Squadron at anchor nearby, the crew spotted *Mary Powell* departing her berth at 22nd Street (now Chelsea Piers) laden with passengers—many of whom had booked passage just to see the rumored rematch. *Vamoose* promptly "ran circles" around the steamer (and even outran a northbound New York Central Railroad train).

#### *Norwood* rivalry

With news of her speed quickly making rounds, Hearst received a challenge from fellow publisher and yacht owner Norman Munro. Munro's steam yacht, *Norwood,* was not only an earlier Herreshoff design, but was also theorized to be the fastest boat in the world. In order to settle the debate, a race was proposed. By September 29, 1891, the challenge had grown into a highly publicized steam regatta proposed and sponsored by the American Yacht Club with a $500 cash prize (equivalent to $16,956 in 2023). In addition to *Vamoose* and *Norwood*, other potential participants were rumored to included USS *Cushing*, USS *Stiletto*, and several other private steam yachts. An initial date was set for October 3, 1891 and advertised in newspapers by the Iron Steamboat Company and Sandy Hook Line, who each sold spectator tickets to watch the event from their steamers. On the day of the race, *Norwood* ran aground on her way to the starting point due to the actions of an unqualified pilot. The mishap destroyed her propeller and initiated a series of postponements that would last years.

In the weeks following the failed meetup, each yacht conducted independent speed trials but no true consensus was achieved. After many months of delays attributed to poor weather and mechanical mishaps, the race ultimately failed to materialize. In September 1893, Munro purchased *Vamoose* from Hearst for $10,000 (equivalent to $339,111 in 2023) and vowed to race them against each other in order to "satisfy public curiosity," but his death in February 1894 apparently prevented that from happening.

### Private use

On May 28, 1893, the yacht hosted President Grover Cleveland, Secretary of State Walter Gresham, Secretary of the Treasury John Carlisle, and Ambassador to Great Britain Thomas Bayard for an afternoon cruise on the Potomac River.

### War of Cuban Independence

*Vamoose* gained international significance in October 1895, when the New-York Tribune published a "rumor" that Phoebe Hearst (mother of William Randolph) contributed $15,000 (equivalent to $549,360 in 2023) worth of aid toward the efforts of Cuban rebels seeking independence from Spain—including a refit of *Vamoose* for use as a dispatch boat and potential blockade runner. In 1896 she was engaged by The New York Journal and repositioned to Key West, Florida, where the paper intended to use her on frequent trips to Havana to gather correspondence from its sources in Cuba. As a fast, privately-owned yacht, she would be free from interference by Spanish authorities, and could make the 87-mile (140 km) journey back to Key West in around four hours (whereafter breaking news could reach the paper's offices instantly by telegram).

On December 12, 1896, *Vamoose*'s journey southward was delayed in Wilmington, North Carolina when the U.S. Treasury Department ordered her inspected on suspicion of arms trafficking. No contraband was found, and she was released that day.

## Ownership

Between her construction and last-recorded whereabouts, *Vamoose* changed ownership several times. Her final appearance in a published ship register was the 1917 edition of *Lloyd's Register of American Yachts*.

*Vamoose* ownership history
| Year | Owner | Registered home port | Notes | Ref. |
| --- | --- | --- | --- | --- |
| 1891 | William Randolph Hearst | San Francisco | Constructed 1891; interior refit April 1893 |  |
| 1893 | Norman Munro | New York City | Purchased autumn 1893 |  |
| 1895 | Frank T. Morrill | New York City |  |  |
| 1901 | Howard Gould | New York City |  |  |
| 1903 | Walter P. Lewisohn | New York City |  |  |
| 1911 | J.D. Maxwell | Tarrytown, New York | Powerplant converted to Sterling 4-cylinder gasoline engine c.1910 |  |
| 1914 | Charles T. Wills | Greenwich, Connecticut |  |  |
| 1917 | J.D. Mawell | Tarrytown, New York |  |  |

