abstract: United Nations Security Council Resolution 1592, adopted unanimously on 30 March 2005, after recalling all previous resolutions on the situation in the Democratic Republic of the Congo, including Resolution 1565 (2004), the Council extended the mandate of the United Nations Mission in the Democratic Republic of Congo (MONUC) until 1 October 2005.

text:
# United Nations Security Council Resolution 1592

**United Nations Security Council Resolution 1592**, adopted unanimously on 30 March 2005, after recalling all previous resolutions on the situation in the Democratic Republic of the Congo, including Resolution 1565 (2004), the Council extended the mandate of the United Nations Mission in the Democratic Republic of Congo (MONUC) until 1 October 2005.

## Resolution

### Observations

The preamble of the resolution reflected the council's concern at ongoing hostilities in the east of the Democratic Republic of the Congo and widespread violations of human rights and international humanitarian law. It reaffirmed that all parties involved in the conflict were responsible for the safety of civilians in the region. The transitional government was urged to bring the perpetrators to justice.

The council noted that the presence of former Rwandan troops and Interahamwe in Congolese territory remained a threat to the local population and on relations between the Democratic Republic of the Congo and Rwanda. It recalled its condemnation of an attack by militia on MONUC forces in February 2005 and welcomed steps to bring the perpetrators to justice. Furthermore, the resolution condemned the illegal exploitation of natural resources in the country, which was fuelling the conflict.

### Acts

Acting under Chapter VII of the United Nations Charter, the council extended MONUC's mandate with the intention of renewing it for further periods. All parties were urged to co-operate with MONUC by allowing it unhindered access and guaranteeing the safety of its personnel. The transitional government was called upon to protect civilians and humanitarian personnel by extending its authority throughout the country, particularly in North and South Kivu and Ituri Province. Furthermore, it had to reform the security sector and make progress towards the holding of elections.

Meanwhile, the resolution demanded that the governments of Rwanda, Uganda and the Democratic Republic of the Congo put a stop to the use of their respective territories in support of violations of the arms embargo imposed by Resolution 1493 (2003), and for neighbouring states to hinder support for illegal exploitation of Congolese natural resources. It emphasised that MONUC could use necessary measures, including 'cordon-and-search' powers against armed groups thought to be threatening the population.

The security council expressed concern about acts of sexual exploitation and abuse carried out by United Nations personnel against the local population and called on the Secretary-General Kofi Annan and troop-contributing countries to urgently address the issue.

## InfoBox

| UN Security Council<br>Resolution 1592 | |
| --- | --- |
| Rwandan soldiers near the border with the Democratic Republic of the Congo and Uganda | |
| Date | 30 March 2005 |
| Meeting no. | 5,155 |
| Code | S/RES/1592 (Document) |
| Subject | **The situation concerning the Democratic Republic of the Congo** |
| Voting summary | * **15 voted for** * **None voted against** * **None abstained** |
| Result | Adopted |
| Security Council composition | |
| Permanent members |  |
| Non-permanent members |  |
|  | |


title: Unconquered Woman

abstract: Unconquered Woman is a 1922 American silent drama film directed by Marcel Perez and starring Rubye De Remer, Walter Miller and Fred C. Jones.

text:
# Unconquered Woman

***Unconquered Woman*** is a 1922 American silent drama film directed by Marcel Perez and starring Rubye De Remer, Walter Miller and Fred C. Jones.

## Plot

## Cast

## Bibliography

* Nash, Jay Robert. *The Motion Picture Guide 1988 Annual*. Cinebooks, 1997.

## InfoBox

| Unconquered Woman | |
| --- | --- |
| Directed by | Marcel Perez |
| Written by | John B. Clymer |
| Starring | Rubye De Remer
Walter Miller
Fred C. Jones |
| Cinematography | William S. Cooper |
| Production
company | Pasha Film Corporation |
| Distributed by | Lee-Bradford Corporation |
| Release date | * May 1922 (1922-05) |
| Running time | 50 minutes |
| Country | United States |
| Languages | Silent
English intertitles |


title: Uncopolynoe

abstract: Uncopolynoe is a genus of marine polychaete worms belonging to the family Polynoidae, the scaleworms. Uncopolynoe contains a single species, Uncopolynoe corallicola which is known from the Red Sea at a depth of 1 m.

text:
# Uncopolynoe

***Uncopolynoe*** is a genus of marine polychaete worms belonging to the family Polynoidae, the scaleworms. *Uncopolynoe* contains a single species, ***Uncopolynoe corallicola*** which is known from the Red Sea at a depth of 1 m.

## Description

*Uncopolynoe corallicola* is a short-bodied scale worm with 40–45 segments and 12 pairs of elytra. The prostomium is weakly bilobed anteriorly and lacks cephalic peaks. The lateral antennae lack basal ceratophores and arise directly from the anterior margin of the prostomium. The median antenna has a ceratophore which is located between and slightly beneath the lateral antennae. Notopodia are absent and neuropodia are inconspicuous after segment 4. Notochaetae are absent, but there are three types of neurochaetae: stout curved hooks, curved club-shaped forms and bidentate chaetae.

## Biology and Ecology

All known specimens of *Uncopolynoe* have been collected from alcyonarian corals and most likely have a commensal relationship with them.

## InfoBox

| *Uncopolynoe* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Annelida |
| *Clade*: | Pleistoannelida |
| Subclass: | Errantia |
| Order: | Phyllodocida |
| Family: | Polynoidae |
| Genus: | *Uncopolynoe* |
| Species: | ***U. corallicola*** |
| Binomial name | |
| ***Uncopolynoe corallicola***<br>Hartmann-Schröder 1960 | |
|


abstract:
Wolfskill Grant Orchards is historical site built in 1842 in Winters, California in Solano County, California. The Wolfskill Grantis a California Historical Landmark No. 804 listed on June 28, 1965. Horticulturist John R. Wolfskill (1804-1897) settled on land of the Rancho Rio de los Putos a First Mexican Republic California Land Grant near the present-day City of Winters in 1842 after marriage to Magdalena Lugo. Wolfskill, also called John Reed, brought with him seeds and plant cuttings and started new horticulture fruit industry in Northern California. Wolfskill came west on the Santa Fe Trail. Wolfskill worked at teamster in Santa Fe, New Mexico before coming west. John Reid Wolfskill was born on 11 September 1804, in Madison, Kentucky. Wolfskill married Susan Cooper on January 10, 1860, in Colusa, California. Wolfskill died on May 27, 1897, in Yolo, California at the age of 92. In 1938, Wolfskill daughter, Mrs. Frances Wolfskill Taylor Wilson donated 107.28 acres of Wolfskill plant nursery and orchard University of California. University of California opened the University of California Experimental Farm on the University of California, Davis land part of the UC Davis Plant Sciences Department.
  - A historical marker is at University of California Experimental Farm. The marker was placed there by California State Park Commission, the Solano County Historical Society in 1966.
  - Uncle Burt's Tree is marker nearby placed by Vacaville Historical Marker Committee in 2002.

text:
# University of California Wolfskill Experimental Orchards

**Wolfskill Grant Orchards** is historical site built in 1842 in Winters, California in Solano County, California. The Wolfskill Grantis a California Historical Landmark No. 804 listed on June 28, 1965. Horticulturist John R. Wolfskill (1804-1897) settled on land of the Rancho Rio de los Putos a First Mexican Republic California Land Grant near the present-day City of Winters in 1842 after marriage to Magdalena Lugo. Wolfskill, also called John Reed, brought with him seeds and plant cuttings and started new horticulture fruit industry in Northern California. Wolfskill came west on the Santa Fe Trail. Wolfskill worked at teamster in Santa Fe, New Mexico before coming west. John Reid Wolfskill was born on 11 September 1804, in Madison, Kentucky. Wolfskill married Susan Cooper on January 10, 1860, in Colusa, California. Wolfskill died on May 27, 1897, in Yolo, California at the age of 92. In 1938, Wolfskill daughter, Mrs. Frances Wolfskill Taylor Wilson donated 107.28 acres of Wolfskill plant nursery and orchard University of California. University of California opened the **University of California Experimental Farm** on the University of California, Davis land part of the UC Davis Plant Sciences Department.

* A historical marker is at University of California Experimental Farm. The marker was placed there by California State Park Commission, the Solano County Historical Society in 1966.

* Uncle Burt's Tree is marker nearby placed by Vacaville Historical Marker Committee in 2002.

## InfoBox

| Wolfskill Grant Orchards

University of California Wolfskill Experimental Orchards | |
| --- | --- |
| John Wolfskill founder of Wolfskill Grant Orchards | |
| Location | Putah Creek Road, Winters, California |
| Coordinates | 38°30′17″N 121°58′50″W / 38.5046°N 121.9805°W / 38.5046; -121.9805 |
| Built | * 1842, 182 years ago, Wolfskill * 1938, 86 years ago University of California |
| Architect | John R. Wolfskill (John Reed) |
| Governing body | UC Davis |
|  | |
| California Historical Landmark | |
| Designated | June 28, 1965 |
| Reference no. | 804 |
|  | |
|  | |
| Location of Wolfskill Grant Orchards

University of California Wolfskill Experimental Orchards in CaliforniaUniversity of California Wolfskill Experimental Orchards (the United States) | |


title: University of California Television

abstract: University of California Television is a 24-hour television channel presenting educational and enrichment programming from the campuses, national laboratories, and affiliated institutions of the University of California system. UCTV's non-commercial programming delivers science, health and medicine, public affairs, humanities, and the arts to a general audience, as well as specialized programming for health care professionals and teachers. Programming includes documentaries, lectures, debates, interviews, performances and more. UCTV is an Educational-access television cable TV channel. See "Where to watch" below. UCTV can also be seen worldwide via live webstream, video-on-demand archives, and offers both audio and video podcasts for downloading. UCTV programs are also available on YouTube, Apple podcast, Roku and Amazon Fire. UCTV was available nationwide on Dish Network. UCTV launched in January 2000 on the Dish Network and is based on the UC San Diego campus where UCSD-TV is also located. UCTV collects programming from each of the ten University of California campuses and affiliated institutions.

text:
# University of California Television

**University of California Television** (known simply as **UCTV**) is a 24-hour television channel presenting educational and enrichment programming from the campuses, national laboratories, and affiliated institutions of the University of California system. UCTV's non-commercial programming delivers science, health and medicine, public affairs, humanities, and the arts to a general audience, as well as specialized programming for health care professionals and teachers. Programming includes documentaries, lectures, debates, interviews, performances and more.

UCTV is an Educational-access television cable TV channel. See "Where to watch" below. UCTV can also be seen worldwide via live webstream, video-on-demand archives (Flash files), and offers both audio and video podcasts for downloading. UCTV programs are also available on YouTube, Apple podcast, Roku and Amazon Fire. UCTV was available nationwide on Dish Network (channel 9412) (service terminated by Dish as of March 1, 2012).

UCTV launched in January 2000 on the Dish Network and is based on the UC San Diego campus where UCSD-TV is also located. UCTV collects programming from each of the ten University of California campuses (UC Berkeley, UC Davis, UC Irvine, UC Los Angeles, UC Merced, UC Riverside, UC San Diego, UC San Francisco, UC Santa Barbara, UC Santa Cruz) and affiliated institutions (Lawrence Berkeley National Laboratory, Lawrence Livermore National Laboratory, Los Alamos National Laboratory, UC Agriculture & Natural Resources, UC Office of the President, UC Sacramento Center, UC Washington DC Center).

