title: Missouri Humanities Council

abstract: The Missouri Humanities Council, also known as Missouri Humanities (MH), is a 501(c)(3), non-profit organization that was created in 1971 under authorizing legislation from the U.S. Congress to serve as one of the 56 state and territorial humanities councils that are affiliated with the National Endowment for the Humanities (NEH). MH supports and provides programs that encourage family reading and support local museums, libraries, and other organizations promoting humanities education—facilitating public conversations on topics that include history, religion, archaeology, anthropology, philosophy, literature, law, ethics, and languages.

text:
# Missouri Humanities Council

The **Missouri Humanities Council**, also known as **Missouri Humanities** (**MH**), is a 501(c)(3), non-profit organization that was created in 1971 under authorizing legislation from the U.S. Congress to serve as one of the 56 state and territorial humanities councils that are affiliated with the National Endowment for the Humanities (NEH).

MH supports and provides programs that encourage family reading and support local museums, libraries, and other organizations promoting humanities education—facilitating public conversations on topics that include history, religion, archaeology, anthropology, philosophy, literature, law, ethics, and languages.

## History and Structure

In 1971, the National Endowment for the Humanities (NEH) contacted academic leaders in various states and asked them to form state committees to create a new form of adult education experience centered in humanities scholarship and related to public issues. The state committees were set up as grant-makers, similar to the NEH, and The Missouri Committee for the Humanities was among those first groups formed in 1971. Robert Walrond, a specialist in continuing education at St. Louis University, was among the group that founded the Missouri Committee, and he served as its executive director until 1986.

In 1976, Rhode Island Senator Claiborne Pell lead the revision of the federal statute that authorized the NEH to operate, naming the state councils as legitimate entities entitled to a portion of the NEH budget. This fundamental change led the state councils to formalize their incorporation in each state as tax-exempt, non-profit corporations, retaining their status as grantees of NEH.

The Missouri Humanities Council was formally incorporated as a non-profit organization in 1975 and received IRS 501(c)(3) status in April 1977. The office is currently located in St. Louis, Missouri. The board members of council, which include individuals nominated and elected by the council and members appointed by the governor of Missouri, are located across the state and come from diverse backgrounds including education, business, agriculture, museums and libraries, and law. The MH bylaws currently call for the council to include no fewer than 24 and no more than 30 total board members, of whom up to six may be gubernatorial appointees. The board members of MH hold three meetings per year at which the conduct business including review and voting on major grant applications.

## Mission

MH is committed to "building a thoughtful, engaged and civil society" by providing and supporting programs and projects which promote humanities education, encourage family reading, and assist Missouri museums, libraries, and community organizations in offering humanities-based activities.

To accomplish its goals, the organization has always worked to "create bridges" between humanities scholars and general public audiences. In recent years, MH staff and board members also have come to place considerable emphasis on responding to what constituent and partner communities and organizations see as their needs and priorities, rather than from the "top down." Another equally important guiding principle is collaboration: in an era of diminishing resources, MH works to extend its impact and relevance by engaging as much as possible with partners in its initiatives and programs. Recent partners have included the Mark Twain Boyhood Home and Museum, the Missouri History Museum, the Missouri Association of Museums and Archives, and the State Historical Society of Missouri.

## Ongoing Programs and Partnerships

MH offers a variety of programs. These include competitive grants to support humanities-related projects and programs around the state of Missouri, family reading initiatives, heritage tourism projects, and traveling exhibits. The council also collaborates in promoting and providing other public humanities programming. Ongoing programs include:

### Traveling Exhibits

In collaboration with the Missouri History Museum, MH sends traveling exhibits to Missouri communities on subjects such as Missouri in the Civil War and helps develop programs and exhibits for the host communities to tell their own stories in the context of the larger statewide narrative.

### Project and Program Grants

MH awards competitive grants to Missouri institutions, organizations, and communities to help them develop and present high-quality, humanities-based programs, events, exhibits, and publications. Missouri Humanities’ Mini Grants fund projects up to $2,500. Applications are considered two times each year with the following deadlines: MAY 1 & NOVEMBER 1. Missouri Humanities’ Major Grants fund projects up to $10,000. Applications are considered two times each year with the following deadlines: FEBRUARY 1 & AUGUST 1.

### Missouri Speakers Bureau Services

In collaboration with the State Historical Society of Missouri, MH maintains a network of experts and scholars to provide affordable, high-quality programs and presentations for organizations and institutions around the state.

### Veterans' Creative Writing Initiative

MH partners with organizations across the state to provide veterans and their families with an outlet for self-expression through writing. Our Veterans Programs offer support to new and experienced writers through workshops, readings, podcasts, and an annual publication, Proud to Be: Writing by American Warriors. Together, these programs encourage hundreds of veterans to tell their stories each year.

In collaboration with various partners, MH helps provide creative writing workshops for veterans. Other successful components of this program include an annual writing contest and the production of an anthology, "Proud to Be," which is published in partnership with Warriors Arts Alliance and Southeast Missouri State University Press.

### Signature Series

Each year, MH presents a Signature Series highlighting a humanities theme significant to Missourians in the past, present, and future. Across all our core programs, MH staff plan events, workshops, presentations, and activities on the chosen theme to hold across the state throughout the calendar year.

### Small Town Showcase

Each year, communities will be nominated and voted on by Missourians to become our annual “Featured Five” communities. Each of our Featured Five will work with Missouri Humanities on the following:

* A short video about their community
* An hour-long podcast, roundtable-style
* A feature in our bi-annual publication, *MoHumanities*
* A highlight reel, featuring all five communities, to be shown during our annual gala

### Cultural Heritage Workshops

MH Cultural Heritage Workshops provide the tools and resources necessary for communities to re-evaluate their cultural heritage assets in an effort to begin or revive programming, tourism, and economic development opportunities in their area.

### Library of Congress Center for the Book

The Missouri Center for the Book is a program of Missouri Humanities and the state affiliate of the Library of Congress Center for the Book. MH's mission is to commemorate and promote appreciation for and greater awareness of Missouri’s rich literary heritage. This includes hosting an annual regional Book Festival and selecting two books to represent the state at the National Book Festival in Washington D.C. every year. These titles are added to the Great Reads from Great Places book list. The list features books and authors representing the literary heritage of all 50 states and U.S. territories.

Since receiving Affiliate Center status in 2021, MH's work is guided by input from numerous literary and literacy-based organizations, authors, and educators from across the state of Missouri who serve on the Missouri Center for the Book (MOCFTB) Planning Team.

### Literature Programs

MH's Literature Programs commemorate and promote appreciation for Missouri’s rich literary heritage. By creating programs that bring greater awareness to local literature, MH is encouraging reading for pleasure and expanding literary education for Missourians of all ages.

## Funding

Current funding sources for MHC include:

* The National Endowment for the Humanities
* The state of Missouri, through the Missouri Arts Council/Department of Economic Development (as spending authority from the humanities trust fund administered by the Treasurer of the State of Missouri, which was built up with monies allocated by the General Assembly from the "Out-of-state Athletes and Entertainers" income tax)
* Donations from individuals, including the MHC council members and staff
* Corporate, foundation and institutional grants and sponsorships; recent sources include:

The future of public funding for the humanities is uncertain at present. Consequently, MH has launched a serious effort to diversify its sources of funding and build relationships with potential corporate and foundation partners.


title: Mitsoudjé

abstract: Mitsoudjé is a town located on the island of Grande Comore in the Comoros. It is also the birthplace of President Azali Assoumani.

text:
# Mitsoudjé

**Mitsoudjé** is a town located on the island of Grande Comore in the Comoros. It is also the birthplace of President Azali Assoumani.