## Further reading

## InfoBox

| Negative image of *Vamoose* taken in 1891 | |
| --- | --- |
| History | |
| Name | *Vamoose* |
| Owner | William Randolph Hearst |
| Ordered | Winter 1890 |
| Builder | Nathanael Greene Herreshoff |
| Cost | $65,250 (equivalent to $2,212,700 in 2023) |
| Yard number | 168 |
| Laid down | December 20, 1890 (1890-12-20) |
| Launched | August 29, 1891 (1891-08-29) |
| Completed | August 26, 1891 (1891-08-26) |
| Refit | April 1893 |
| Homeport | New York City |
| Fate | Unknown |
| General characteristics | |
| Class and type | coastal steamship |
| Length | 112.5 feet (34.3 m) |
| Beam | 13 feet (4.0 m) |
| Draft | 4.9 feet (1.5 m) |
| Installed power | 875 horsepower (652 kW) quadruple expansion steam engine with Thornycraft boiler (1891), converted to Sterling 4-cyl gas engine (1910) |
| Propulsion | Single 57-inch (140 cm), three-bladed Zeise propeller |
| Speed | 25.5 knots (47.2 km/h) |
| Range | 2,800 nautical miles (3,200 mi) |
| Crew | 10 |
| Notes | Steel-framed wooden hull |


title: Tutmaçbayındır, Orta

abstract: Tutmaçbayındır is a village in the Orta District of Çankırı Province in Turkey. Its population is 66 (2021).

text:
# Tutmaçbayındır, Orta

**Tutmaçbayındır** is a village in the Orta District of Çankırı Province in Turkey. Its population is 66 (2021).

## InfoBox

| Tutmaçbayındır | |
| --- | --- |
| Village | |
| TutmaçbayındırLocation in TurkeyTutmaçbayındırTutmaçbayındır (Turkey Central Anatolia) | |
| Coordinates: 40°33′N 32°58′E / 40.550°N 32.967°E / 40.550; 32.967 | |
| Country | Turkey |
| Province | Çankırı |
| District | Orta |
| Population (2021) | 66 |
| Time zone | UTC+3 (TRT) |


title: The Emerald Tablet (board game)

abstract: The Emerald Tablet is a set of fantasy miniatures rules published in 1977 by Creative Wargames Workshop.

text:
# The Emerald Tablet (board game)

***The Emerald Tablet*** is a set of fantasy miniatures rules published in 1977 by Creative Wargames Workshop.

## Gameplay

*The Emerald Tablet* sets out rules for using fantasy miniatures in combat, including selecting and building an army similar to one that would have been extant before the Thirty Years War, and rules for battle magic.

The rules for combat and movement are similar to other fantasy miniatures combat rule systems such as *Chainmail*, but the rules for magic are based on historic demonology and rituals. Magic spells are divided between the innate magic that a spellcaster can call forth without aid, such as levitation or invisibility; and magic which requires the assistance of a creature from another plane, be that angel, demon or some other spirit.

## Reception

In the September 1978 edition of *Dragon* (Issue 18), Dave Minch found the combat and movement rules fairly derivative, but thought the historically-based magic rules set *The Emerald Tablet* apart from all miniatures combat rules that had gone before. "This is the most developed and 'realistic' set of rules for magic I have ever seen. They are readily adaptable to any fantasy campaign and, I think, they are better suited to them." Minch concluded with a strong recommendation, saying, "The design team for these rules did the kind of research which should have gone into most others. The magic rules are worth the price of the book. I recommend them to anyone who knows something about Medieval magic and wants to bring that into wargaming."