## Thematic programming

UCTV airs 25 hours of original programming per week on a rotating 24-hour schedule of three-hour thematic blocks in the areas of science, health and medicine, public affairs, humanities, and arts and music

UCTV offers a one-hour program block for health care professionals called *The Med Ed Hour* (Tuesday through Thursday at noon Pacific), featuring medical programs for physicians, nurses and other health care professionals.

## InfoBox

University of California Television
|  | |
| --- | --- |
| Ownership | |
| Owner | University of California |
| History | |
| Launched | 2000 |
| Links | |
| Website | UCTV.tv |
| Availability | |
|  | |


abstract: US Post Office-Tonawanda is a historic post office building located at Tonawanda in Erie County, New York, United States. It was designed and built 1939–1940, and is one of a number of post offices in New York State designed by the Office of the Supervising Architect of the Treasury Department under Louis A. Simon. The building is in the Colonial Revival style and features a central pavilion crowned by a cupola and flanked by end pavilions with gable roofs. The interior once featured a mural by Symeon Shimin, but it was removed and has disappeared. An addition to the north was added in 1964. It was listed on the National Register of Historic Places in 1989.

text:
# United States Post Office (Tonawanda, New York)

**US Post Office-Tonawanda** is a historic post office building located at Tonawanda in Erie County, New York, United States. It was designed and built 1939–1940, and is one of a number of post offices in New York State designed by the Office of the Supervising Architect of the Treasury Department under Louis A. Simon. The building is in the Colonial Revival style and features a central pavilion crowned by a cupola and flanked by end pavilions with gable roofs. The interior once featured a mural by Symeon Shimin, but it was removed and has disappeared. An addition to the north was added in 1964.

It was listed on the National Register of Historic Places in 1989.

## InfoBox

|  | |
| --- | --- |
| US Post Office-Tonawanda | |
| U.S. National Register of Historic Places | |
|  | |
| Tonawanda Post Office, September 2012 | |
|  | |
| Map showing the location of Tonawanda Post Office | |
| Location | 96 Seymour St., Tonawanda, New York |
| Coordinates | 43°1′1″N 78°52′47″W / 43.01694°N 78.87972°W / 43.01694; -78.87972 |
| Built | 1939 |
| Architect | Louis A. Simon; US Treasury Department |
| Architectural style | Colonial Revival |
| MPS | US Post Offices in New York State, 1858-1943, TR |
| NRHP reference No. | 88002437 |
| Added to NRHP | May 11, 1989 |


abstract: The U.S. Post Office in Troy, New York, United States, is located at 400 Broadway, on the corners of Fourth and William Streets, the tenth location it has occupied in the city's history. It serves the ZIP Codes 12179 through 12182, which cover different sections of the city. In 1989 it was added to the National Register of Historic Places, and it is also a contributing property to the Central Troy Historic District, which covers much of the city's downtown commercial area. It was built during the Great Depression as part of a massive statewide public works initiative to stimulate the economy and provide jobs. Louis Simon, supervising architect for the Treasury Department, used a stripped-down Classical Revival style for the post office, which replaced a much-beloved older one. Painter Waldo Peirce added two murals to the building's lobby in 1938, making Troy's one of only three post offices in the U.S. with his artwork.

text:
# United States Post Office (Troy, New York)

The **U.S. Post Office** in Troy, New York, United States, is located at 400 Broadway, on the corners of Fourth (US 4) and William Streets, the tenth location it has occupied in the city's history. It serves the ZIP Codes 12179 through 12182, which cover different sections of the city. In 1989 it was added to the National Register of Historic Places, and it is also a contributing property to the Central Troy Historic District, which covers much of the city's downtown commercial area.

It was built during the Great Depression as part of a massive statewide public works initiative to stimulate the economy and provide jobs. Louis Simon, supervising architect for the Treasury Department, used a stripped-down Classical Revival style for the post office, which replaced a much-beloved older one. Painter Waldo Peirce added two murals to the building's lobby in 1938, making Troy's one of only three post offices in the U.S. with his artwork.

## Building

### Exterior

The post office is a two-story, 7-by-10-bay steel frame building on granite foundation. Its two main facades (Broadway and Fourth) frame their entrances with engaged two-story pilasters on molded bases and capitals. At the top of the pilasters is a simple frieze. At the end bays the frieze is decorated with abstract stars and stripes with winged shields at the corners, where the stone surface beneath them changes from ashlar to rusticated. The Broadway frieze has the words "UNITED STATES POST OFFICE", reflecting the main entrance located underneath it.

That main entrance is reached by a set of granite steps. It is surrounded by limestone and flanked by original wrought iron lamps and lampposts. The windows to the sides are trimmed in decorative limestone as well, their bays recessed like the main entrance and the central eight bays of the Fourth Street side. A secondary entrance, similar to the main entrance but with less decoration, is located two bays north of Broadway.

The north and east (William Street) facades are faced in buff-colored brick laid in common bond, with limestone coping. To the north the building projects one bay from the main section; this ell includes the loading dock facilities. A brick chimney rises from the northeastern corner.

### Interior

Inside, two connected lobbies parallel the main facades. An original glazed aluminum vestibule on the main entrance, and a small marble lobby on the secondary, give way to a terrazzo floor, dark green marble base and veined white marble dado. The plaster walls are divided into four recessed bays flanked by marble pilasters, rising to a ceiling cornice with classical detailing. While the furniture in the lobbies is newer, most of the teller windows and the iron grillework above them, and some of the post office boxes, are original.

At either end of the lobby is a mural by Waldo Peirce, both with regional themes. The eastern one depicts Rip Van Winkle and the west one is called *Legends of the Hudson*. Peirce did very few public commissions, and only two other U.S. post offices (in Westbrook, Maine and Peabody, Massachusetts) have murals by him.

## History

Troy's first post office was established in 1796, within a decade of the city's founding, in a local law office on First Street. Over the next century it was housed in seven other downtown locations, the last two being for long periods, in the Atheneum Building on First Street (1846-1882) and the Masonic Temple on Third (1882-1894). When Congress authorized the construction of the city's first federal building in 1886, the post office was among the agencies slated for space in the new building.

The land for the new federal building cost the government $99,982 and then an additional $323,000 in 2008 dollars to build starting in 1890. It was opened in 1894; the granite Romanesque Revival-style building's clock tower became one of the city's most enduring landmarks, dominating the downtown skyline.

In 1931, as the Great Depression was beginning, an amendment to the Public Buildings Act of 1926 authorized 136 separate postal construction projects to relieve growing unemployment. Troy's was one, but the Treasury Department, under whose umbrella the Post Office came at the time, was unable to begin the project for a few years, and it had to be reauthorized in 1934.

The plans called for the old building to be demolished; and once the newer design, by Treasury Department Supervising Architect Louis Simon, was made public there was outrage from some citizens that the popular older building was to be torn down only 40 years after it had been built. But it was insufficient to stop the project, and after $154,000 was spent to acquire the additional land the new building would need, the post office moved to the Hannibal Green Building across the street in 1934 for the two years it would take to build its new home. Stone from the old building can still be found in other parts of the city and its vicinity, used as retaining wall, fence posts and in one case, a gravestone.

Peirce painted his murals in 1938, two years after the new building opened. There have been few significant changes since then. In more recent years, an interior fire escape was added to the northwest corner, and one of the original teller bays was converted into a self-service section. The original customer tables in the lobby, and the front doors themselves, have also been replaced.

## Aesthetics

At the time the Troy post office was built, the Treasury Department preferred the Colonial Revival style for buildings in small towns and Classical Revival for those in cities. Simon generally worked on the former and left the latter to contracted architects, with Troy's being one of the few exceptions to that principle. His building shows the influence of other styles as well.

Classical Revival is the dominant mode, particular echoing early 19th-century Greek Revival public buildings in its rectangular plan. The influence of contemporary modernist approaches, particularly Art Deco, can be seen in the stylized, streamlined ornamentation.

## Notes and references

Media related to United States Post Office (Troy, New York) at Wikimedia Commons

## InfoBox

|  | |
| --- | --- |
| U.S. Post Office | |
| U.S. National Register of Historic Places | |
| U.S. Historic district<br>Contributing property | |
|  | |
| West profile, 2009 | |
|  | |
| Location | Troy, NY |
| Coordinates | 42°43′53″N 73°41′18″W / 42.73139°N 73.68833°W / 42.73139; -73.68833 |
| Built | 1934-36 |
| Architect | Louis Simon |
| Architectural style | Classical Revival |
| Part of | Central Troy Historic District |
| MPS | U.S. Post Offices in New York State, 1858-1943, TR |
| NRHP reference No. | 88002438 |
| Added to NRHP | 1989 |


abstract: The United States National Criterium Championships are held annually and run by the national governing body, USA Cycling. The event has formerly been held at venues including Denver, Colorado, Downers Grove, Illinois, and Glencoe, Illinois. The 2015 edition of the race will be hosted by the city of Chattanooga, Tennessee. Formerly, the event allowed an international field, so the first rider from the United States who crossed the finish line was crowned the "United States National Criterium Champion" gaining the right to wear the national champion's jersey in subsequent criteriums for the following year. As domestic participation has grown in more recent years, the event has been limited to United States citizens so that the winner of the race will also be crowned the national champion.

text:
# United States National Criterium Championships

The **United States National Criterium Championships** are held annually and run by the national governing body, USA Cycling.

The event has formerly been held at venues including Denver, Colorado, Downers Grove, Illinois, and Glencoe, Illinois. The 2015 edition of the race will be hosted by the city of Chattanooga, Tennessee. Formerly, the event allowed an international field, so the first rider from the United States who crossed the finish line was crowned the "United States National Criterium Champion" gaining the right to wear the national champion's jersey in subsequent criteriums for the following year. As domestic participation has grown in more recent years, the event has been limited to United States citizens so that the winner of the race will also be crowned the national champion.