## InfoBox

| Mitsoudjé | |
| --- | --- |
| Town | |
| MitsoudjéLocation in ComorosMitsoudjéMitsoudjé (Africa) | |
| Coordinates: 11°49′S 43°16′E / 11.817°S 43.267°E / -11.817; 43.267 | |
| Country | Comoros |
| Island | Grand Comore |
| Population (2012) | |
| Total | 5,004 |
| Time zone | UTC+3 (EAT) |


title: Mleczewo

abstract: Mleczewo is a village in the administrative district of Gmina Stary Targ, within Sztum County, Pomeranian Voivodeship, in northern Poland. It lies approximately 4 kilometres (2 mi) west of Stary Targ, 6 km (4 mi) east of Sztum, and 60 km (37 mi) south-east of the regional capital Gdańsk. Before 1772 the area was part of Kingdom of Poland, and in 1772–1945 it belonged to Prussia and Germany. For the history of the region, see History of Pomerania.

text:
# Mleczewo

**Mleczewo** \[mlɛˈt͡ʂɛvɔ\] is a village in the administrative district of Gmina Stary Targ, within Sztum County, Pomeranian Voivodeship, in northern Poland. It lies approximately 4 kilometres (2 mi) west of Stary Targ, 6 km (4 mi) east of Sztum, and 60 km (37 mi) south-east of the regional capital Gdańsk.

Before 1772 the area was part of Kingdom of Poland, and in 1772–1945 it belonged to Prussia and Germany. For the history of the region, see History of Pomerania.

## InfoBox

| Mleczewo | |
| --- | --- |
| Village | |
| Mleczewo | |
| Coordinates: 53°54′54″N 19°7′1″E / 53.91500°N 19.11694°E / 53.91500; 19.11694 | |
| Country | Poland |
| Voivodeship | Pomeranian |
| County | Sztum |
| Gmina | Stary Targ |
| Population | 239 |


title: Where's Raymond?

abstract: Where's Raymond? is an American sitcom that aired on ABC, starring Ray Bolger. The series aired from October 1953 to April 22, 1955. The series' title was spurred by Bolger's Broadway stage hit Where's Charley? In the 1954–1955 season, the series was renamed The Ray Bolger Show.

text:
# Where's Raymond?

***Where's Raymond?*** is an American sitcom that aired on ABC, starring Ray Bolger. The series aired from October 1953 to April 22, 1955. The series' title was spurred by Bolger's Broadway stage hit *Where's Charley?*

In the 1954–1955 season, the series was renamed ***The Ray Bolger Show***.

## Synopsis

Bolger stars as Raymond Wallace, a song-and-dance man who is consistently barely on time for his performances. Bolger's co-stars in both seasons were Richard Erdman as Pete Morrisey, Ray's landlord and press agent and Sylvia Lewis as Sylvia, Ray's dancing partner and the series choreographer. Allyn Joslyn appeared as Jonathan Wallace, Ray's brother. Betty Lynn played Jonathan's wife June, and Frances Karath played their daughter Ginny.

In the second season, Marjie Millar played Susan, Ray's girlfriend and an aspiring writer from Iowa, and Christine Nelson portrayed Katie Jones, Susan's friend.

## Guest stars

## Production notes

The series was filmed by Desilu at General Service Studios in Hollywood. *Where's Raymond?* aired at 8:30 EST on Thursdays opposite *Four Star Playhouse*, an anthology series on CBS, *Broadway to Hollywood* on DuMont (first season) and *Treasury Men in Action* on NBC.

Sponsor Lehn & Fink cancelled the show at the end of its 39-week run in 1955. The trade publication *Variety* reported that the gross cost of each episode was $40,000, not including network time, and said that the show "never got off the ground, in the opinion of the client, and suffered in the competitive rating story."

## Reception

A review of *Where's Raymond?* in *TV Guide* said that the program had "a thin story line on which to base a 39-week series". It added, however, that Bolger's dancing, humor, and singing "should be enough to please most viewers".

## InfoBox

| *Where's Raymond?* | |
| --- | --- |
| Also known as | *The Ray Bolger Show* |
| Genre | Sitcom |
| Directed by | John Rich
Sidney Lanfield
Marc Daniels
William Asher |
| Starring | Ray Bolger
Richard Erdman
Allyn Joslyn
Sylvia Lewis
Betty Lynn
Marjie Millar
Christine Nelson
Gloria Winters
Verna Felton
Ray Teal |
| Composers | Herbert W. Spencer
Earle Hagen
Al Goodwin |
| Country of origin | United States |
| Original language | English |
| No. of seasons | 2 |
| No. of episodes | 58 |
| Production | |
| Producers | Jerry Bresler
Stanley Shapiro
Paul Henning |
| Camera setup | Multi-camera |
| Running time | 24–25 mins |
| Original release | |
| Network | ABC |
| Release | October 8, 1953 (1953-10-08)
April 22, 1955 (1955-04-22) |


abstract: What's Wrong with This Picture? is the thirtieth studio album by Northern Irish singer-songwriter Van Morrison, released on 21 October 2003 by Blue Note Records. The album received a Grammy Awards nomination for Morrison in the "Best Contemporary Blues Album" category. Two singles from the album were released and charted on the Billboard Adult Alternative Airplay: "Once in a Blue Moon" (#16) and "Evening in June" (#20).

text:
# What's Wrong with This Picture? (Van Morrison album)

***What's Wrong with This Picture?*** is the thirtieth studio album by Northern Irish singer-songwriter Van Morrison, released on 21 October 2003 by Blue Note Records.

The album received a Grammy Awards nomination for Morrison in the "Best Contemporary Blues Album" category. Two singles from the album were released and charted on the *Billboard* Adult Alternative Airplay: "Once in a Blue Moon" (#16) and "Evening in June" (#20).

Professional ratings
| Review scores | |
| --- | --- |
| Source | Rating |
| AllMusic | link |
| *Capital Celtic* | link |
| *Entertainment Weekly* | (unrated) link |
| *Michigan Daily* | link |
| PopMatters | (unrated) link |
| *RTÉ.ie* | link |
| *Rolling Stone* | link |
| *Uncut* | link |

## Track listing

All songs by Van Morrison, unless noted otherwise.