In the March 1981 edition of *The Space Gamer* (No. 37), Glenn Williams was unimpressed with the complex rules, and felt that only certain gamers should buy it. "By itself, *The Emerald Tablet* is too complicated and requires too much effort to be enjoyed by any but the most hardcore gamer. However, given the main competition, TSR's *Swords and Spells* and *Chainmail*, *The Emerald Tablet* is clearly superior. If you want a game that can show what magic was like under the tutelage of Albertus Magnus or with the Key of Solomon, this is your game. If that's not what you want, stay well away."


abstract:
The non-marine mollusks of Puerto Rico are a part of the molluscan fauna of Puerto Rico. A number of species of non-marine mollusks are found in the wild in Puerto Rico. Non-marine mollusks refer to a diverse group of soft-bodied invertebrates that include snails, slugs, and various shell-bearing creatures. In Puerto Rico, these creatures play a crucial role in the island's ecosystems. Here are some aspects to consider when exploring the non-marine mollusks of Puerto Rico: **1. ** Diversity of Species:
  - Puerto Rico's diverse ecosystems, which range from lush rainforests to arid coastal regions, provide a rich habitat for a wide variety of non-marine mollusk species. This diversity can be attributed to the island's varied topography and climate. **2. ** Habitat and Adaptations:
  - Non-marine mollusks in Puerto Rico exhibit a range of adaptations to their specific habitats. For example, some species are adapted to high-altitude cloud forests, while others thrive in lowland rainforests, and still, others are found in urban areas. **3. ** Ecological Significance:
  - These creatures contribute significantly to the island's ecosystems. They play vital roles in nutrient cycling, seed dispersal, and even serve as food sources for various predators, including birds, mammals, and insects. **4. ** Endemic Species:
  - Like many island ecosystems, Puerto Rico has a number of mollusk species that are found nowhere else on Earth. These endemic species are particularly important for conservation efforts, as they are often more vulnerable to habitat loss and environmental changes. **5. ** Conservation Challenges:
  - Unfortunately, non-marine mollusks in Puerto Rico, like in many parts of the world, face threats from habitat destruction, pollution, and climate change. Understanding and addressing these challenges are crucial for the long-term survival of these species. **6. ** Scientific Research and Exploration:
  - Scientists and researchers are continually studying the non-marine mollusks of Puerto Rico to better understand their biology, behavior, and ecological roles. This knowledge is essential for effective conservation efforts and can also provide valuable insights into broader ecological principles. **7. ** Cultural and Economic Significance:
  - While not as prominent as marine mollusks, some non-marine mollusks may have cultural or economic significance for local communities. For instance, certain species might be used in traditional crafts or have symbolic value. **8. ** Conservation Initiatives:
  - There are likely ongoing conservation initiatives aimed at protecting the non-marine mollusks of Puerto Rico. These efforts might involve habitat restoration, captive breeding programs, and public education to raise awareness about the importance of these creatures. **9. ** Collaborative Efforts:
  - Collaborations between local conservation organizations, government agencies, and international research institutions are likely essential in the conservation and study of these species. Sharing knowledge and resources can lead to more effective conservation strategies. **10. ** Future Prospects: - Given the dynamic nature of ecosystems and the increasing impact of human activities on natural habitats, it's important to consider how the non-marine mollusks of Puerto Rico might be affected in the future. This could involve predictive modeling, scenario planning, and adaptive management strategies. By considering these aspects, we gain a more comprehensive understanding of the non-marine mollusks of Puerto Rico and their importance within the broader ecological context of the island. This knowledge can inform conservation efforts and contribute to the overall biodiversity and health of the region. Robert James Shuttleworth has described 3 genera and 25 species from Puerto Rico as new in 1854.

text:
# List of non-marine molluscs of Puerto Rico

The **non-marine mollusks of Puerto Rico** are a part of the molluscan fauna of Puerto Rico. A number of species of non-marine mollusks are found in the wild in Puerto Rico. Non-marine mollusks refer to a diverse group of soft-bodied invertebrates that include snails, slugs, and various shell-bearing creatures. In Puerto Rico, these creatures play a crucial role in the island's ecosystems. Here are some aspects to consider when exploring the non-marine mollusks of Puerto Rico:

\**1. \** Diversity of Species:

* Puerto Rico's diverse ecosystems, which range from lush rainforests to arid coastal regions, provide a rich habitat for a wide variety of non-marine mollusk species. This diversity can be attributed to the island's varied topography and climate.

\**2. \** Habitat and Adaptations:

* Non-marine mollusks in Puerto Rico exhibit a range of adaptations to their specific habitats. For example, some species are adapted to high-altitude cloud forests, while others thrive in lowland rainforests, and still, others are found in urban areas.