## Results

### Men

| Year | Gold | Silver | Bronze |
| --- | --- | --- | --- |
| 1980 | David Ware | Dale Stetina | Davis Phinney |
| 1981 | Tom Schuler | Dale Stetina | Davis Phinney |
| 1982 | John Eustice | Davis Phinney |  |
| 1983 | John Eustice | Leonard Nitz |  |
| 1988 | John Tomac | Mike McCarthy |  |
| 1990 | Jim Copeland | Taylor Centauri |  |
| 1991 | Greg Oravetz |  |  |
| 1992 | Mike McCarthy |  |  |
| 1993 | Mike Engelman |  |  |
| 1994 | Dave McCook |  |  |
| 1995 | Frank McCormack |  |  |
| 1996 | Frank McCormack |  |  |
| 1997 | Jonas Carney |  |  |
| 1998 | Chann McRae |  |  |
| 1999 | Antonio Cruz |  |  |
| 2000 | Derek Bouchard-Hall |  |  |
| 2001 | Kirk O'Bee |  |  |
| 2002 | Kevin Monahan |  |  |
| 2003 | Kevin Monahan |  |  |
| 2004 | Jonas Carney |  |  |
| 2005 | Tyler Farrar |  |  |
| 2006 | Brad Huff |  |  |
| 2007 | Shawn Milne | Alex Candelario | Tony Cruz |
| 2008 | Rahsaan Bahati | Alex Candelario | Mark Hekman |
| 2009 | John Murphy | Tony Cruz | Jake Keough |
| 2010 | Daniel Holloway | Ken Hanson | Alex Candelario |
| 2011 | Eric Young | Brad Huff | Jake Keough |
| 2012 | Ken Hanson | Brad Huff | Bradley White |
| 2013 | Eric Young | Ken Hanson | Jake Keough |
| 2014 | John Murphy | Brad White | Daniel Holloway |
| 2015 | Eric Marcotte | Tyler Magner | Luke Keough |
| 2016 | Brad Huff | John Murphy | Luke Keough |
| 2017 | Travis McCabe | Eric Young | Tyler Magner |
| 2018 | Tyler Magner | Eric Young | Samuel Bassetti |
| 2019 | Travis McCabe | Eric Young | Miguel Bryon |
| 2020 | Not held due to the COVID-19 pandemic | | |
| 2021 | Luke Lamperti | Samuel Bassetti | Eric Young |
| 2022 | Luke Lamperti | Gavin Hoover | Scott McGill |
| 2023 | Luke Lamperti | Colby Simmons | Tyler Williams |

### Women

| Year | Gold | Silver | Bronze |
| --- | --- | --- | --- |
| 1980 | Pam Deem | Betsy Davis | Jolanta Goral |
| 1981 | Connie Paraskevin | Sheila Young-Ochowicz | Leslie Moore-Nitz |
| 2002 | Tina Pic |  |  |
| 2003 | Tina Pic |  |  |
| 2004 | Tina Pic |  |  |
| 2005 | Tina Pic |  |  |
| 2006 | Jennifer McRae |  |  |
| 2007 | Tina Pic | Jennifer McRae | Anna Lang |
| 2008 | Brooke Miller | Theresa Cliff-Ryan | Jennifer MacRae-Evans |
| 2009 | Tina Pic | Brooke Miller | Shelley Olds |
| 2010 | Shelley Olds | Erica Allar | Lauren Tamayo |
| 2011 | Theresa Cliff-Ryan | Laura Van Gilder | Kelly Benjamin |
| 2012 | Theresa Cliff-Ryan | Lauren Hall | Carmen Small |
| 2013 | Alison Powers | Amanda Miller | Theresa Cliff-Ryan |
| 2014 | Coryn Rivera | Erica Allar | Samantha Schneider |
| 2015 | Kendall Ryan | Tina Pic | Brianna Walle |
| 2016 | Lauren Tamayo | Elle Anderson | Sara Tussey |
| 2017 | Erica Allar | Lauren Stephens | Irena Ossola |
| 2018 | Leigh Ann Ganzar | Kelly Catlin | Jennifer Luebke |
| 2019 | Emma White | Lily Williams | Kendall Ryan |
| 2020 | Not held due to the COVID-19 pandemic | | |
| 2021 | Kendall Ryan | Megan Jastrab | Coryn Rivera |
| 2022 | Kendall Ryan | Skyler Schneider | Alexis Ryan |
| 2023 | Coryn Rivera | Kendall Ryan | Chloe Patrick |


abstract: The United States National Chemistry Olympiad is a contest held by the American Chemical Society (ACS) used to select the four-student team that represents the United States at the International Chemistry Olympiad (IChO). Each local ACS section selects 10 students to take the USNCO National Exam. To qualify for the national exam, students must first take the local exam. Approximately 10,000 U.S. students sit for the local exam each year. More than 1000 students qualify to take the National Exam annually.

text:
# United States National Chemistry Olympiad

The **United States National Chemistry Olympiad** (or **USNCO**) is a contest held by the American Chemical Society (ACS) used to select the four-student team that represents the United States at the International Chemistry Olympiad (IChO).

Each local ACS section selects 10 students (or more for larger ACS sections) to take the USNCO National Exam. To qualify for the national exam, students must first take the local exam. Approximately 10,000 U.S. students sit for the local exam each year. More than 1000 students qualify to take the National Exam annually.

## Exam format

The National Exam consists of three parts.

### Multiple choice

The first part contains 60 multiple-choice questions. Each question has four answer choices. The questions are loosely grouped into 10 sets of 6 items; each set corresponds to a different chemistry topic. Typically, the topics are, in order, descriptive chemistry/laboratory techniques, stoichiometry, gases/liquids/solids, thermodynamics, kinetics, equilibrium, electrochemistry, electronic structure/periodic trends, bonding theories, and organic chemistry. There is no penalty for guessing; a student's score is equal to the number of questions answered correctly. One and a half hours (90 minutes) are allotted for this first part.

### Free response

The second part contains 8 free response questions. Complete written explanations and calculations are required for full credit on a question, and partial credit is awarded. More thorough knowledge of basic theories is required, and often there are questions on less-emphasized portions of normal high school chemistry curricula, such as organic chemistry and coordination chemistry. One hour and 45 minutes (105 minutes) are allowed for this section. The topics of each question in the recent part II’s of USNCO usually follows the following format:

Q1: Stoichiometry

Q2: Equilibrium

Q3. Assorted (typically either thermodynamics, electrochemistry, or kinetics)

Q4. Assorted (typically either thermodynamics, electrochemistry, or kinetics)

Q5. Prediction of chemical reaction products. Includes acid-base reactions as well as redox reactions. Part F is usually on radioisotope decay.

Q6. Assorted (could be any topic that is not anywhere else)

Q7. Bonding

Q8. Organic Chemistry

### Lab practical

Beginning in 1994, the lab practical was added to the National Exam. It contains two tasks to be performed by each student with only the specified materials, and students are expected to describe their procedures and organize their findings. Past tasks have included chromatography, titration and qualitative analysis, and 90 minutes are allotted to complete the two experiments.

## USNCO Study Camp and other recognition

The top 20 scorers on the USNCO National Exam are invited to participate in the two-week USNCO Study Camp at the University of Maryland, College Park in College Park, Maryland. At the camp, the students are tested (both free response and lab testing), and the top four students are selected to comprise the U.S. IChO team. Two alternates are also selected, although no alternate has ever actually been called up for duty.

In addition, the top 50 students are recognized as achieving "High Honors" or "t50", and the next 100 students earn the "Honors" or "t150" designation.

## Scope of the test as compared to the IChO

The purpose of the USNCO is to stimulate all young people to achieve excellence in chemistry. Therefore, the focus of the exam is not necessarily to select the top twenty students, and instead to present a wide selection of basic questions. Therefore, the scope of the USNCO is different than the scope of what would be expected at the training camp or IChO.


title: University of Human Environments

abstract: University of Human Environments University of Human Environments is a private university in Okazaki, Aichi, Japan, established in 2000. It has an associated private Junior High School and High School.

text:
# University of Human Environments

**University of Human Environments** (人間環境大学, *Ningen kankyō daigaku*) is a private university in Okazaki, Aichi, Japan, established in 2000. It has an associated private Junior High School and High School.

## InfoBox

University of Human Environments
| 人間環境大学 | |
| --- | --- |
| University of Human Environments | |
| Type | Private |
| Established | 2000 (2000) |
| Academic staff | 55 |
| Undergraduates | 550 |
| Postgraduates | 17 |
| Location | Okazaki, Aichi, Japan<br>34°53′49″N 137°15′50″E / 34.897°N 137.264°E / 34.897; 137.264 |
| Nickname | UHE |
| Website | www.uhe.ac.jp (in Japanese) |


title: University of Huelva

abstract: The University of Huelva (UHU) is a public university in Huelva, Spain. It was founded in 1993. It is included in the campus of international excellence. The university offers undergraduate degrees, postgraduate degrees, and doctoral programs across a wide range of fields, including arts and humanities, engineering and technology, health sciences, natural sciences, and social sciences.

text:
# University of Huelva

The **University of Huelva** (UHU) is a public university in Huelva, Spain. It was founded in 1993. It is included in the campus of international excellence.

The university offers undergraduate degrees, postgraduate degrees, and doctoral programs across a wide range of fields, including arts and humanities, engineering and technology, health sciences, natural sciences, and social sciences.

## History

Depending on the University of Seville, different provincial entities had been calling for segregation for years. In 1987, the La Rábida School Center Board had already called for the creation of independent faculties for the city. But it was in 1988 when a powerful local movement was developed that called for the creation of its own entity in Huelva. These movements had their climax on March 3rd, with a general strike in the capital widely followed and a final rally in the Plaza de las Monjas (Huelva). In July they managed to use the old Hospital of La Merced, annexed to the Cathedral as a space for the future university and the agreement for the creation of the first two faculties was signed, not until two years later when the third was signed. That same year, the University Board of Trustees (Patronato Universitario) was established with the approval of the institutions and both the Provincial Council of Huelva (Diputación Provincial de Huelva) and the City Council of Huelva (Ayuntamiento de Huelva) agree in their plenary sessions to apply for a university. On December 12, the Parliament of Andalusia approved this request, recognizing already in May its future creation for 1992.

Finally, one year behind the initial plans, it was segregated from Seville on 1 July 1993. The first President of the Management Commission was Francisco Ruiz Berraquero. His first elected rector was Ramírez de Verger,4 the current rector being María Antonia Peña Guerrero. With 11,251 students in the 2017/2018 academic year, 816 teachers, 37 degrees and 23 doctoral programs in recent years, the number of ERASMUS and non-ERASMUS students from the province has increased substantially.

## Campus

The University of Huelva is subdivided into different zones or university campuses:

**La Merced.** Former 15th century Mercedarian convent and more recently hospital, adjacent to the cathedral. It is the faculty at the city center.

**Cantero Cuadrado.** Old School of Teaching since the 60s, which was the germ of the university when it was dependent on the University of Seville. It currently functions as an administrative headquarters.

**Campus Universitario del Carmen.** Located in the former infantry barracks, which was based on the recovery of the military barracks converted into educational facilities. Today, it is the most modern complex and unites most of the university's faculties. Its Rectorate is located in the building of the Campus of Cantero Cuadrado.

**Former Escuela Técnica Superior de Ingeniería de la Rábida.** Located just before La Rábida, it began its history with the Schools of Mines and Forestry, which were later joined by the Industrial, Agricultural and IT Engineer. The secondary school Prof. Vicente Rodríguez Casado is also located on the campus.

## Faculties

The faculties and schools are responsible for organizing the teaching of the various degrees issued by the University.

The different schools and faculties of the university are:

Higher Technical School of Engineering. Faculty of Social Work. Faculty of Nursing. Faculty of Medicine. Faculty of Education, Psychology and Sports Sciences. Faculty of Labor Sciences. Faculty of Business. Faculty of Experimental Sciences. Faculty of Law. Faculty of Humanities.

## Departments

The faculties and schools are responsible for organizing the teaching of the various degrees issued by the University.

The different schools and faculties of the university are:

Higher Technical School of Engineering.
Faculty of Social Work.
Faculty of Nursing.
Faculty of Education, Psychology and Sports Sciences.
Faculty of Labor Sciences.
Faculty of Business.
Faculty of Experimental Sciences.
Faculty of Law.
Faculty of Humanities Anton Menger.
Environmental biology and public health.
Agroforestry Science.
Public law.
Integrated Didactics.
Business Management and Marketing.
General economics and statistics.
Financial economics, accounting and operations management.
Pedagogy.
Nursing.
Medicine.
English philology.
Philology.
Physics Applied.
Geology.
Geodynamics and paleontology.
History, Geography and Anthropology.
Design and project engineering.
Electrical and thermal engineering.
Electronic, computer system and automatic engineering.
Chemical, chemical and physical engineering and organic chemistry.
Mining, mechanical and energy engineering.
Mathematics.
Psychology.
Chemistry and materials science.
Sociology and social work.
Information Technologies.
Theodor Mommsen.