1. "What's Wrong with This Picture?" – 6:00
2. "Whinin Boy Moan" – 4:17
3. "Evening in June" – 4:00
4. "Too Many Myths" – 4:32
5. "Somerset" (Acker Bilk, David Collett, Morrison) – 4:09
6. "Meaning of Loneliness" – 6:41
7. "Stop Drinking" (Lightnin' Hopkins, Morrison) – 3:24
8. "Goldfish Bowl" – 6:01
9. "Once in a Blue Moon" – 3:30
10. "Saint James Infirmary" (Traditional) – 5:32
11. "Little Village" – 4:30
12. "Fame" – 5:21
13. "Get on with the Show" – 5:40

## Personnel

## Charts

**Album**UK Album Chart

| Year | Chart | Position |
| --- | --- | --- |
| 2003 | UK Album Chart | 43 |
|

**Album**Billboard (North America)

| Year | Chart | Position |
| --- | --- | --- |
| 2003 | The Billboard 200 | 32 |
|

## InfoBox

| What's Wrong with This Picture? | |
| --- | --- |
|  | |
| Studio album by Van Morrison | |
| Released | 21 October 2003 |
| Recorded | 2002 |
| Studio | The Wool Hall, Kilmurray House and Westland Studios |
| Genre | Celtic rock, blues, R&B |
| Length | 63:37 |
| Label | Blue Note |
| Producer | Van Morrison |
| Van Morrison chronology | |
| *Down the Road*
(2002) ***What's Wrong with This Picture?***
(2003) *Magic Time*
(2005) | |
|  | |
| Singles from  *What's Wrong with This Picture?* | |
| 1. "Once in a Blue Moon" b/w "Walkin' My Baby Back Home"/"When You're Smiling"
Released: December 2003 | |
|  | |


title: What's Wrong with the Women?

abstract: What's Wrong with the Women? is 1922 American silent Jazz Age drama film, directed by Roy William Neill, produced by Daniel Carson Goodman, and starring Wilton Lackaye, Barbara Castleton, and Constance Bennett. It is not known whether the film currently survives, which suggests that it is a lost film.

text:
# What's Wrong with the Women?

***What's Wrong with the Women?*** is 1922 American silent Jazz Age drama film, directed by Roy William Neill, produced by Daniel Carson Goodman, and starring Wilton Lackaye, Barbara Castleton, and Constance Bennett. It is not known whether the film currently survives, which suggests that it is a lost film.

## Cast

## InfoBox

| What's Wrong with the Women? | |
| --- | --- |
| Ttheatrical release poster | |
| Directed by | Roy William Neill |
| Written by | Daniel Carson Goodman |
| Produced by | Daniel Carson Goodman |
| Starring | Wilton Lackaye
Barbara Castleton
Constance Bennett |
| Cinematography | George J. Folsey |
| Production
company | Daniel Carson Goodman Productions |
| Distributed by | Equity Pictures |
| Release date | * September 12, 1922 (1922-09-12) |
| Running time | 70 mins. |
| Country | United States |
| Language | Silent (English intertitles) |


title: Mixed grill

abstract: Many regional cuisines feature a mixed grill, a dish consisting of an assortment of grilled meats.

text:
# Mixed grill

Many regional cuisines feature a **mixed grill**, a dish consisting of an assortment of grilled meats.

## List of mixed grill dishes

Mixed grill dishes include:

* Bulgarian mixed grill (Meshana skara) – typically pork, pork chops, sausages or minced meat made into meatballs or other shapes

### By region

* Australia: Similar to the English version (see below), it usually consists of bacon, lamb chops, rump steak, beef or pork sausages, eggs, lamb's fry and occasionally, tomatoes and pineapple.
* English mixed grill: Consisting of several of lamb chops, pork chops, sausages, chicken, lamb kidneys, beef steak, gammon, fried eggs, tomatoes and mushrooms, usually served with chips and peas.
* Italy: typically featuring chicken (often marinated in olive oil, garlic, lemon and rosemary), beef and pork.
* Latin American and Spanish barbecued pinchitos: Mixed grill, barbecued meat and vegetables on sticks, known as *pinchos*, *pinchos americanos*, *brochetas*, or *anticuchos* in Central and South America. These barbecued *pinchos* may include pieces of beef, pork, chicken, fish/shark, Mexican chorizo (or sausage), kidney, or liver, among others.
* Brazil: Espetinhos
* South African mixed grill, featuring boerewors, eggs, lamb chops, rump steak.
* Arabian: Selection of shish kebabs, variously including chicken breast cubes, beef cubes, meat kofta, chicken kofta and lamb chops.
* Argentina: *asado*, featuring cuts of beef, kidney, liver and sausages (especially chorizo and *morcilla*, a form of blood sausage).
* South Asian (Bangladesh/India/Pakistan): Chicken tikka, mutton tikka, eaten with roti and chutney.
* United States (Kansas City) breakfast mixed grill, typically featuring a slice of ham, sausage links, bacon strips, eggs, home fries and buttered toast.


title: Mitsubishi Fuso Aero Midi

abstract: The Mitsubishi Fuso Aero Midi is a step-entrance, low entry and low floor midibus produced by the Japanese manufacturer Mitsubishi Fuso. It is primarily available as public buses and sightseeing buses ranged from lengths of 7.0m to 10.1m. The range can be built as either a complete bus or a bus chassis. The Mitsubishi Fuso MK Series was built between 1974 and 1988. The Aero Midi appeared in 1988 after the replacement for the MK Series. The Aero Midi ceased production in 2007 and replaced by the Aero Midi-S in 2008. After the Aero Midi-S ceased production in 2010, production of the Aero Midi city bus recommenced in the following year. The Mitsubishi Fuso Aero Midi is the low entry and smaller version of the low floor Mitsubishi Fuso Aero Star city bus.

text:
# Mitsubishi Fuso Aero Midi

The **Mitsubishi Fuso Aero Midi** (kana: 三菱ふそう・エアロミディ) is a step-entrance, low entry and low floor midibus produced by the Japanese manufacturer Mitsubishi Fuso. It is primarily available as public buses and sightseeing buses ranged from lengths of 7.0m to 10.1m. The range can be built as either a complete bus or a bus chassis.

The Mitsubishi Fuso MK Series was built between 1974 and 1988. The Aero Midi appeared in 1988 after the replacement for the MK Series. The Aero Midi ceased production in 2007 and replaced by the Aero Midi-S in 2008. After the Aero Midi-S ceased production in 2010, production of the Aero Midi city bus recommenced in the following year. The Mitsubishi Fuso Aero Midi is the low entry and smaller version of the low floor Mitsubishi Fuso Aero Star city bus.

## MK Series (1974-1988)

* MK103H (1974)
* MK115 (1976)
* K-MK116 (1979)
* P-MK116/516 (1984)

## Aero Midi (First generation, 1988-1993)

* P-MK117/126/517 (1988)
* P-MM117/517 (1988)
* P-MJ117/527 (1988)
* U-MK117/517 (1990)
* U-MJ517/527 (1990)
* U-MM117/517 (1990)

## Aero Midi (Second generation, 1993-2007, 2011-present)

* U-MK117/218/517/525/527/595/618 (1993)
* U-MJ217/628 (1993)
* KC-MK219/619 (1995)
    + KC-MK219J (One-step bus, 1998)
* KC-MJ218/629 (1995)
* KK-MK23/25/26/27 (1999)
* KK-MJ23/26 (1999)
* KK-ME17 (2002)
* PA-MK17/25/27 (2005)
* PA-MJ26 (2005)
* PA-ME17 (2005)
* SKG-MK27 (2011)
* TKG-MK27 (2012)

## Aero Midi-S (2008-2010)

The Aero Midi-S is a rebadged Nissan Diesel Space Runner RM and Nissan Diesel Space Runner JP. A common design is that it has a rounded roof dome (similar to the Nissan Diesel Space Runner RM and the Nissan Diesel Space Runner JP) with a double-curvature windscreen and a separately mounted destination sign.