\**3. \** Ecological Significance:

* These creatures contribute significantly to the island's ecosystems. They play vital roles in nutrient cycling, seed dispersal, and even serve as food sources for various predators, including birds, mammals, and insects.

\**4. \** Endemic Species:

* Like many island ecosystems, Puerto Rico has a number of mollusk species that are found nowhere else on Earth. These endemic species are particularly important for conservation efforts, as they are often more vulnerable to habitat loss and environmental changes.

\**5. \** Conservation Challenges:

* Unfortunately, non-marine mollusks in Puerto Rico, like in many parts of the world, face threats from habitat destruction, pollution, and climate change. Understanding and addressing these challenges are crucial for the long-term survival of these species.

\**6. \** Scientific Research and Exploration:

* Scientists and researchers are continually studying the non-marine mollusks of Puerto Rico to better understand their biology, behavior, and ecological roles. This knowledge is essential for effective conservation efforts and can also provide valuable insights into broader ecological principles.

\**7. \** Cultural and Economic Significance:

* While not as prominent as marine mollusks (like certain types of shellfish), some non-marine mollusks may have cultural or economic significance for local communities. For instance, certain species might be used in traditional crafts or have symbolic value.

\**8. \** Conservation Initiatives:

* There are likely ongoing conservation initiatives aimed at protecting the non-marine mollusks of Puerto Rico. These efforts might involve habitat restoration, captive breeding programs, and public education to raise awareness about the importance of these creatures.

\**9. \** Collaborative Efforts:

* Collaborations between local conservation organizations, government agencies, and international research institutions are likely essential in the conservation and study of these species. Sharing knowledge and resources can lead to more effective conservation strategies.

\**10. \** Future Prospects: - Given the dynamic nature of ecosystems and the increasing impact of human activities on natural habitats, it's important to consider how the non-marine mollusks of Puerto Rico might be affected in the future. This could involve predictive modeling, scenario planning, and adaptive management strategies.

By considering these aspects, we gain a more comprehensive understanding of the non-marine mollusks of Puerto Rico and their importance within the broader ecological context of the island. This knowledge can inform conservation efforts and contribute to the overall biodiversity and health of the region.

Robert James Shuttleworth has described 3 genera and 25 species from Puerto Rico as new in 1854.

## Freshwater gastropods

Thiaridae

## Land gastropods

Amphibulimidae

* genus *Gaeotis* Shuttleworth, 1854 is endemic to Puerto Rico

Sagdidae

Succineidae

Veronicellidae

## Freshwater bivalves

Lists of molluscs of surrounding countries:

## Further reading


title: 1930 Melbourne Cup

abstract: The 1930 Melbourne Cup was a two-mile handicap horse race which took place on Tuesday, 4 November 1930. The placegetters were:

text:
# 1930 Melbourne Cup

The **1930 Melbourne Cup** was a two-mile handicap horse race which took place on Tuesday, 4 November 1930.

The placegetters were:

| Place | Name | Jockey |
| --- | --- | --- |
| 1 | Phar Lap | James E. Pike |
| 2 | Second Wind | T. Lewis |
| 3 | Shadow King | P. Tehan |

## InfoBox

1930 Melbourne Cup
| Melbourne Cup | |
| --- | --- |
| Location | Flemington Racecourse |
| Date | 4 Nov 1930 |
| Distance | 2 miles |
| Winning horse | Phar Lap |
| Winning time | 3:27.75 |
| Final odds | 8/11 |
| Jockey | James E. Pike |
| Trainer | Harry R. Telford |
| Owner | Harry R. Telford<br>David Davis |
| Surface | Turf |
|  | |


title: Picea likiangensis

abstract: Picea likiangensis, commonly known as Lijiang spruce, Lakiang spruce or Lijiang yunshan, is a species of spruce found in Bhutan and China. Its population has been reduced by 30% in 75 years by logging, and the species is therefore categorised as vulnerable by the IUCN.

text:
# Picea likiangensis

***Picea likiangensis***, commonly known as Lijiang spruce, Lakiang spruce or Lijiang yunshan, is a species of spruce found in Bhutan and China. Its population has been reduced by 30% in 75 years by logging, and the species is therefore categorised as vulnerable by the IUCN.