## Erasmus Students (International Students)

A total of 685 students (per semester) from around thirty countries come to Huelva to study academics attracted by the teaching offer in UHU.

This number of Erasmus students places Huelva among the 50 best universities in Europe in receiving Erasmus students. In addition to the classic nationalities, the University of Huelva has students from China. There is also great acceptance in Latin America, as well as an exponential increase in students from the United States who have joined this program. The university receives more than 30 different nationalities from 4 different continents each semester.

The University of Huelva has a great reputation internationally, as proof of this the SEPIE has awarded the Erasmus Quality Award 2016 to the best Spanish university in this program. This recognition is based on the successful implementation of the mobility project in terms of impact, transferability, innovation, communication and financial execution. The program is no longer just reduced to European students but has opened to Erasmus Plus, “a global exchange” that has made possible the arrival of “students, teachers and technicians from countries like China or Morocco”, and “for the 2017/18 academic year for the first time Albania”.

One of the most important aspects of the Erasmus program in Huelva is the language offer to its foreign students. Erasmus students receive free Spanish (Castilian Spanish) classes from levels A1 to C1, because they have Spanish as part of their study contract. Then, between May and June, they have the possibility to take the official accreditation test. In addition, these students can access the accreditation of other languages offered by the university (English, Italian and German).

UHU has more than 57 subjects in another language, one of the main advantages of the university when it comes to attracting Erasmus students. One of the objectives of the University of Huelva, through its internationalization plan, is the implementation of degrees offered entirely in foreign languages that favor not only the arrival of students from other countries but also the internationalization of their own students.

## InfoBox

University of Huelva
| Universidad de Huelva | |
| --- | --- |
|  | |
| Motto | Universitas Onubensis Sapere Aude |
| Motto in English | Dare to Know |
| Type | Public |
| Established | 1993 (1993) |
| Academic staff | 960 |
| Undergraduates | 11.358 |
| Location | Huelva, Huelva, Spain |
| Website | www.uhu.es |


abstract: United Nations Security Council resolution 667, adopted unanimously on 16 September 1990, after recalling resolutions 660 (1990), 661 (1990), 664 (1990), 665 (1990) and 666 (1990), the Council expressed its outrage and condemned "aggressive acts" by Iraq against diplomatic missions and personnel in occupied Kuwait, including the abduction of some, in violation of the Vienna Convention on Diplomatic Relations and Consular Relations. Iraqi soldiers entered the diplomatic missions of some European and Arab nations, abducting several personnel and expelling others. Acting under Chapter VII of the United Nations Charter, the Council demanded the immediate release of foreign nationals as well as all nationals mentioned in Resolution 664, reminding it of its international obligations according to the Vienna Conventions. It also asked Iraq to protect the safety and well-being of diplomatic and consular staff and premises in Kuwait, and to take no action that would hinder their diplomatic functions, including access for their nationals to the premises. Finally, the resolution urged all Member States to strictly observe all resolutions passed against Iraq, deciding to take further actions against the country for its defiance of Security Council resolutions and of international law. The passing of resolution 667 galvanised world opinion into support for extreme force to counter Saddam Hussein's actions. Iraq's Deputy Representative to the United Nations, Sabah Talat Kadrat, denounced the resolution in a textbook case of Whataboutism, saying the Council took rapid action against his country but had taken none with regards to Israeli–Palestinian conflict.

text:
# United Nations Security Council Resolution 667

**United Nations Security Council resolution 667**, adopted unanimously on 16 September 1990, after recalling resolutions 660 (1990), 661 (1990), 664 (1990), 665 (1990) and 666 (1990), the Council expressed its outrage and condemned "aggressive acts" by Iraq against diplomatic missions and personnel in occupied Kuwait, including the abduction of some, in violation of the Vienna Convention on Diplomatic Relations and Consular Relations.

Iraqi soldiers entered the diplomatic missions of some European and Arab nations, abducting several personnel and expelling others. Acting under Chapter VII of the United Nations Charter, the Council demanded the immediate release of foreign nationals as well as all nationals mentioned in Resolution 664, reminding it of its international obligations according to the Vienna Conventions. It also asked Iraq to protect the safety and well-being of diplomatic and consular staff and premises in Kuwait, and to take no action that would hinder their diplomatic functions, including access for their nationals to the premises.

Finally, the resolution urged all Member States to strictly observe all resolutions passed against Iraq, deciding to take further actions against the country for its defiance of Security Council resolutions and of international law.

The passing of resolution 667 galvanised world opinion into support for extreme force to counter Saddam Hussein's actions. Iraq's Deputy Representative to the United Nations, Sabah Talat Kadrat, denounced the resolution in a textbook case of Whataboutism, saying the Council took rapid action against his country but had taken none with regards to Israeli–Palestinian conflict.

## InfoBox

| UN Security Council<br>Resolution 667 | |
| --- | --- |
| Kuwait | |
| Date | 16 September 1990 |
| Meeting no. | 2,940 |
| Code | S/RES/667 (Document) |
| Subject | **Iraq–Kuwait** |
| Voting summary | * **15 voted for** * **None voted against** * **None abstained** |
| Result | Adopted |
| Security Council composition | |
| Permanent members |  |
| Non-permanent members |  |
|  | |


abstract: The United States women's national ice sledge hockey team is the national team representing the United States in women's international sledge hockey. The team competed at the IPC International Cup and now competes at the Para Ice Hockey Women's World Challenge. Since the 2018–19 season the team has been under the governance of USA Hockey. The team participated in its first International Paralympic Committee-sanctioned international competition, the IPC Ice Sledge Hockey Women's International Cup, in 2014. The tournament is now known as the Para Ice Hockey Women's World Challenge, whose inaugural year was in 2022.

text:
# United States women's national ice sledge hockey team

| Medal record | | |
| --- | --- | --- |
| IPC International Cup | | |
|  | 2014 Canada | Team |
| Para Ice Hockey Women's World Challenge | | |
|  | 2022 United States | Team |

The **United States women's national ice sledge hockey team** is the national team representing the United States in women's international sledge hockey. The team competed at the IPC International Cup and now competes at the Para Ice Hockey Women's World Challenge. Since the 2018–19 season the team has been under the governance of USA Hockey.

The team participated in its first International Paralympic Committee-sanctioned international competition, the IPC Ice Sledge Hockey Women's International Cup, in 2014. The tournament is now known as the Para Ice Hockey Women's World Challenge (a World Para Ice Hockey sanctioned event), whose inaugural year was in 2022.

## InfoBox

United States
| Nickname(s) | *Team USA* |
| --- | --- |
| Association | USA Hockey |
| Team colors |  |
| IIHF code | USA |
| IPC International Cup | |
| Appearances | 1 (*first in 2014*) |
| Best result | *Gold*: 1 – 2014) |


title: Tokyo Nichi Nichi Shimbun

abstract: Tokyo Nichi Nichi Shimbun The Tokyo Nichi Nichi Shimbun was a newspaper printed in Tokyo, Japan from 1872 to 1943. In 1875, the company began the world's first newspaper delivery service. In 1911, the paper merged with Osaka Mainichi Shimbun to form the Mainichi Shimbun company. The two newspapers continued to print independently until 1943, when both editions were placed under a Mainichi Shimbun masthead.

text:
# Tokyo Nichi Nichi Shimbun

The ***Tokyo Nichi Nichi Shimbun*** (東京日日新聞, *Tōkyō Nichi Nichi Shinbun*) (lit. *Tokyo Daily News*) was a newspaper printed in Tokyo, Japan from 1872 to 1943.

In 1875, the company began the world's first newspaper delivery service.

In 1911, the paper merged with *Osaka Mainichi Shimbun* (大阪毎日新聞, lit. *Osaka Daily News*) to form the *Mainichi Shimbun* (毎日新聞, lit. "Daily News") company. The two newspapers continued to print independently until 1943, when both editions were placed under a *Mainichi Shimbun* masthead.

## Sino-Japanese War coverage controversy

In 1937, the *Osaka Mainichi Shimbun* and its sister newspaper, the *Tokyo Nichi Nichi Shimbun,* covered a contest between two Japanese officers, Toshiaki Mukai (向井 敏明) and Tsuyoshi Noda (野田 毅), in which the two men were described as vying with one another to be the first to kill 100 people with a sword. The competition supposedly took place en route to Nanjing, prior to the infamous Nanjing Massacre, and was covered in four articles from 30 November 1937, to 13 December 1937; the last two being translated in the *Japan Advertiser*.

Both officers supposedly surpassed their goal during the heat of battle, making it difficult to determine which officer had actually won the contest. Therefore, (according to the journalists Asami Kazuo and Suzuki Jiro, writing in the *Tokyo Nichi-Nichi Shimbun* of 13 December), they decided to begin another contest with the goal of 150 kills. The *Nichi Nichi* headline of the story of 13 December read "'Incredible Record' \[in the Contest to\] Behead 100 People—Mukai 106 – 105 Noda—Both 2nd Lieutenants Go Into Extra Innings".

Other soldiers and historians have noted the unlikelihood of the lieutenants' alleged heroics, which entailed killing enemy after enemy in fierce hand-to-hand combat. Noda himself, on returning to his hometown, admitted this during a speech that "I killed only four or five with sword in the real combat ... After we captured an enemy trench, we'd tell them, 'Ni Lai Lai.' The Chinese soldiers were stupid enough to come out the trench toward us one after another. We'd line them up and cut them down from one end to the other."    1. Wakabayashi 2000, p. 319.
2. Kajimoto 2015, p. 37, Postwar Judgment: II. Nanking War Crimes Tribunal.
3. Honda 1999, pp. 125–127.

### Sources

* Honda, Katsuichi (1999) \[Main text from *Nankin e no Michi* (*The Road to Nanjing*), 1987.\], Gibney, Frank (ed.), *The Nanjing Massacre: A Japanese Journalist Confronts Japan's National Shame*, M. E. Sharpe, ISBN 0-7656-0335-7, retrieved 24 February 2010
* Kajimoto, Masato (July 2015), *The Nanking Massacre: Nanking War Crimes Tribunal*, Graduate School of Journalism of the University of Missouri-Columbia, 172, archived from the original on 13 July 2015, retrieved 4 August 2016, However, as many historians point out today, the stories of hyped heroism, in which those soldiers courageously killed a number of enemies in hand-to-hand combat with swords, couldn't be taken at face value. ... The three researchers interviewed by author for this project, Daqing Yang, Ikuhiko Hata, and Akira Fujiwara said that the contest could have been mere mass murder of prisoners.
* Wakabayashi, Bob Tadashi (Summer 2000), "The Nanking 100-Man Killing Contest Debate: War Guilt Amid Fabricated Illusions, 1971–75", *Journal of Japanese Studies*, **26** (2), The Society for Japanese Studies: 307–340, doi:10.2307/133271, ISSN 0095-6848, JSTOR 133271

## Further reading

* De Lange, William (2023). *A History of Japanese Journalism: State of Affairs and Affairs of State*. Toyo Press. ISBN 978-94-92722-393.


title: Shimoyama Station (Kyoto)

abstract: Shimoyama Station is a passenger railway station located in the town of Kyōtamba, Funai District, Kyoto Prefecture, Japan, operated by West Japan Railway Company.

text:
# Shimoyama Station (Kyoto)

**Shimoyama Station** (下山駅, *Shimoyama-eki*) is a passenger railway station located in the town of Kyōtamba, Funai District, Kyoto Prefecture, Japan, operated by West Japan Railway Company (JR West).