* PDG-AR820 (2008)
* PDG-AJ820 (2008)

## Model lineup

## InfoBox

| Mitsubishi Fuso Aero Midi | |
| --- | --- |
|  | |
| Overview | |
| Manufacturer | Mitsubishi Motors Corporation (1988–2002)
Mitsubishi Fuso Truck and Bus Corporation (2003–present) |
| Production | 1988–present |
| Body and chassis | |
| Class | Complete bus
Bus chassis |
| Body style | Single-decker bus (short, medium & long body) |
| Doors | 1 or 2 |
| Floor type | Step-entrance
Low entry
Low floor |
| Related | Mitsubishi Fuso Aero Bus
Nissan Diesel Space Runner JP
Nissan Diesel Space Runner RM |
| Powertrain | |
| Engine | 6D14, 6D15, 6D16, 6D17, 6M60, 6M61, 4M50 |
| Transmission | 5 or 6-speed manual, 5-speed automatic (-2012), 6-speed manual (2012- ) |
| Dimensions | |
| Length | 7.0m to 10.5m |
| Width | 2.3m or 2.5m |
| Height | 3.0m |
| Chronology | |
| Predecessor | Mitsubishi Fuso MK Series |


title: Sanborn's squirrel

abstract: Sanborn's squirrel is or was a little known tree squirrel described in 1944 from the skin and skeleton of a single female specimen collected in Peru in 1941. Subsequently, over the proceeding years only a handful of either specimens were collected, or observations were recorded, in the regions of Madre de Dios and northern Puno in Peru, and Pando department in Bolivia. The 2019 IUCN assessment describes it as endemic to Peru. In 2015 this taxon was synonymised with Notosciurus pucheranii ssp. boliviensis. Its habitat is tropical dry broadleaf forests at elevations up to 570 m. It is considered possibly rare and potentially vulnerable to deforestation, but its population trend is not established.

text:
# Sanborn's squirrel

**Sanborn's squirrel** (***Sciurus sanborni***) is or was a little known tree squirrel described in 1944 from the skin and skeleton of a single female specimen collected in Peru in 1941. Subsequently, over the proceeding years only a handful of either specimens were collected, or observations were recorded, in the regions of Madre de Dios and northern Puno in Peru, and Pando department in Bolivia (single sighting, Conservation International, 1992). The 2019 IUCN assessment describes it as endemic to Peru. In 2015 this taxon was synonymised with *Notosciurus pucheranii* ssp. *boliviensis*. Its habitat is tropical dry broadleaf forests at elevations up to 570 m. It is considered possibly rare and potentially vulnerable to deforestation, but its population trend is not established.

## InfoBox

| Sanborn's squirrel | |
| --- | --- |
| Conservation status | |
|
Data Deficient  (IUCN 3.1) | |
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Chordata |
| Class: | Mammalia |
| Order: | Rodentia |
| Family: | Sciuridae |
| Genus: | *Sciurus* |
| Species: | ***S. sanborni*** |
| Binomial name | |
| ***Sciurus sanborni***
Osgood, 1944 | |
|


title: Mad, Bad and Dangerous

abstract: Mad, Bad and Dangerous is the second album released by the late-80s hard rock band Blue Tears. The album was one of many recordings by the band which went unreleased following the increased popularity of alternative and grunge music. Long after the band members got involved in other projects, some of these unreleased material started to surface on the Internet. Bandleader Gregg Fulkerson decided to compile an album of most of this material and release it officially. The album was finally released in 2005 by Suncity Records. It marked, perhaps, the return of the band, since they released an all-new album The Innocent Ones the following year.

text:
# Mad, Bad and Dangerous

***Mad, Bad and Dangerous*** is the second album released by the late-80s hard rock band Blue Tears. The album was one of many recordings by the band which went unreleased following the increased popularity of alternative and grunge music.

Long after the band members got involved in other projects, some of these unreleased material started to surface on the Internet. Bandleader Gregg Fulkerson decided to compile an album of most of this material and release it officially.

The album was finally released in 2005 by Suncity Records. It marked, perhaps, the return of the band, since they released an all-new album *The Innocent Ones* the following year.

## Track listing

1. "Long Way Home"
2. "Girl Crazy"
3. "With You Tonight"
4. "Mystery Man"
5. "Rock You to Heaven"
6. "Evidence of Love"
7. "Mad, Bad & Dangerous to Know"
8. "Misty Blue"
9. "Kisses in the Dark"
10. "Everywhere I Go"
11. "Midnight Train"
12. "Follow Your Heart"
13. "Russia Tonight"
14. "Love Machine"
15. "The Last Serenade"
16. "Live It Up"

## Personnel

* Gregg Fulkerson - vocals, guitar
* Charlie Lauderdale - drums
* Bryan Hall - guitar, vocals
* Michael Spears - bass

## InfoBox

| Mad, Bad and Dangerous | |
| --- | --- |
|  | |
| Studio album by Blue Tears | |
| Released | July 26, 2005 |
| Recorded | 19901992 |
| Genre | Hard rock |
| Length | 72:52 |
| Label | Suncity |
| Producer | Gregg Fulkerson |
| Blue Tears chronology | |
| *Blue Tears*
(1990) ***Mad, Bad and Dangerous***
(2005) *Dancin' On the Back Streets*
(2005) | |


title: María Magdalena: Pecadora de Magdala

abstract: María Magdalena: Pecadora de Magdala is a 1946 Mexican drama, historical film portraying the companion of Jesus Christ and his apostles, Mary Magdalene. It stars Luis Alcoriza.

text:
# María Magdalena: Pecadora de Magdala

***María Magdalena: Pecadora de Magdala*** ("Mary Magdalene: Sinner of Magdala") is a 1946 Mexican drama, historical film portraying the companion of Jesus Christ and his apostles, Mary Magdalene. It stars Luis Alcoriza.

## InfoBox

| María Magdalena: Pecadora de Magdala | |
| --- | --- |
| Directed by | Miguel Contreras Torres |
| Produced by | Miguel Contreras Torres |
| Starring | Medea de Novara
Luis Alcoriza
Tito Junco
José Baviera
Luana Alcañiz
Eduardo Arozamena
Alfredo del Diestro
Arturo Soto Rangel |
| Music by | Miguel Bernal Jiménez |
| Release date | * 1946 (1946) |
| Country | Mexico |
| Language | Spanish |


title: Oral mite anaphylaxis

abstract: Oral mite anaphylaxis (OMA), also known as pancake syndrome, is a disease in which a person gets symptoms after eating food contaminated with particular mites. The disease name comes from reports of people becoming ill after eating pancakes made from contaminated wheat or corn (maize) flour.

text:
# Oral mite anaphylaxis

**Oral mite anaphylaxis** (**OMA**), also known as **pancake syndrome**, is a disease in which a person gets symptoms after eating food contaminated with particular mites. The disease name comes from reports of people becoming ill after eating pancakes made from contaminated wheat or corn (maize) flour.

## Symptoms and signs

The symptoms are allergic symptoms, especially trouble breathing, swelling of the face and throat, runny nose, cough, difficulty swallowing, and wheals. Anaphylaxis can occur during exposure to NSAID drugs or exercise in people exposed to the mites.

## Cause

Dust mites are microscopic arachnids that produce very powerful allergens. If dust mites get into the food, then anyone eating the food is eating the allergens and may have an allergic reaction against them. The specific mites suspected as causing the condition are *Dermatophagoides pteronyssinus*, *Blomia tropicalis*, and *Suidasia pontifica* (Suidasia medanensis). The latter two are the most likely to have caused the harmful effects, and they live in tropical and subtropical environments.