## Further reading

## InfoBox

| *Picea likiangensis* | |
| --- | --- |
|  | |
| Conservation status | |
|
Vulnerable  (IUCN 3.1) | |
| Scientific classification | |
| Kingdom: | Plantae |
| *Clade*: | Tracheophytes |
| *Clade*: | Gymnospermae |
| Division: | Pinophyta |
| Class: | Pinopsida |
| Order: | Pinales |
| Family: | Pinaceae |
| Genus: | *Picea* |
| Species: | ***P. likiangensis*** |
| Binomial name | |
| ***Picea likiangensis***
(Franch.) E.Pritz. | |
|
| Synonyms | |
| *Abies likiangensis* Franch. | |


title: Plumbeous rail

abstract: The plumbeous rail is a species of bird in the subfamily Rallinae of the rail, crake, and coot family Rallidae. It is found in Argentina, Bolivia, Brazil, Chile, Ecuador, Paraguay, Peru and Uruguay.

text:
# Plumbeous rail

The **plumbeous rail** (***Pardirallus sanguinolentus***) is a species of bird in the subfamily Rallinae of the rail, crake, and coot family Rallidae. It is found in Argentina, Bolivia, Brazil, Chile, Ecuador, Paraguay, Peru and Uruguay.

## Taxonomy and systematics

The plumbeous rail has previously been placed in the large genus *Rallus*, and also in genus *Orygonax* with the blackish rail (*Pardirallus nigricans*). Some authors propose that the blackish and plumbeous rails are conspecific, and they do form a superspecies. The plumbeous rail has these six subspecies:

* *P. s. simonsi* Chubb, C., 1918
* *P. s. tschudii* Chubb, C., 1919
* *P. s. zelebori* (Pelzeln, 1865)
* *P. s. sanguinolentus* (Swainson, 1838)
* *P. s. landbecki* (Hellmayr, 1932)
* *P. s. luridus* (Peale, 1849)

## Description

The blackish rail is 30 to 38 cm (12 to 15 in) long and weighs 170 to 230 g (6.0 to 8.1 oz). The sexes are alike. They have red eyes and legs. They have a green bill and in all but subspecies *P. s. luridus* the maxilla has a sky blue base and the mandible a bright red one. The nominate subspecies *P. s. sanguinolentus* has mottled brown upperparts and plain gray face and underparts. The other subspecies differ somewhat in size and plumage. *P. s. luridus* is the largest and *P. s. zelebori* the smallest. *P. s. simonsi* is more olive brown above and paler gray below than the nominate. *P. s. tschudii* also has paler underparts. *P. s. landbecki* is more more olive brown upperparts than the nominate and no mottling. *P. s. luridus* has no mottling on its upperparts and has paler gray underparts than the nominate.

## Distribution and habitat

The six subspecies of plumbeous rail are distributed thus. The species is found further south than any other South American rail.

* *P. s. simonsi*, extreme southern Ecuador south along the Pacific slope through Peru into northern Chile
* *P. s. tschudii*, southeastern Peru into central and southeastern Bolivia
* *P. s. zelebori*, southeastern Brazil
* *P. s. sanguinolentus*, extreme southeastern Brazil, Parguay, Uruguay, and Argentina as far south as Río Negro Province
* *P. s. landbecki*, central Chile between the Atacama Region and Llanquihue Province and into southwestern Argentina
* *P. s. luridus*, southern Chile and Argentina including Tierra del Fuego, and as a vagrant to the Falkland Islands

The plumbeous rail inhabits a variety of landscapes characterized by water and vegetative cover. Examples include reed marshes (even small ones), ponds with floating vegetation, irrigated croplands, wet ditches through pasture, and oases in arid areas. In elevation it occurs mostly in the lowlands but ranges in some limited areas as high as 2,500 m (8,200 ft) and in a few locations up to about 4,000 m (13,000 ft)

## Fossil record

Late Pleistocene-early Holocene fossils of the plumbeous rail are known from the Laguna de Tagua Tagua formation of Chile.