## Lines

Shimoyama Station is served by the San'in Main Line, and is located 51.9 kilometers from the terminus of the line at Kyoto.

## Station layout

The station consists of two opposed ground-level side platforms connected to the station building by a footbridge. The station is unattended.

### Platforms

| **1** | San'in Main Line | for Sonobe and Kyoto |
| --- | --- | --- |
| **2** | San'in Main Line | for Ayabe and Fukuchiyama |

## History

Shimoyama Station opened on October 10, 1925. With the privatization of the Japan National Railways (JNR) on April 1, 1987, the station came under the aegis of the West Japan Railway Company.

## Passenger statistics

In fiscal 2016, the station was used by an average of 206 passengers daily.

## Surrounding area

* Kyotanba Town Shimoyama Elementary School
* Kyoto Prefectural Tamba Nature Sports Park

Media related to Shimoyama Station (Kyoto) at Wikimedia Commons

## InfoBox

| Shimoyama Station
下山駅 | |
| --- | --- |
| Shimoyama Station, July 2006 | |
| General information | |
| Location | Shimoyama, Kyōtamba-cho, Funai-gun, Kyoto-fu 622-0201
Japan |
| Coordinates | 35°12′44″N 135°25′22″E / 35.21222°N 135.42278°E / 35.21222; 135.42278 |
| Owned by | West Japan Railway Company |
| Operated by | West Japan Railway Company |
| Line(s) | San'in Main Line |
| Distance | 51.9 km (32.2 mi) from Kyoto |
| Platforms | 2 side platforms |
| Tracks | 2 |
| Connections | * Bus stop |
| Construction | |
| Structure type | Ground level |
| Other information | |
| Status | Unstaffed |
| Website | Official website |
| History | |
| Opened | 10 October 1925 (1925-10-10) |
| Passengers | |
|  | |
| FY2016 | 206 daily |
|  | |
|  | |
| Services | |
| Preceding station  JR West Following station  Wachitowards Kinosaki-Onsen  San'in Line**Local****Rapid**  Gomatowards Kyoto | |
|  | |
|  | |
|  | |
| Location  Shimoyama StationLocation within Kyoto PrefectureShimoyama StationShimoyama Station (Japan) | |


title: The Art of Navigating by the Stars

abstract: The Art of Navigating by the Stars is the sixth studio album by the progressive metal band Sieges Even. It is the first album to feature the vocalist Arno Menses.

text:
# The Art of Navigating by the Stars

***The Art of Navigating by the Stars*** is the sixth studio album by the progressive metal band Sieges Even. It is the first album to feature the vocalist Arno Menses.

## Reception

Professional ratings
| Review scores | |
| --- | --- |
| Source | Rating |
| Sea of Tranquility |  |

The album was described by *Sea of Tranquility* webzine as being "one of the most anticipated comeback albums of the year" and stylistically compared to Fates Warning's *A Pleasant Shade of Gray* in that "it is a long-form composition divided into eight movements, plus a short intro track. These movements, or sequences as they are named in the booklet, are all parts of a huge 63-minute song, linked through various key themes and motifs."

## Track listing

1. "Navigating by the Stars" − 0:29
2. "The Weight" − 10:14
3. "The Lonely Views of Condors" − 6:14
4. "Unbreakable" − 9:00
5. "Stigmata" − 8:22
6. "Blue Wide Open" − 5:13
7. "To the Ones Who Have Failed" − 7:26
8. "Lighthouse" − 7:42
9. "Styx" − 8:55

## InfoBox

| The Art of Navigating by the Stars | |
| --- | --- |
|  | |
| Studio album by Sieges Even | |
| Released | 2005 |
| Genre | Progressive metal |
| Length | 63:35 |
| Label | InsideOut Music |
| Sieges Even chronology | |
| *Uneven*
(1997) ***The Art of Navigating by the Stars***
(2005) *Paramount*
(2007) | |


title: Mary Jane Colter buildings

abstract: The Mary Jane Colter Buildings are four structures at Grand Canyon National Park designed by Mary Colter. Built between 1905 and 1932, the four buildings are among the best examples of Colter's work, and were influential in the development of an aesthetic for architecture to be used in America's National Park System. As a set, they were declared a National Historic Landmark in 1987.

text:
# Mary Jane Colter buildings

The **Mary Jane Colter Buildings** are four structures at Grand Canyon National Park designed by Mary Colter. Built between 1905 and 1932, the four buildings (Hermits Rest (1914), Desert View Watchtower (1932), Lookout Studio (1914), and Hopi House (1905)) are among the best examples of Colter's work, and were influential in the development of an aesthetic for architecture to be used in America's National Park System. As a set, they were declared a National Historic Landmark in 1987.

## Description and significance

Hopi House and the Lookout Studio are located in the Grand Canyon Village, a National Historic Landmark district comprising the core of the densest development in the park. Hermit's Rest is located at the end of the paved road a few miles to the west of Grand Canyon Village. The Desert View Watchtower is the center of the Desert View visitor services area, about 12 miles (19 km) to the east of Grand Canyon Village, and is itself encompassed by the Desert View Watchtower Historic District. All four buildings were originally built by the Atchison, Topeka & Santa Fe Railroad, and were managed by the railroad's concessionaire, the Fred Harvey Company.

Mary Colter's designs were influenced in part by the many ancient ruins of the American Southwest, as exemplified in Hopi House and the Desert View Watchtower, both of which resulted from her study of existing structures and ruins. Hopi House is a modern take on a dwelling of the Hopi people, while the tower borrows architecturally from a variety of ruins. The tower's interior also includes reproductions of rock art from a site that has since been destroyed. The Hermit's Rest and Lookout Studio, in contrast, were designed to fit organically into their surrounding landscape, a technique which would be adopted by other architects working on projects for the National Park Service.

## InfoBox

|  | |
| --- | --- |
| Mary Jane Colter Buildings | |
| U.S. National Register of Historic Places | |
| U.S. National Historic Landmark District | |
|  | |
| Hopi House | |
|  | |
| Location | Grand Canyon National Park, Arizona |
| Coordinates | 36°3′29″N 112°8′13″W / 36.05806°N 112.13694°W / 36.05806; -112.13694 |
| Area | about 3 acres (1.2 ha) |
| Built | 1904 |
| Architect | Mary Colter |
| NRHP reference No. | 87001436 |
| Significant dates | |
| Added to NRHP | May 28, 1987 |
| Designated NHLD | May 28, 1987 |


title: Takeoff Acceleration Monitoring System

abstract: A Takeoff Acceleration Monitoring System automates the pilot monitoring of Distance to Go (DTG), "to sense, in a timely fashion the development of insufficient acceleration, which would extend the takeoff roll, perhaps precipitously". Over the years, recommendations have been made to develop a Take Off Performance Management System. The NLR and NASA developed TOPMS prototypes. However, these systems were never operationally introduced. EASA established two working groups (WGs) to address this issue. WG-88 focussed on the specification and standardization of On-Board Weight and Balance Systems (OBWBS), an ongoing effort for what is considered to be a feasible option. WG-94 focussed on standards and operational conditions for a TOPMS; it WG-94 was concluded early 2017, considering that TOPMS was not feasible, in particular due to limitations in technology and data availability. A version suitable for detecting gross errors, which can be integrated in existing avionics, has been proposed by National Aerospace Laboratory (NLR), KLM, and Martinair. A 2019 research paper explores the cause of a July 2017 serious incident, caused by erroneous data entry, where such system could have been useful. It "summarises a basic takeoff acceleration monitoring system and the effect this would have had on the July 2017 event".

text:
# Takeoff Acceleration Monitoring System

A **Takeoff Acceleration Monitoring System** automates the pilot monitoring of Distance to Go (DTG), "to sense, in a timely fashion the development of insufficient acceleration, which would extend the takeoff roll, perhaps precipitously".

Over the years, recommendations have been made to develop a Take Off Performance Management System. The NLR and NASA developed TOPMS prototypes. However, these systems were never operationally introduced.

EASA established two working groups (WGs) to address this issue. WG-88 focussed on the specification and standardization of On-Board Weight and Balance Systems (OBWBS), an ongoing effort for what is considered to be a feasible option. WG-94 focussed on standards and operational conditions for a TOPMS; it WG-94 was concluded early 2017, considering that TOPMS was not feasible, in particular due to limitations in technology and data availability.

A version suitable for detecting gross errors, which can be integrated in existing avionics, has been proposed by National Aerospace Laboratory (NLR), KLM, and Martinair.

A 2019 research paper explores the cause of a July 2017 serious incident, caused by erroneous data entry, where such system could have been useful. It "summarises a basic takeoff acceleration monitoring system and the effect this would have had on the July 2017 event".

* Airplane takeoff and landing performance monitoring system


title: The Comeback Trail (1982 film)

abstract: The Comeback Trail is a 1982 film directed by Harry Hurwitz. It stars Chuck McCann and, in his final screen role, Buster Crabbe. It was filmed in 1974. A remake of the film premiered in 2020. The film features several cameos of people playing themselves, such as Hugh Hefner, Henny Youngman and Irwin Corey.

text:
# The Comeback Trail (1982 film)

***The Comeback Trail*** is a 1982 film directed by Harry Hurwitz. It stars Chuck McCann and, in his final screen role, Buster Crabbe. It was filmed in 1974. A remake of the film premiered in 2020.

The film features several cameos of people playing themselves, such as Hugh Hefner, Henny Youngman and Irwin Corey.

## Plot

Two down-on-their-luck film producers, Eastman and Kodac, decide to make a Western film with Duke Montana, a veteran cowboy star, in hopes that he will die and they will collect the insurance money.

## Principal cast

| Actor | Role |
| --- | --- |
| Chuck McCann | Enrico Kodac |
| Buster Crabbe | Duke Montana |
| Robert Staats | E. Eddie Eastman |
| Ina Balin | Julie Thomas |
| Jára Kohout | German Producer |

## InfoBox

| The Comeback Trail | |
| --- | --- |
| Directed by | Harry Hurwitz |
| Produced by | Max Rosenberg
Harry Hurwitz |
| Starring | Chuck McCann
Buster Crabbe |
| Cinematography | João Fernandes
Victor Petrashevic |
| Edited by | Harry Hurwitz |
| Music by | Igo Kantor |
| Production
company | Rearguard Productions |
| Distributed by | Dynamite Entertainment |
| Release date | * March 1, 1982 (1982-03-01) |
| Running time | 76 minutes |
| Country | United States |
| Language | English |
| Budget | $10 million |


title: USS Wave

abstract:
USS Wave has been the name of more than one United States Navy ship, and may refer to:
  - USS Wave (1836), a schooner commissioned in 1836 and in service until 1846.
  - USS Wave (1863), a gunboat commissioned in 1863 and captured by Confederate forces in 1864 during the American Civil War.
  - USS Wave (SP-1706), a fishing trawler identified for World War I U.S. Navy service as a minesweeper and ordered delivered in 1917 and 1918 but never actually taken over by the Navy.
  - USS Wave (YFB-10), a ferryboat commissioned in 1916 and struck in 1938.

text:
# USS Wave

**USS *Wave*** has been the name of more than one United States Navy ship, and may refer to:

* USS *Wave* (1836), a schooner commissioned in 1836 and in service until 1846.
* USS *Wave* (1863), a gunboat commissioned in 1863 and captured by Confederate forces in 1864 during the American Civil War.
* USS *Wave* (SP-1706), a fishing trawler identified for World War I U.S. Navy service as a minesweeper and ordered delivered in 1917 and 1918 but never actually taken over by the Navy.
* USS *Wave* (YFB-10), a ferryboat commissioned in 1916 and struck in 1938.


title: Wally Roberts

abstract: Walter Roberts was a Welsh footballer who played as a wing-half. He made appearances in the English football league for Wrexham and Bournemouth & Boscombe Athletic.

text:
# Wally Roberts

**Walter Roberts** (23 November 1917 – March 2006) was a Welsh footballer who played as a wing-half. He made appearances in the English football league for Wrexham and Bournemouth & Boscombe Athletic.