Because the condition is triggered by eating pancakes and other cooked food, scientists expect that this means that the allergen can withstand the heat of cooking.

## Prevention

Storing flour at low temperature, such as in a freezer, could prevent contamination or kill existing mites in the flour.

## Further reading

* Hashizume H, Umayahara T, Kawakami Y (January 2014). "Pancake syndrome induced by ingestion of tempura". *The British Journal of Dermatology*. **170** (1): 213–214. doi:10.1111/bjd.12597. PMID 24032354. S2CID 38221769.
* Mangodt EA, Van Gasse AL, Bridts CH, Sabato V, Ebo DG (2015). "Simultaneous oral mite anaphylaxis (pancake syndrome) in a father and daughter and a review of the literature". *Journal of Investigational Allergology & Clinical Immunology*. **25** (1): 75–76. PMID 25898706.
* Sánchez-Borges M, Capriles-Hulett A, Caballero-Fonesca F (May 2006). "Oral mite anaphylaxis (pancake syndrome) also observed in children". *Annals of Allergy, Asthma & Immunology*. **96** (5): 755–756. doi:10.1016/s1081-1206(10)61079-4. PMID 16729794.
* Sánchez-Borges M, Capriles-Hulett A, Caballero-Fonseca F (August 2008). "Additional information on the pancake syndrome". *Annals of Allergy, Asthma & Immunology*. **101** (2): 221. doi:10.1016/S1081-1206(10)60215-3. PMID 18727482.


title: Meisterstiche

abstract: The Meisterstiche by Dürer are three of his most famous engravings. They are Knight, Death and the Devil (1513), Melencolia I (1514) and St. Jerome in His Study (1514). These three large prints are often grouped together because of their perceived quality and unity of meaning, although this latter is a matter of scholarly dispute. Art historian Erwin Panofsky has described them as showing meticulous care in execution and also having complexity and significance in terms of iconography. Panofsky, while recognising that these are Durer's "most famous engravings" and are "not unjustly, known as his 'Meisterstiche'", notes that they "have no appreciable compositional relationship with one another" and should not, in any technical sense, be "considered as 'companion pieces'". They do, Panofsky argues, form "a spiritual unity". Here, Panofsky refers to Friedrich Lippmann's noticing of the scholastic classification of the virtues they represent: the moral, the theological and the intellectual. The Knight showing "the life of the Christian in the practical world of decision and action"; St. Jerome showing "the life of the Saint in the spiritual world of sacred contemplation"; and Melencolia I showing the "life of the secular genius in the rational and imaginative worlds of science and art".

text:
# Meisterstiche

The **Meisterstiche** ("master prints") by Dürer are three of his most famous engravings. They are *Knight, Death and the Devil* (1513), *Melencolia I* (1514) and *St. Jerome in His Study* (1514). These three large prints (about 7 by 10 inches (18 by 25 cm)) are often grouped together because of their perceived quality and unity of meaning, although this latter is a matter of scholarly dispute.

Art historian Erwin Panofsky has described them as showing meticulous care in execution and also having complexity and significance in terms of iconography. Panofsky, while recognising that these are Durer's "most famous engravings" and are "not unjustly, known as his 'Meisterstiche'", notes that they "have no appreciable compositional relationship with one another" and should not, in any technical sense, be "considered as 'companion pieces'". They do, Panofsky argues, form "a spiritual unity". Here, Panofsky refers to Friedrich Lippmann's noticing of the scholastic classification of the virtues they represent: the moral, the theological and the intellectual. The *Knight* showing "the life of the Christian in the practical world of decision and action"; *St. Jerome* showing "the life of the Saint in the spiritual world of sacred contemplation"; and *Melencolia I* showing the "life of the secular genius in the rational and imaginative worlds of science and art".

## Other sources

* Grigg, Robert (1986) "Studies on Dürer's Diary of His Journey to the Netherlands: The Distribution of the" Melencolia I"." *Zeitschrift fur Kunstgeschichte*, 398-409.
* Filippi, Elena, and Michael Friel. (1995) *Albrecht Dürer's Meisterstiche: proposal for an historical-epochal reading*. University of Chicago, Chicago
* Lippmann, F. (1883-1929) Zeichnungen von Albrecht Durer in Nachbildungen (7 vols., vols. VI and VII F. Winkler, ed.), Berlin


title: Melica hunzikeri

abstract: Melica hunzikeri is a species of grass that is endemic to southern South America.

text:
# Melica hunzikeri

***Melica hunzikeri*** is a species of grass that is endemic to southern South America.

## Description

The species is perennial with short rhizomes and erect culms which are 50–60 centimetres (20–24 in) long. The leaf-sheaths are tubular and are closed on one end with its surface being glabrous or puberulous. The leaf-blades are glabrous and stiff with scaberulous surface and acuminate apex. They are 10–18 centimetres (3.9–7.1 in) long by 1.5–2.6 millimetres (0.059–0.102 in) wide and have acuminated apex. The membrane is eciliate and is 0.5–0.7 millimetres (0.020–0.028 in) long. The panicle itself is open, lanceolate and is 5–16 centimetres (2.0–6.3 in) long. There are 3–4 branches per panicle which have dominant axis.

Spikelets are cuneate, solitary, 5–6.5 millimetres (0.20–0.26 in) long and have fertile spikelets that are pediceled. The pedicels are curved, filiform, and scaberulous. The spikelets have 2 fertile florets which are diminished at the apex while the sterile florets are barren, lanceolate, clumped and are 1.5 millimetres (0.059 in) long. Both the upper and lower glumes are keelless and membranous, but every other feature is different; Lower glume is flabellate, truncate and is 3.5–4 millimetres (0.14–0.16 in) long with an erose apex. Upper glume is ovate and is 4–4.2 millimetres (0.16–0.17 in) long with an obtuse apex. Its lemma have ciliated margins and truncate apex while the fertile lemma is chartaceous, keelless, obovate and is 4.5 millimetres (0.18 in). Its palea is 2.6 millimetres (0.10 in) long while the rhachilla internodes are 1 millimetre (0.039 in) long. Flowers are 0.2–0.3 millimetres (0.0079–0.0118 in) long, fleshy, oblong and truncate. They also grow together, have 2 lodicules and 3 anthers which are 0.6 millimetres (0.024 in) long. The fruits are caryopses and have an additional pericarp.

## InfoBox

| *Melica hunzikeri* | |
| --- | --- |
|
| Scientific classification | |
| Kingdom: | Plantae |
| *Clade*: | Tracheophytes |
| *Clade*: | Angiosperms |
| *Clade*: | Monocots |
| *Clade*: | Commelinids |
| Order: | Poales |
| Family: | Poaceae |
| Subfamily: | Pooideae |
| Genus: | *Melica* |
| Species: | ***M. hunzikeri*** |
| Binomial name | |
| ***Melica hunzikeri***<br>Nicora | |
|


title: Mendelssohn, Fisher and Lawrie

abstract: Mendelssohn, Fisher and Lawrie was a significant architecture firm in early Omaha, Nebraska. Fisher & Lawrie continued. A number of their works are listed on the National Register of Historic Places.

text:
# Mendelssohn, Fisher and Lawrie

**Mendelssohn, Fisher and Lawrie** was a significant architecture firm in early Omaha, Nebraska. **Fisher & Lawrie** continued. A number of their works are listed on the National Register of Historic Places.