## Behavior

### Movement

The plumbeous rail's movement patterns are imperfectly known. Some populations, such as those along the Atlantic coast, are known to be sedentary. Those that nest on the Argentine Pampas may move north in winter.

### Feeding

The plumbeous rail mostly forages at twilight but is also active during both day and night. It seeks its diet of grubs, worms, and insects in marshes, ponds, and nearby cultivated fields.

### Breeding

The plumbeous rail's breeding season varies geographically but is generally within October to January. It makes a rudimentary nest of dry grass on the ground among bushes or tall grass near water. The clutch size is four to six eggs. The incubation period and time to fledging are not known.

### Vocalization

Male plumbeous rails sing "a series of high, penetrating, rolling squeals" in a duet with the female's "low, deep 'hoo' notes". They sing at any time of day. Their calls are "repeated 'giyp' or 'wit' notes".

## Status

The IUCN has assessed the plumbeous rail as being of Least Concern. It has a very large range, and though its population size is unknown it is believed to be stable. No immediate threats have been identified. Though its "status \[is\] difficult to assess in many areas" it is abundant in some, and is "\[p\]robably more widespread than is currently known".

## InfoBox

| Plumbeous rail
Temporal range: | |
| --- | --- |
|  | |
| Conservation status | |
|
Least Concern  (IUCN 3.1) | |
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Chordata |
| Class: | Aves |
| Order: | Gruiformes |
| Family: | Rallidae |
| Genus: | *Pardirallus* |
| Species: | ***P. sanguinolentus*** |
| Binomial name | |
| ***Pardirallus sanguinolentus***
(Swainson, 1838) | |
|
|  | |
| Synonyms | |
| * *Rallus nigricans* * *Ortygonax nigricans* | |


title: WACH-TV (Virginia)

abstract: WACH-TV, UHF analog channel 33, was a commercial television station licensed to Newport News, Virginia, United States, which broadcast from 1953 until 1955. The station was owned by the Eastern Broadcasting Corporation.

text:
# WACH-TV (Virginia)

**WACH-TV**, UHF analog channel 33, was a commercial television station licensed to Newport News, Virginia, United States, which broadcast from 1953 until 1955 (with a gap of around four months in 1954). The station was owned by the Eastern Broadcasting Corporation.

## History

WACH-TV was the third television station to sign on in Hampton Roads, debuting on October 13, 1953. Operating as a sister station to WHYU radio (1270 kHz), it broadcast from the tallest structure in the Lower Peninsula, its tower at 114 24th Street in downtown. Its schedule consisted mainly of sports and mystery shows, with five hours a day of programs such as *Crusader Rabbit*, *All American Football* and *Ringside with Rasslers*.

> We are struggling UHF TV station. Local VHF hogging 3 different networks after enjoying monopoly for years. We believe this subverts the FCC, constituted by Congress in their attempt to institute superior UHF TV service. Yet networks are unregulated by FCC. This is unfair to public. Will you investigate.

WACH-TV, in an August 1953 telegram to three senators

Before even going on the air, the new TV station had made waves in Washington when it lobbied for the Federal Communications Commission (FCC) to regulate the television networks, saying that the lone VHF station in Hampton Roads, WTAR-TV, was "hogging" all three network hookups. (A month before WACH signed on, WVEC-TV had taken to the air on channel 15 and became the area's NBC affiliate.)

The day that WACH-TV suspended operations—March 27, 1954—WHYU radio took on the WACH call letters. The night before, its schedule had consisted of just four programs repeated in a loop: a newscast, *Crusader Rabbit*, *Short Subjects*, and *Hornliegh on Holiday*.