## InfoBox

Wally Roberts
| Personal information | | | |
| --- | --- | --- | --- |
| Full name | Walter Roberts | | |
| Date of birth | (1917-11-23)23 November 1917 | | |
| Place of birth | Wrexham, Wales | | |
| Date of death | 2006 (aged 8889) | | |
| Position(s) | Wing-half | | |
| Senior career\* | | | |
| Years | **Team** | **Apps** | **(Gls)** |
| 1938–1948 | Wrexham | 60 | (1) |
| 1948–1950 | Bournemouth & Boscombe Athletic | 15 | (0) |
|  | Ellesmere Port Town |  |  |
| \*Club domestic league appearances and goals | | | |


title: Tolombón

abstract: Tolombón is a village and rural municipality in Salta Province in northwestern Argentina. It is in the Cafayate department. It is 14 km south of Cafayate. Currently, only 255 people live there.

text:
# Tolombón

**Tolombón** is a village and rural municipality in Salta Province in northwestern Argentina. It is in the Cafayate department. It is 14 km south of Cafayate. Currently, only 255 people live there.

## History

It is unknown when this village was founded, but it is known that the Incas conquered it in 1480. Tolombón was invaded again in 1535, by the Conquistadors.

26°12′S 65°55′W / 26.200°S 65.917°W / -26.200; -65.917

## InfoBox

| Tolombón | |
| --- | --- |
| Municipality and village | |
|  | |
| Tolombón | |
| Coordinates: 26°12′S 65°55′W / 26.200°S 65.917°W / -26.200; -65.917 | |
| Country | Argentina |
| Province | Salta Province |
| Department | Cafayate Department |
| Population | |
| Total | 255 |


abstract: The University of Washington School of Nursing is the nursing school of the University of Washington. The school offers five degree programs accredited by the Commission on Collegiate Nursing Education: one bachelors, two masters, and two doctoral. During the 2022–2023 school year, 424 undergraduate students and 575 graduate students received instruction from 448 faculty members, including 63 tenure track faculty, 26 professorial faculty, 42 teaching associates, 40 clinical instructors, 40 fellows from the American Academy of Nursing, and 237 adjunct faculty.

text:
# University of Washington School of Nursing

The **University of Washington School of Nursing** is the nursing school of the University of Washington.

The school offers five degree programs accredited by the Commission on Collegiate Nursing Education: one bachelors, two masters, and two doctoral. During the 2022–2023 school year, 424 undergraduate students and 575 graduate students received instruction from 448 faculty members, including 63 tenure track faculty, 26 professorial faculty, 42 teaching associates, 40 clinical instructors, 40 fellows from the American Academy of Nursing, and 237 adjunct faculty.

## History

In the summer of 1918, the University of Washington began offering public health nursing courses in response to the impact of the Spanish flu on Washington's public health infrastructure. In 1921, the university formed the Department of Nursing and appointed Elizabeth Sterling Soule, the state health department's supervisor of public health nursing, as dean. The university began offering a bachelor's degree in nursing in 1923 and was the first university to do so on the West Coast. In 1931, the university began offering clinical training for nurses at Harborview Hospital. The Department of Nursing was renamed the School of Nursing Education in 1934 and in 1945, it became an independent School of Nursing. At the time of its founding, it was the West Coast's first nursing school and the second university-affiliated nursing school in the United States. Upon Soule's retirement as the school's first dean in 1950, she was named "The Mother of Nursing in the Pacific Northwest" by *Time* magazine. During Soule's tenure, Soule actively discouraged black students from applying and Lela Duffel was the only black student admitted to the school. In 2001, Dean Nancy Woods publicly acknowledged and apologized for the school's discriminatory past and in 2022, the school renamed an endowment that had been named in Soule's honor.

In 1964, Dean Mary Tschudin, Dr. Katherine Hoffman, and Dr. Marjorie Batey developed a nursing research program with grant funding that aimed to define nursing as a research-based discipline. Research funding for the school increased from $26,000 per year in 1969 to more than $930,000 in 1976. In 1969, the school was the birthplace of Madeleine Leininger's Primex concept which emphasized the expanded role of nurses in providing primary care and preventative services. Dean Rheba de Tornyay developed the school's first PhD in nursing science in 1977 and the first recipient was Marcia Killien in 1982. In the late 1970s, Dr. Betty Giblin established the Sleep Research Laboratory, the first of its kind in the United States.

The school has been top-ranked nationally "in all surveys of schools of nursing conducted since 1984", an unprecedented 27 years without a break. In 2011, *U.S. News & World Report* rated it in a three-way tie for the top spot with Johns Hopkins University and the University of Pennsylvania. US News & World Report 2020 Best Nursing Schools: Doctor of Nursing Practice ranked UW fourth in the country.

In 2011, the *Seattle Times* reported low morale and "internal strife" ... "with separate departments and specialty areas pitted against one another and the school as a whole. The situation was also exacerbated by budget cuts. Dean Marla Salmon tendered her resignation in May 2011 after three years in the post. Azita Emami was named Dean of UW School of Nursing starting July 1, 2013. Dr. Emami had been the dean at Seattle University from 2008–2013.

## Notable people

### Notable faculty

### Notable alumni

## InfoBox

School of Nursing
| Type | Public nursing school |
| --- | --- |
| Established | 1945 |
| Dean | Azita Emami |
| Academic staff | 448 |
| Administrative staff | 199 |
| Students | 999 |
| Undergraduates | 424 |
| Postgraduates | 575 |
| Location | Seattle, Washington, United States<br>47°39′02″N 122°18′33″W / 47.65055556°N 122.30916667°W / 47.65055556; -122.30916667 |
| Campus | Urban |
| Website | nursing.uw.edu |


title: The Comeback Trail (2020 film)

abstract: The Comeback Trail is a 2020 American crime comedy film directed by George Gallo and written by Gallo and Josh Posner, based on the 1982 film of the same name by Harry Hurwitz. It stars Robert De Niro, Tommy Lee Jones, Morgan Freeman, Zach Braff, Emile Hirsch, Eddie Griffin, Kate Katzman, and Blerim Destani. The film premiered at the 2020 Monte-Carlo Comedy Film Festival.

text:
# The Comeback Trail (2020 film)

***The Comeback Trail*** is a 2020 American crime comedy film directed by George Gallo and written by Gallo and Josh Posner, based on the 1982 film of the same name by Harry Hurwitz. It stars Robert De Niro, Tommy Lee Jones, Morgan Freeman, Zach Braff, Emile Hirsch, Eddie Griffin, Kate Katzman, and Blerim Destani.

The film premiered at the 2020 Monte-Carlo Comedy Film Festival.

## Plot

After his latest movie tanks at the box office, producer Max Barber is in deep debt to mobster Reggie Fontaine. Rival producer James Moore offers to settle his debt, even offering $1 million for a script to a movie called “Paradise“, which Max owns the rights to. Max reluctantly agrees, but changes his mind when he by chance witnesses the death of movie star Frank Pierce, after which Moore receives $5 million insurance money.

Realizing he can pay of his debt and do Paradise, Max decides to create a new movie just to kill off his lead and collect the money. Stumbling upon suicidal Western Star Duke Montana in a nursing home, Max and his nephew Walter Creason convince him to star in their next project. However, Max‘s initial plan to set Duke on fire at the first day of shooting fails.

Max‘s subsequent attempts at Duke‘s life by collapsing a bridge and having him attacked by a bull also fail. Upon seeing raw footage, Max realizes that they are actually shooting a good movie, however; he is knocked out by his latest scheme to kill Duke. When he wakes up, Walter chastises him, having figured out he has tried to kill Duke all along. When Max reveals that he has not used his own money but borrowed another $1 million from Reggie, both realize they have to stop him from killing Duke himself.

Reggie and his thugs promptly arrive during a shootout scene and attempt to kill Duke. Max pleads with Reggie, who decides to let them finish the movie after Walter shows them the raw footage. However, Duke finds out the truth and briefly returns to being suicidal, nevertheless; he finishes the movie, which is released to great success.

## Cast

## Production

The project was announced in May 2019, with Robert De Niro, Tommy Lee Jones and Morgan Freeman cast in the film, written and directed by George Gallo. Zach Braff and Eddie Griffin were added later that month. Emile Hirsch joined the next month.

Filming began in early June 2019 and continued to July throughout New Mexico.

## Release

*The Comeback Trail* premiered at the 17th Monte-Carlo Comedy Film Festival on October 9, 2020. It was initially scheduled to be theatrically released in the United States on November 13, 2020, but was delayed to July 23, 2021, again to November 18, 2022, and then pulled from the schedule again. The film is currently unreleased in the U.S.

On June 19, 2021, the film was released through Sky Cinema on the Sky TV and Now TV platforms in the United Kingdom.

## Reception

On Rotten Tomatoes, the film holds an approval rating of 30% based on 23 reviews, with an average rating of 5.2/10.

## InfoBox

| The Comeback Trail | |
| --- | --- |
| Theatrical release poster with original release date | |
| Directed by | George Gallo |
| Screenplay by | * George Gallo * Josh Posner |
| Based on | *The Comeback Trail*
by Harry Hurwitz |
| Produced by | * Philip Kim * Patrick Hibler * Joy Sirott Hurwitz * Julie Lott Gallo * Richard Salvatore * David E. Ornston |
| Starring |  |
| Cinematography | Lukasz Bielan |
| Edited by | John M. Vitale |
| Music by | Aldo Shllaku |
| Production
companies | * Storyboard Media * March On Productions * Alla Prima * Rapid Farms Productions * Ingenious Media |
| Distributed by | Cloudburst Entertainment |
| Release date |  |
| Running time | 104 minutes |
| Country | United States |
| Language | English |
| Box office | $2.4 million |


title: Tamlaght, County Fermanagh

abstract: Tamlaght is a townland and village in County Fermanagh, Northern Ireland, 4.5 km south-east of Enniskillen. It is situated in the civil parish of Derryvullan and the historic barony of Tirkennedy. In the 2011 Census it had a population of 409 people.

text:
# Tamlaght, County Fermanagh

**Tamlaght** (from Irish *Tamhlacht*, meaning 'burial pit, consisting of "támh", meaning plague, and "leacht", meaning grave or memorial stone') is a townland (of 185 acres) and village in County Fermanagh, Northern Ireland, 4.5 km south-east of Enniskillen. It is situated in the civil parish of Derryvullan and the historic barony of Tirkennedy. In the 2011 Census it had a population of 409 people.

## People

Roy Carroll (born September 30, 1977 in Enniskillen) is a Northern Irish footballer and plays as a goalkeeper was brought up in Tamlaght.

Lord Anthony Hamilton, son of James Hamilton, 4th Duke of Abercorn, and Lady (Katie) Hamilton live at Killyreagh House, on Ballylucas Road.