## History

Louis Mendelssohn was born in Berlin, Germany in 1842, and studied in New York City, United States before forming the partnership of Dufrene and Mendelssohn in Omaha in 1881. The pair were responsible for designing the 1884 Christian Specht Building in Downtown Omaha. The following year Mendelssohn left Dufrene to partner with George Fisher, with whom he operated a firm until 1886. Fisher was born in Michigan in 1856, and graduated from the University of Michigan in 1880 with a degree in civil engineering. Eventually, Harry Lawrie, born in Glasgow, Scotland in *est* 1858, who had nine years of experience in Glasgow and Edinburgh before immigrating to Chicago in 1883, moved to Omaha and joined the firm in 1887. During Omaha's building boom in the 1880s and 90s the firm designed several significant buildings. Mendelssohn left in 1893, leaving Fisher and Lawrie to continue until 1913.

Fisher died in 1931, and Lawrie died in 1935.

## Notable designs

Works by Durfene & Mendelssohn Works by Mendelssohn & Lawrie Works by Mendelssohn, Fisher & Lawrie * Old University Library, 11th and R Sts. Lincoln, Nebraska (Mendelssohn, Fisher & Lawrie), NRHP-listed, Old Library - Located on the University of Nebraska-Lincoln, it was built in 1895 and added to the NRHP in 1975.
* Broatch Building \- Built in 1880 and 1887, it was named an Omaha Landmark in 1983, and was added to the NRHP as a contributing building in the Old Market Historic District (Article says Mendelssohn, Fisher & Lawrie)
* Mason School \- Built in 1888, it was added to the NRHP in 1986. (Article states Mendelssohn, Fisher & Lawrie; NRIS2010a version states Hadden, Rocheford & Gould; Et al., however Hadden, Rocheford, & Gould were the general contractors.)
* Minne Lusa Pumping Station \- Built between 1888 and 1889, this classically styled building was built at the Florence Water Works. It was a massive building of Warrensburg sandstone with a central tower rising four stories over the arched entrance. The building housed the high service pump and huge boilers that filtered water flowed to the city water mains. It was demolished in the 1960s. (Mendelssohn, Fisher and Lawrie)
* Hicks Terrace, built in 1890, at 3005-3011 Pacific Street and 1102 South 30th Avenue in South Omaha, Nebraska. Named an Omaha Landmark in 1981. (Mendelssohn, Fisher & Lawrie)
* Knutsford Hotel, built in 1891 in Salt Lake City, Utah, this 132-foot-by-132-foot upscale hotel with 250 rooms was built completely of granite at a cost of $750,000. It was eventually converted to a department store before being demolished.
* McCornick Building (1890-93), 10 W. 100 South, Salt Lake City, Utah, NRHP-listed

Works by Fisher & Lawrie (1893–1913) Works by Lawrie and others


title: Mendelssohn-Werkverzeichnis

abstract: The Mendelssohn-Werkverzeichnis (MWV) is the first modern fully researched music catalogue of the works of Felix Mendelssohn. It appeared in 2009 under the auspices of the Saxon Academy of Sciences and Humanities (SAW) under the leadership of the German music scholar Ralf Wehner, and is published by the firm of Breitkopf & Härtel as part of the "Leipzig Edition of the Works of Felix Mendelssohn Bartholdy". Mendelssohn himself allocated opus numbers only up to 72 for his published works, with further numbers up to 121 being added posthumously. Moreover, none of Mendelssohn's earlier works including his 13 string symphonies or his operas, had any defined opus numbers. The MWV "conflates the known works into 26 groups and assigns a distinct MWV number to each of the works. Within each group, the works are ordered chronologically."

text:
# Mendelssohn-Werkverzeichnis

The ***Mendelssohn-Werkverzeichnis*** (MWV) (German for **Mendelssohn Work Index**) is the first modern fully researched music catalogue of the works of Felix Mendelssohn. It appeared in 2009 under the auspices of the Saxon Academy of Sciences and Humanities (SAW) under the leadership of the German music scholar Ralf Wehner, and is published by the firm of Breitkopf & Härtel as part of the "Leipzig Edition of the Works of Felix Mendelssohn Bartholdy".

Mendelssohn himself allocated opus numbers only up to 72 for his published works, with further numbers up to 121 being added posthumously. Moreover, none of Mendelssohn's earlier works including his 13 string symphonies or his operas, had any defined opus numbers. The MWV "conflates the known works into 26 groups and assigns a distinct MWV number to each of the works. Within each group, the works are ordered chronologically."

**Notes**

1. Wehner (2009), pp. 77-8
2. Wehner (n.d.)

**Sources**


title: Melanoplus oklahomae

abstract: Melanoplus oklahomae, the Oklahoma spur-throat grasshopper, is a species of spur-throated grasshopper in the family Acrididae. It is found in North America.

text:
# Melanoplus oklahomae

***Melanoplus oklahomae***, the **Oklahoma spur-throat grasshopper**, is a species of spur-throated grasshopper in the family Acrididae. It is found in North America.

## InfoBox

| *Melanoplus oklahomae* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Orthoptera |
| Suborder: | Caelifera |
| Family: | Acrididae |
| Tribe: | Melanoplini |
| Genus: | *Melanoplus* |
| Species: | ***M. oklahomae*** |
| Binomial name | |
| ***Melanoplus oklahomae***<br>Hebard, 1937 | |
|


title: Melanoplus montanus

abstract: Melanoplus montanus, known generally as the Montana short-wing grasshopper or Montana spur-throat grasshopper, is a species of spur-throated grasshopper in the family Acrididae. It is found in North America.

text:
# Melanoplus montanus

***Melanoplus montanus***, known generally as the **Montana short-wing grasshopper** or **Montana spur-throat grasshopper**, is a species of spur-throated grasshopper in the family Acrididae. It is found in North America.

## Further reading

* Arnett, Ross H. (2000). *American Insects: A Handbook of the Insects of America North of Mexico*. CRC Press.
* Capinera J.L; Scott R.D.; Walker T.J. (2004). *Field Guide to Grasshoppers, Katydids, and Crickets of the United States*. Cornell University Press.

## InfoBox

| *Melanoplus montanus* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Orthoptera |
| Suborder: | Caelifera |
| Family: | Acrididae |
| Genus: | *Melanoplus* |
| Species: | ***M. montanus*** |
| Binomial name | |
| ***Melanoplus montanus***<br>(Thomas, 1873) | |
|


title: Melissa Network

abstract: The Melissa Network of Migrant Women in Greece is a Greek not for profit organisation that supports needs of migrant women. It was founded in 2014 by Deborah Carlos-Valencia and Nadina Christopoulo.

text:
# Melissa Network

The **Melissa Network of Migrant Women in Greece** is a Greek not for profit organisation that supports needs of migrant women. It was founded in 2014 by Deborah Carlos-Valencia and Nadina Christopoulo.

## Organization

The Melissa Network is a Greek not for profit organisation that supports needs of migrant women, especially migrants domestic workers in Athens. It was founded in 2014 by Deborah Carlos-Valencia and Nadina Christopoulo. The organization has since grown to include women from 45 countries. The organization is a based in Victoria Square in central Athens, amidst a community where far-right anti-migrant sentiment is high. Services provided include art classes, language classes and other life skills.