### Brief return to the air

In August 1954, WACH-TV returned to the air, simulcasting the associated radio station; it was the first time a UHF station that had suspended operations for economic reasons proceeded to resume telecasting. The station ended operation around July 1, 1955. Citing economic losses, the owners of WACH-TV asked the FCC to assign all future VHF channels in Hampton Roads for educational use only, which would have left just one commercial station (WTAR-TV) on VHF. By this time, the comparative proceeding for channel 10 was in progress; several months prior, in April, the station told the FCC that network affiliations in the area were unsettled pending action in the channel 10 hearings.

Eastern's venture into television resulted in a bankruptcy that, on February 1, 1956, forced the temporary suspension of operations for WACH radio. The WACH radio license and TV construction permit were sold to Richard Eaton's United Broadcasting later that year; the TV station construction permit, which remained in force, briefly took on the WYOU-TV call letters concurrent with the change of the radio station from WACH to WYOU. Eaton held on to the TV permit past the 1960 sale of WYOU; in November 1964, the FCC notified 29 permittees, including Eaton, that they had to put their dark UHF stations on the air. Channel 33 in the region would not be revived until WTVZ began telecasting on September 24, 1979, more than 24 years after WACH-TV's final broadcast. The WACH call sign is now used by the Fox affiliate in Columbia, South Carolina.

## InfoBox

WACH-TV
|  | |
| --- | --- |
|  | |
| Channels |  |
| Ownership | |
| Owner | Eastern Broadcasting Corporation |
| Sister stations | WHYU/WACH |
| History | |
| First air date | October 13, 1953 (1953-10-13) |
| Last air date | July 1, 1955 (1955-07-01)<br>(1 year, 261 days) |
| Call sign meaning | The word "watch" |
| Technical information | |
| ERP | 20.6 kW |
| HAAT | 94 m (308 ft) |


title: Vanessa Garcia (artist)

abstract: Vanessa Garcia is a Cuban–American writer and multidisciplinary artist.

text:
# Vanessa Garcia (artist)

**Vanessa Garcia** is a Cuban–American writer and multidisciplinary artist.

## Biography

She earned a PhD in English from the University of California, Irvine, an MFA in Fiction from the University of Miami, and a B.A. in English and Art History from Barnard College.

Garcia's paintings and installations have been exhibited throughout the United States and the Caribbean. Much of her work focuses on American-born Cubans and the "familial embargo," a term she coined to describe mixed feelings that many American families of Cuban descent experience due to both their love of Cuban culture and their reservations about returning to the island.

Her debut novel, *White Light,* was an NPR Best Book of 2015 and First Prize in the 2016 International Latino Book Awards. Her recent plays include *The Cuban Spring*; *Grace, Sponsored by Monteverde*; *The Crocodile's Bite*; and *Amparo.* Garcia's nonfiction writing has been published in The Guardian, Huffington Post, ESPN, The Rumpus, the Miami Herald, and numerous other sources.

## *Amparo*

*Amparo*, an immersive theatrical performance directed by Victoria Collado and produced by Havana Club, is inspired by the true story of the Arechabala family of Cuba. The work showcases Jose Arechabala's original arrival on Cuban soil, the family's founding of Havana Club Rum, and the Cuban government's eventual seizing of the company followed by the Arechabalas' forced exile. The show debuted to limited audiences in Miami and New York, and is expected to expand to greater audiences in 2019.

## *White Light*

*White Light* is the life story of Cuban-American artist Veronica Gonzalez, who is handed the chance to break into the art world in close proximity to her father's sudden death. The story traces Veronica as she is split between the need to mourn and the pressure to create new artwork. Praised by Nobel laureate Wole Soyinka for its "lyrical pace and texture," *White Light* maps a young woman's struggle to distill her sorrow, rage, and love onto the canvas. Kirkus Reviews called the novel "a lush, vibrant portrayal of the creative process, a daughter's love, and the unstoppable maelstrom of grief."

## InfoBox

| Vanessa Garcia | |
| --- | --- |
| Born | Miami, Florida |
| Occupation | Playwright, journalist, writer |
| Alma mater | University of California, Irvine, University of Miami, Barnard College |
| Genre | literature, theatre, visual art |