## InfoBox

| Tamlaght | |
| --- | --- |
| Entering Tamlaght from Enniskillen | |
| TamlaghtLocation within Northern Ireland | |
| County |  |
| Country | Northern Ireland |
| Sovereign state | United Kingdom |
|  | |
| Police | Northern Ireland |
| Fire | Northern Ireland |
| Ambulance | Northern Ireland |
|  | |
|


title: Mary Jane Croft

abstract: Mary Jane Croft was an American actress best known for roles as Betty Ramsey on I Love Lucy, Miss Daisy Enright on the radio and television versions of Our Miss Brooks, Mary Jane Lewis on The Lucy Show and Here's Lucy, and Clara Randolph on The Adventures of Ozzie and Harriet.

text:
# Mary Jane Croft

**Mary Jane Croft** (February 15, 1916 – August 24, 1999) was an American actress best known for roles as Betty Ramsey on *I Love Lucy*, Miss Daisy Enright on the radio and television versions of *Our Miss Brooks*, Mary Jane Lewis on *The Lucy Show* and *Here's Lucy*, and Clara Randolph on *The Adventures of Ozzie and Harriet*.

## Early career

Described as "a stage-struck 17-year-old just out of high school", she started her career on the stage of the Muncie Civic Theatre. She quickly joined the Guild Theatre company, a new theatrical stock company in Cincinnati. From that, she went to radio station WLW. Croft said of her work at WLW, "from 1935 to 1939, I played parts with every kind of voice and accent: children, babies, old women, society belles, main street floozies – everything."

## Radio

Croft's initial appearance on radio was in *Sherlock Holmes*. She worked extensively as an actress in radio, appearing on such programs as *Life with Luigi*, *Blondie*, *The Adventures of Sam Spade*, *Suspense*, *The Beulah Show*, *The Bill Goodwin Show*, *Broadway Is My Beat*, *On Stage*, *Crime Classics*, *Four-Star Playhouse*, *The Harold Peary Show*, *Joan Davis Time*, *The Mel Blanc Show*, *One Man's Family*, *Our Miss Brooks*, and *Sears Radio Theater*. She also appeared in frequent guest-star roles on Lucille Ball's *My Favorite Husband*, the beginning of their later professional and personal relationship.

Croft and Hal March co-starred in *Too Many Cooks*, a summer replacement program on CBS in 1950. The comedy centered on Douglas and Carrie Cook and their 10 children.

## Television

In addition to her work with Lucille Ball, she was a frequent guest star on other television programs, including Howard Duff's adventure/drama series *Dante* in the 1960 episode "The Misfortune Cookie".

She was a regular on at least two other series, as Clara Randolph the ebullient neighbor with the shrill voice married to Joe Randolph played by Hollywood veteran Lyle Talbot on *The Adventures of Ozzie and Harriet*, and on *Our Miss Brooks* on CBS, in which she reprised her radio role as Miss Daisy Enright, the title character's rival. She provided the voice for Cleo the Basset Hound in Jackie Cooper's NBC series *The People’s Choice* (1955–58).

Late in the weekly run of the original *I Love Lucy* series, the major characters moved to Connecticut. There, Lucy Ricardo befriended a new neighbor, Betty Ramsey (portrayed by Croft), who was very socially conscious and tended to get Lucy involved in adventures different from those that involved Ethel Mertz (Vivian Vance). Croft had previously guest-starred as Lucy's wealthy schoolmate Cynthia Harcourt in "Lucy is Envious", then as Evelyn Bigsby, the airline passenger seated next to Lucy in "Return Home from Europe", the episode in which Lucy disguises a hunk of cheese as a baby.

When Vance left *The Lucy Show* after the 1964–1965 season, Croft became Lucy's new sidekick, Mary Jane Lewis. Croft had previously had a recurring role as Audrey Simmons during the show's early seasons set in Danfield, New York. Mary Jane Lewis was Croft's legal name at the time, as she was then married to actor-producer Elliott Lewis (who had originally produced *The Lucy Show* during its first two seasons), but continued to use her maiden name professionally. Her only son, by a prior marriage, was killed in the Vietnam War during the period that she was co-starring with Ball.

The Lewis character was maintained when *The Lucy Show* was transformed into Ball's third sitcom, *Here's Lucy*. The character remained until Ball decided to end *Here's Lucy* in 1974.

Croft made an unsold pilot, *The Two of Us*, that centered on a children's books illustrator. The pilot was produced by Desilu.

## Later years and death

Croft continued to act in television for several years after the end of *Here's Lucy*, even reuniting with Ball in 1977 in the special *Lucy Calls the President*. She also returned to radio for several episodes of *Sears Radio Theater* in 1979.

She died of natural causes in Century City, California.

## Personal life

Croft married actor Jack Zoller, but they divorced after a short time. She married Elliott Lewis in 1959 and remained wed until his death in 1990. Croft had a son, Eric, by her first marriage, who was killed in action in 1967 during the Vietnam War.

## Filmography

| Film | | | |
| --- | --- | --- | --- |
| Year | Film | Role | Notes |
| 1943 | *In Old Oklahoma* | Dance-hall girl | Uncredited |
| 1958 | *Kathy O'* | Harriet Burton/Aunt Harriet |  |
|
| Radio | | | |
| Year | Title | Role | Notes |
| 1945-1954 | *Beulah* | Alice Henderson |  |
| 1946-1947 | *The Mel Blanc Show* | Betty Colby |  |
| 1948-1957 | *Our Miss Brooks* | Daisy Enright |  |
| 1953 | *On Stage* | Mrs. Bill Bailey | "String Bow Tie" |
| 1953-1954 | *Crime Classics* | Bathsheba Spooner, Elizabeth, Josie Mansfield, Marie, Marquise de Brinvilliers | "The Crime of Bathsheba Spooner", "The Axe and the Droot Family - How They Fared", "The Checkered Life and Sudden Death of Colonel James Fisk Jr.", "The Lethal Habit of the Marquise de Brinvilliers" |
| 1954 | *Escape* | Narrator | "The Price of the Head" |
| 1979 | *Sears Radio Theater* | Elizabeth | "The Choosing" |
|
| Television | | | |
| Year | Title | Role | Notes |
| 1952 | *I Married Joan* | Helen | Unknown episodes |
| 1953–1955 | *Our Miss Brooks* | Miss Daisy Enright | 4 episodes |
| 1954-1957 | *I Love Lucy* | Cynthia Harcourt, Betty Ramsey | 7 episodes |
| 1955–1958 | *The People's Choice* | Cleo the Basset Hound (voice) | all episodes |
| 1956 | *Dragnet* |  | 2 episodes |
| 1956–1966 | *The Adventures of Ozzie & Harriet* | Clara Randolph | 75 episodes |
| 1957 | *The Eve Arden Show* | Secretary | 1 episode, "Housework" |
| 1958 | *The Court of Last Resort* | Mrs. Craig | 1 episode |
| 1960 | *Dante* | Alma Jenks | 1 episode |
| 1962–1968 | *The Lucy Show* | Audrey Simmons (1962–64)
Mary Jane Lewis (1965–68) | 8 episodes (1962–64)
31 episodes (1965–68) |
| 1966 | *Vacation Playhouse* | Helen | 1 episode |
| | *The Two of Us* | Helen | Television pilot |
| 1969 | *The Mothers-in-Law* | Carol Yates | 1 episode |
| 1969–1974 | *Here's Lucy* | Mary Jane Lewis | 30 episodes |
| 1977 | *Lucy Calls the President* | Midge Bowser | Television special |
| 1981 | *An Ozzie and Harriet Christmas* | Self | TV special on KTLA in Los Angeles |
|

## InfoBox

| Mary Jane Croft | |
| --- | --- |
|  | |
| Born | (1916-02-15)February 15, 1916
Muncie, Indiana, US |
| Died | August 24, 1999(1999-08-24) (aged 83)
Century City, California, US |
| Other names | Mary Jane Croft Lewis |
| Occupation | Actress |
| Years active | 1935–1979 |
| Spouses | * Jack Zoller
(m. 19??; div. 19??) *   Elliott Lewis  (m. 1959; died 1990) |
| Children | 1 |


title: The Beautiful Boy

abstract: The Beautiful Boy is a book by radical feminist academic Germaine Greer, published in 2003 as The Boy in the Commonwealth by Thames & Hudson and in the rest of the world by Rizzoli. Its avowed intention was "to advance women's reclamation of their capacity for and right to visual pleasure". The book is a study of the youthful male face and form, from antiquity to the present day, from paintings and drawings to statuary and photographs. The book was the subject of controversy due to its cover photo and topic matter. The subject of the book's cover picture, Björn Andrésen, stated that his permission was not attained for the photo's use. Some writers characterised the book's nature as paedophilic. Critical reception was largely positive towards the book's illustrative value as a photo-book, but mixed towards its textual and theoretical value.

text:
# The Beautiful Boy

***The Beautiful Boy*** is a book by radical feminist academic Germaine Greer, published in 2003 as ***The Boy*** in the Commonwealth by Thames & Hudson and in the rest of the world by Rizzoli. Its avowed intention was "to advance women's reclamation of their capacity for and right to visual pleasure". The book is a study of the youthful male face and form, from antiquity to the present day, from paintings and drawings to statuary and photographs.

The book was the subject of controversy due to its cover photo and topic matter. The subject of the book's cover picture, Björn Andrésen, stated that his permission was not attained for the photo's use. Some writers characterised the book's nature as paedophilic.

Critical reception was largely positive towards the book's illustrative value as a photo-book, but mixed towards its textual and theoretical value.

## Content

The book contains some 200 pictures of boys through the ages, and is a history of boys in Western art and classical mythology. This includes an analysis of Classical, Neoclassical, and Renaissance art. Pictures and discussions range from Cupid to Elvis, Boy George, Kurt Cobain, and Jim Morrison.

Writing in the book's opening pages, Greer says that, "Most people have accepted without question that women are treated as sex objects, viewed principally as body, with a primary duty to attract male attention. Though this is clearly true, it is also true that women are at the same time programmed for failure in their duty of attraction, because boys do it better." She continues by saying that the ideally attractive boy must be "old enough to be capable of sexual response but not yet old enough to shave. This window of opportunity is not only narrow, it is mostly illegal. The male human is beautiful when his cheeks are still smooth, his body hairless, his head full-maned, his eyes clear, his manner shy and his belly flat."

She says that male youth was previously prized artistically, but in more recent centuries was displaced by a preference for adult masculinity. Accordingly, she argues that male youthfulness was desexualised in art. She says that, "At the end of the 20th century, guilty panic about pedophilia completed the criminalisation of awareness of the desires and the charms of boys... Where once boys were considered 'made for love and loved of all' they are now considered attractive only to a perverted taste." According to Greer, "among the attributes that are on the verge of extinction is youthful narcissism". She also wrote that, "Boy sex is irresponsible, spontaneous and principally self-pleasuring".

She argues that young male beauty conveys "male vulnerability" and can be "sexualised with impunity", via the "female gaze". She also says that boys are "debarred from phallic power", and that they are compelled by patriarchy to "annihilate the boy in him and confine himself to the narrower scope available to him in patriarchal society". She proposes that "\[Campaigners\] against 21st-century sex tourism see the traffic as one-way. Their activities are inspired by horror and compassion for children who are forced by economic necessity to have sex that they are not ready for with older people they could not possibly desire. (This assumption itself should cast some doubt on the campaigners' own motives.) When she was studying the 'bad' sexualised mother, the great Melanie Klein asked herself in a note: 'Who is seducing whom?'"