Melissa Network's partners include *Include HER*, *Alpha team* in Amman, Fintech Capital Network, and the Afghan Women Parliamentarians and Leaders Network.

1. Gutiérrez, Icíar (2017-10-31). "Así es la red de apoyo entre mujeres migrantes y refugiadas en Atenas". *elDiario.es* (in Spanish). Retrieved 2023-02-11.
2. Malichudis, Stavros (2019-01-14). ""Being a migrant and a woman is like double marginalisation"". *Sisters of Europe*. Retrieved 2023-02-11.
3. Gill, Omaira (2017-11-10). "Melissa Network: un lieu d'activité bourdonnante construit par des femmes migrantes". *InfoMigrants* (in French). Retrieved 2023-02-11.
4. Silva, Daniela Oliveira, Ana La-Salete (2021-03-08). "O que se faz no mundo pela igualdade de género - JPN". *JPN - JornalismoPortoNet* (in European Portuguese). Retrieved 2023-02-11.`{{cite web}}`: CS1 maint: multiple names: authors list (link)
5. Gill, Omaira (2017-11-10). "Melissa Network: un lieu d'activité bourdonnante construit par des femmes migrantes". *InfoMigrants* (in French). Retrieved 2023-02-11.
6. Hot and cold: Greece’s treatment of Ukrainian and non-Ukrainian refugees, The New Humanitarian, 16 Aug 2022
7. "Include HER - NETWORK OF MIGRANT WOMEN IN GREECE melissanetwork.org". Retrieved 2023-02-11.
8. "Melissa Network". *zh-cn.facebook.com* (in Simplified Chinese). Retrieved 2023-02-11.
9. "Transformational Change Leadership". Retrieved 2023-02-11.
10. Katsigera, Myrto (17 May 2022). "Influential Afghan women regrouping in Greece | eKathimerini.com". *www.ekathimerini.com*. Retrieved 2023-02-11.

## InfoBox

Melissa Network
|
|  |
| Formation | 2014 (2014) |
| Headquarters | Viktoria Square, Athens |
| Key people | Deborah Carlos Valencia, Nadina Christopoulo (founders) |
| Website | melissanetwork.org |


title: Merci patron!

abstract: Merci patron! is a French documentary film directed by journalist François Ruffin. It was first screened in 2015 and was released nationally in France on 24 February 2016. The film is critical of the practice of outsourcing French jobs to foreign labour, and in particular it is critical of one of France's richest people, Bernard Arnault, chairman and CEO of the luxury goods conglomerate LVMH. The style of the documentary has been compared to that of the American director Michael Moore. The film's success has been cited as a factor in the rise of the Nuit debout movement.

text:
# Merci patron!

***Merci patron!*** (*Thank you, boss!*) is a French documentary film directed by journalist François Ruffin. It was first screened in 2015 and was released nationally in France on 24 February 2016. The film is critical of the practice of outsourcing French jobs to foreign labour, and in particular it is critical of one of France's richest people, Bernard Arnault, chairman and CEO of the luxury goods conglomerate LVMH. The style of the documentary has been compared to that of the American director Michael Moore. The film's success has been cited as a factor in the rise of the Nuit debout movement.

## Synopsis

The film's stars are Jocelyn and Serge Klur, former workers at a factory that manufactured clothes for the luxury goods brand Kenzo, owned by LVMH. When the factory was moved to Poland, the couple found themselves unemployed, struggling with debt, and at risk of losing their house.

The director and left-wing activist François Ruffin sets out to help the couple, seeking to make Bernard Arnault, head of LVMH, pay compensation to the couple for "ruining their lives".

## Release

The film was a box office success. By the end of April 2016, the film had been seen by 315,183 cinemagoers in France.

Bernard Arnault, when asked about the film by a shareholder at a meeting on 7 April 2016, responded, "LVMH is the illustration, the incarnation of the worst, according to these extreme leftist observers, of what the market economy produces."

## Awards

The film won the César for best documentary in 2017, the same year Ruffin was elected to the lower house of the French parliament.

## InfoBox

| Merci patron! | |
| --- | --- |
| Film poster | |
| Directed by | François Ruffin |
| Produced by | Edouard Mauriat
Johanna Silva |
| Edited by | Cécile Dubois |
| Production
companies | Mille et Unes production
Les Quatre cents clous |
| Distributed by | Jour2fête |
| Release date | * 24 February 2016 (2016-02-24) (France) |
| Running time | 83 minutes |
| Country | France |
| Language | French |
| Budget | €150,000 |
| Box office | $3.8 million |


title: Meritage

abstract: Meritage is a name for red and white Bordeaux-style wines without infringing on the Bordeaux (France) region's legally protected designation of origin. Winemakers must license the Meritage trademark from its owner, the California-based Meritage Alliance. Member wineries are found principally in the United States, though increasingly elsewhere.

text:
# Meritage

**Meritage** is a name for red and white Bordeaux-style wines without infringing on the Bordeaux (France) region's legally protected designation of origin. Winemakers must license the Meritage trademark from its owner, the California-based Meritage Alliance. Member wineries are found principally in the United States, though increasingly elsewhere.

## History

The Meritage Association was formed in 1988 by a small group of Sonoma County and Napa Valley, California vintners increasingly frustrated by U.S. Bureau of Alcohol, Tobacco, Firearms, and Explosives regulations stipulating wines containing at least 75% of a specific grape to be labeled as a varietal. As interest grew in creating Bordeaux-style wines, which by their blended nature fail to qualify for varietal status, members sought to create a recognizable name for their blended wines.

In 1988, the association hosted a contest to conceive a proprietary name for these wines, receiving over 6,000 submissions. "Meritage"—a portmanteau of *merit* and *heritage*—was selected and its coiner awarded two bottles of the first ten vintages of every wine licensed to use the brand.

The first wine to be labeled with the term "Meritage" was the 1986 "The Poet" by Mitch Cosentino (Cosentino Winery) and 1985 vintage by Dry Creek Vineyard was the oldest vintage released "Meritage".

By 1999, the Meritage Association had grown to 22 members. Shifting its focus from trademark policing to education and marketing resulted in swift growth. By 2003, the Association had over 100 members, including its first international participants.

In May 2009, the Meritage Association announced that it had changed its name to the Meritage Alliance. As of July 2014, the Alliance had over 350 members.

## Trademark licensing and wine production

The Meritage agreement stipulates the blends that can be labeled "Meritage", a fee per case (currently $1.00, capped at $500.00 per vintage), and various labeling restrictions.

A red Meritage must be made from a blend of at least two of the following varieties: Cabernet Sauvignon, Merlot, Cabernet Franc, Malbec, Petit Verdot, St. Macaire, Gros Verdot, or Carmenère, with no variety comprising more than 90 percent of the blend.

A white Meritage must be made from a blend of at least two or more of the following varieties: Sauvignon blanc, Sémillon, or Muscadelle du Bordelais, with no variety comprising more than 90 percent of the blend.

Although not stipulated by the licensing agreement, the Meritage Alliance strongly recommends that wineries label only their best blend Meritage and limit production to no more than 25,000 cases.

Unlike regulations like French AOC, there are no mandatory rules related to winemaking or winegrowing.