According to Greer, pederastic lust was not what art that depicted young males historically expressed, and that these images were attractive due to being based in life rather than lust. In her conclusion she says that, "The boy Eros would bring the sexes to a reconciliation, if we would only acknowledge him."

## Reception

### Book reviews

Reviewing *The Beautiful Boy* in *The Guardian*, feminist writer Natasha Walter said that "Because Greer relies on such close criticism of the art, this is a book that is best savoured slowly... Greer has chosen to examine her subject thematically rather than chronologically, which means that you are constantly doubling back on yourself, bumping into Cupid again just after you have put away Boy George, which makes it tough trying to hold on to any sense of development across the centuries." According to art critic Sue Hubbard of *The Independent*, it was "Thoroughly researched and beautifully illustrated... \[but it\] does not seem really significant in terms of art history and amounts to a footnote within critical theory. Others of a more voyeuristic bent might feel cheated that the book is rather dryer and less erotic than the title promises."

In *The Irish Times*, Robert O'Byrne said that the book was, "...a dreary and muddled text. Indeed, *The Boy* could be summarised as mad, bad and not worth knowing. Constantly meandering in its approach, the book fails to deliver clearly what Greer has declared at the outset as her intent: 'to reclaim for women the right to appreciate the short-lived beauty of boys'".

Miranda Carter, reviewing the book for *The Daily Telegraph*, described it as a "handsomely produced, leisurely coffee-table trawl through the art canon, tracing images of boys in art from childhood through adolescence to young manhood, starting with Grecian kouroi and Greek myths and ending up with pop stars." In a review for *The Sunday Times*, James Hall says that, "At first flick, *The Boy* resembles a ravishing picture-book for the smart coffee table. But the text and some of the images are pretty incendiary. Alongside famous Old Master depictions of luscious boys (mythological, biblical and secular), we find recent "art" photographs that have been accused of pandering to paedophiles."

*The Age* called the book "an insightful survey of male beauty through the ages and a powerful and radical polemic ... It is occasionally undermined by erroneous statements ... and self-indulgent whimsy that you will find—depending on whether you love or hate the author—either endearingly idiosyncratic or utterly outrageous." In Peter Conrad's review of *The Beautiful Boy* for *The Observer*, he said that "Greer's ogling defiantly disproves the orthodox feminist notion that 'the act of viewing is masculine'".

Robert Douglas-Fairhurst said of the book in *The Art Newspaper*, "\[Although\] she is better at picking fights than constructing arguments, none of Dr Greer's occasional lapses stifles the frisky playfulness of her book as whole... Dr Greer has managed to produce a book that is itself distinctly boyish... Dr Greer's title seems to offer more than a description of her main subject. It also characterises the polymorphous appeal of her way of looking at it." A writer for *Publishers Weekly* said of the book, "Short on argument but long on lush reproductions of languid young men, the collection is better viewed than read."

In *The New Zealand Herald*, Alison Jones wrote that, "Greer's affectionate enjoyment of boys will resonate with that of countless mothers (and fathers) who adore their sons' litheness and mourn its passing. It may be prosaic to confess this, but as a mother of teenage sons, I found this book a genuine balm." For *Prospect*, Sebastian Smee wrote that, "Many people's first instinct may be that she is exploiting the dubious sanctuary of art to validate dangerous desires. But in the current climate, in which we have all but given up on the distinction between eroticism and pornography, Greer is trying to draw a distinction between delight and desire. There is a subtlety in the writing and an openness to complication one doesn't always find in her work. The result is a book that strikes me as courageous."

Writing in *The New York Times*, Janet Maslin said that the book provided "scholarly text that can't compete with the pictures." In *Literary Review*, the literary critic Miranda Seymour called the book "a tasty scrapbook of male beauty". Reviewing the book for *Australian Book Review*, Ian Britain commented that, "There's little here, in fact, that you could call argument, in the sense of a coherent succession of reasoned propositions: nothing so solid or stable to argue against; nothing so stolid or boring. When not beguiled by the next image of upwardly nubile flesh, sumptuously reproduced from the work of the world's great visual artists, you're more at risk of being left stupefied by the next authorial assertion."

In response to Greer's statement in the book about sex tourism, Jenny Diski for the *London Review of Books* said, "Would it be impossibly puritanical to point out that child prostitution might be qualitatively different from the painful but civilised love of pubescent boys for older women?... And does the same apply to older men and girls, or older men and boys, or older women and girls? Sometimes Greer's admirable intellect is subsumed by the need to make a noise in the world. Which is a pity, because she is addressing a real issue here about our inability to be honest with ourselves; a sorry failure to understand the difference between protecting our own socially constructed sensibilities, and protecting children from harm." However, she also stated that "In the meantime, the good news is that Greer’s theorising permits the production of a very handsome book full of beautifully reproduced paintings and sculptures from galleries around the world."

Jonathan Gornall commented on the book in *The Times*, calling it "a somewhat iffy collection of pictures of pre-pubescent lovelies from life and art, an illustrated paean of praise for the beauty of the young male presented as a feminist rallying cry for women's right to ogle under-age male totty."

In *The New York Review of Books*, Christopher Alessandrini called it "Part glossy coffee-table smut, part art-historical treatise on desire" as well as an "out-of-print curiosity". He also said that "it remains an unusual bit of propaganda calling for the return of young men to the realm of public attraction... the claim that beautiful boys are essential fixtures of public life is hardly radical. Western art history corroborates it: How many iterations of St. Sebastian, bound and stuck with arrows, decorate the public squares and churches of Europe? How many likenesses of Ganymede, commissioned by lords and counts?"

### Controversy

The cover picture caused controversy when the subject of the photograph, Björn Andrésen, a Swedish actor and musician who played *Tadzio* in *Death in Venice* (billed by the director Luchino Visconti as "the most beautiful boy in the world"), stated in the press that he objected to the picture having been used without his permission. He was fifteen years old when the photograph was taken. Greer's publisher, Thames & Hudson, said they did not require his permission to use the picture on the book's cover. The company's publishing director, Jamie Camplin, stated that they had acquired permission from David Bailey instead. Camplin was also quoted as saying, "It's not exploitation, it's the opposite. She's celebrating it, enjoying it. Here's this wonderful-looking young man: enjoy it!". Andrésen was reportedly also disturbed by the content of Greer's book. He stated, "Adult love for adolescents is something that I am against in principle... Emotionally perhaps, and intellectually, I am disturbed by it—because I have some insight into what this kind of love is about."

Greer has described her book as "full of pictures of 'ravishing' pre-adult boys with hairless chests, wide-apart legs and slim waists". She goes on to say that, "I know that the only people who are supposed to like looking at pictures of boys are a sub-group of gay men", she wrote in London's *Daily Telegraph*. "Well, I'd like to reclaim for women the right to appreciate the short-lived beauty of boys, real boys, not simpering 30-year-olds with shaved chests." She was criticised for these comments, with some writers labeling her a paedophile. Greer responded vigorously on Andrew Denton's television talk show *Enough Rope*. Denton quoted her as having said to the *Sydney Morning Herald* that, "A woman of taste is a pederast—boys rather than men." She had anticipated that she would be called a paedophile after the book's publication, and was quoted as saying "This book is going to get me into a lot of trouble. I'll be called a paedophile after this."

## Editions

## InfoBox

The Beautiful Boy
| Cover of *The Beautiful Boy*, showing Björn Andrésen in 1970 by David Bailey (international edition) | |
| --- | --- |
| Author | Germaine Greer |
| Language | English |
| Subjects | Art history |
| Publisher | Thames & Hudson |
| Publication date | 2003 |
| Media type | Print |
| Pages | 256 |
| ISBN | 978-0-5002-8488-9 |


title: Ullam Kavarntha Kalvan

abstract: Ullam Kavarntha Kalvan is a 1987 Indian Tamil-language romantic comedy film written by Panchu Arunachalam, directed and photographed by Ashok Kumar. A remake of the Hindi film Chitchor (1976), it stars Pandiarajan, Nizhalgal Ravi and Rekha, with V. K. Ramasamy and Manorama in supporting roles. The film was released on 4 September 1987.

text:
# Ullam Kavarntha Kalvan

***Ullam Kavarntha Kalvan*** (transl.Heart stealer) is a 1987 Indian Tamil-language romantic comedy film written by Panchu Arunachalam, directed and photographed by Ashok Kumar. A remake of the Hindi film *Chitchor* (1976), it stars Pandiarajan, Nizhalgal Ravi and Rekha, with V. K. Ramasamy and Manorama in supporting roles. The film was released on 4 September 1987.

## Plot

## Cast

## Production

*Ullam Kavarntha Kalvan*, a remake of the Hindi film *Chitchor*, is the final film produced by Thooyavan. He died on 11 July 1987, when the film was close to completion.

## Soundtrack

The music was composed by Ilaiyaraaja. Rajesh Rajamani of *HuffPost* feels "Naadirukum" is a fusion song. It is set in the Carnatic raga Sankarabharanam.

Track listing
| No. | Title | Lyrics | Singer(s) | Length |
| --- | --- | --- | --- | --- |
| 1. | "Naadirukum" | Panchu Arunachalam | P. Jayachandran | 4:30 |
| 2. | "En Manasa" | Panchu Arunachalam | P. Jayachandran | 4:27 |
| 3. | "Idhukuthana" | Panchu Arunachalam | Malaysia Vasudevan | 4:35 |
| 4. | "Kalangkaathale" | Ilaiyaraaja | K. J. Yesudas, K. S. Chithra | 4:38 |
| 5. | "Thene Senthane" | Panchu Arunachalam | S. P. Balasubrahmanyam | 4:18 |
| 6. | "Poothendral" |  | K. S. Chithra | 4:29 |
| Total length: | | | | 26:57 |

## Release and reception

*Ullam Kavarntha Kalvan* was released on 4 September 1987. *The Indian Express* criticised the "wafer-thin" plot, but lauded Ashok Kumar's cinematography. Jayamanmadhan of *Kalki* also reviewed the film.

## InfoBox

| Ullam Kavarntha Kalvan | |
| --- | --- |
| DVD cover | |
| Directed by | Ashok Kumar |
| Screenplay by | Panchu Arunachalam |
| Story by | Subodh Ghosh |
| Produced by | Thooyavan |
| Starring | Pandiarajan
Nizhalgal Ravi
Rekha |
| Cinematography | Ashok Kumar |
| Edited by | T. K. Rasun |
| Music by | Ilaiyaraaja |
| Production
company | Appu Movies |
| Release date | * 4 September 1987 (1987-09-04) |
| Country | India |
| Language | Tamil |


title: Orchestina rabagensis

abstract: Orchestina rabagensis is an extinct spider which existed in what is now Spain during the late Albian age. It was described in 2012.

text:
# Orchestina rabagensis

***Orchestina rabagensis*** is an extinct spider which existed in what is now Spain during the late Albian age. It was described in 2012.

## InfoBox

| *Orchestina rabagensis*
Temporal range: | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Subphylum: | Chelicerata |
| Class: | Arachnida |
| Order: | Araneae |
| Infraorder: | Araneomorphae |
| Family: | Oonopidae |
| Genus: | *Orchestina* |
| Species: | ***O. rabagensis*** |
| Binomial name | |
| ***Orchestina rabagensis***
Saupe *et al.*, 2012 | |
|