## Pronunciation

Although many people, including many wine experts, have a tendency to Frenchify the word "Meritage" by pronouncing its last syllable with a "zh" sound, as in the U.S. pronunciation of "garage", the Meritage Alliance specifically states that the word should be pronounced to rhyme with "heritage". Meritage should be pronounced /ˈmɛrɪtɪ/.

Footnotes


title: Petar Čulić

abstract: Petar Čulić is a classical guitarist. He finished his master's degree at the Split music Academy in the class of prof. Goran Listeš, and continued to study at the Koblenz Guitar Academy with Hubert Käppel. He won 23 first prizes on national and international competitions and had more than 1000 performances all around the world. He plays the Concierto de Aranjuez by J. Rodrigo, the most famous guitar concierto. The French composer Colette Mourey wrote a piece for guitar solo named Sonata Appassionata, Hommage à Petar Culic, so Petar Čulić got his hommage at the early age of 24.

text:
# Petar Čulić

**Petar Čulić** (born June 26, 1986 in Split, Croatia) is a classical guitarist.

He finished his master's degree at the Split music Academy in the class of prof. Goran Listeš, and continued to study at the Koblenz Guitar Academy with Hubert Käppel. He won 23 first prizes on national and international competitions and had more than 1000 performances all around the world.

He plays the Concierto de Aranjuez by J. Rodrigo, the most famous guitar concierto.

The French composer Colette Mourey wrote a piece for guitar solo named *Sonata Appassionata, Hommage à Petar Culic*, so Petar Čulić got his hommage at the early age of 24.


title: Origomu

abstract: Origomu is a movement originated in New York City by Chilean artist Tatiana Pagés in 2009. It is the practice of recycling plastic waste into wearable art. Origomu or オリゴム comes from the Japanese ori, meaning “folding”, and gomu, meaning “rubber”.

text:
# Origomu

**Origomu** is a movement originated in New York City by Chilean artist Tatiana Pagés in 2009. It is the practice of recycling plastic waste into wearable art. Origomu or オリゴム comes from the Japanese ori, meaning “folding”, and gomu, meaning “rubber”.

## Overview

The technique has been taught in workshops at Pratt Institute in New York City, making necklaces using six-pack rings as chief material. Origomu is based in connecting art and fashion with environmental awareness. The technique has also been taught in workshops for low-income women.

Origomu necklaces has since been displayed at the Eco-Fashion exhibit at The Museum of FIT, the Cirque Du Soleil Ecological Tent in Montreal, Canada, the country of Ecuador and the Punta Cana Foundation in Dominican Republic.

Origomu organized an international design contest. Creations from 25 countries were submitted and design and fashion experts chose the most innovative pieces. There was a first round of 8 finalists, out of these, three winners.

By April 2011, the movement had collected over 200,000 plastic six-pack rings, resulting in more than 500 Origomu designs. Over 305 designers have created Origomu pieces from countries such as Mexico, India, Portugal, New Zealand, United States, Ecuador, Chile, Belgium and Switzerland, among others.

## InfoBox

Origomu
|
|  |


title: Čovječe ne ljuti se

abstract: Čovječe ne ljuti se is the debut album by a Croatian hip hop duo, Tram 11. The album was released in 1999 and had a major success. The album features production from Koolade and Dash and guest appearances on the album include El Bahattee, Phat Phillie, Major League Figures, Sick Rhyme Sayazz, Don Dovbje and Kiki. Some tracks contain introductional inserts performed by Baby Dooks but he was not credited for that.

text:
# Čovječe ne ljuti se

***Čovječe ne ljuti se*** is the debut album by a Croatian hip hop duo, Tram 11. The album was released in 1999 and had a major success. The album features production from Koolade and Dash and guest appearances on the album include El Bahattee, Phat Phillie, Major League Figures, Sick Rhyme Sayazz, Don Dovbje and Kiki. Some tracks (ex. "Kaj Ima Lima?") contain introductional inserts performed by Baby Dooks (of Sick Rhyme Sayazz) but he was not credited for that.

## Track listing

| # | Title | Featured guest(s) | Producer(s) | Length |
| --- | --- | --- | --- | --- |
| 1 | "Čovječe, Ne Ljuti Se" |  | Koolade | 4:09 |
| 2 | "Znaš Ko Sam" |  | Koolade | 4:04 |
| 3 | "Kužiš Spiku" | Phat Phillie | Dash | 4:46 |
| 4 | "Kaj Ima Lima?" |  | Koolade | 4:53 |
| 5 | "Udri Brigu Na Veselje" |  | Koolade | 4:09 |
| 6 | "Hrvatski Velikani 2" |  | Dash | 4:46 |
| 7 | "Pismo 1" | El Bahattee | Dash | 4:33 |
| 8 | "Pismo 2" | El Bahattee | Dash | 4:32 |
| 9 | "Za Sve Oko Mene" |  | Koolade | 4:13 |
| 10 | "Nema Škvadre" | Major League Figures | Koolade | 4:17 |
| 11 | "Mokri Snovi (Remix)" |  | Koolade | 4:11 |
| 12 | "Malu Na Stranu" | Sick Rhyme Sayazz | Dash | 4:43 |
| 13 | "Ko Ti Čuva Leđa?" | Don Dovbje and Kiki | Dash | 4:26 |
| 14 | "Lažni Frajeri" |  | Koolade | 4:18 |
| 15 | "Lančana Reakcija" |  | Koolade (Co-produced by Mistahorn) | 4:42 |
| 16 | "Crna Kronika" | El Bahattee | Dash | 4:46 |
| 17 | "Pad Sistema" |  | Dash | 3:43 |
| 18 | "Mikrofon Provjeravam" |  | Koolade (Scratches by DJ 279) | 4:57 |
|

## InfoBox

| Čovječe ne ljuti se | |
| --- | --- |
|  | |
| Studio album by Tram 11 | |
| Released | 1999 |
| Recorded | 1998–1999 |
| Genre | Hip hop |
| Length | 67:00 |
| Label | Menart |
| Producer | Koolade, Dash |
| Tram 11 chronology | |
| *Project Impossible*
(1997) ***Čovječe ne ljuti se***
(1999) *Vrućina Gradskog Asfalta*
(2000) | |
|  | |
| Singles from  *Čovječe ne Ljuti se* | |
| 1. "Pad Sistema"
Released: 1998 2. "Kaj Ima Lima?"
Released: 1999 3. "Malu Na Stranu"
Released: 1999 | |
|  | |


title: What Did You Do for Summer Break

abstract: What Did You Do For Summer Break is an EP by American songwriter M Ross Perkins. It was released in digital format on August 31, 2018, on SofaBurn Records.

text:
# What Did You Do for Summer Break

***What Did You Do For Summer Break*** is an EP by American songwriter M Ross Perkins. It was released in digital format on August 31, 2018, on SofaBurn Records.

## Track listing

All songs composed and arranged by M Ross Perkins.

1. "Bed Sheet Wing" – 4:20
2. "I'm Going Out to See My Baby" – 3:36
3. "When You're Near Me" – 3:38
4. "Hopscotch for the Animal Parade" – 4:49
5. "Restless Amy" – 3:25
6. "Don't Call Your Ride" – 4:46

## Personnel

* M Ross Perkins – all voices, instruments, and production

## InfoBox

| What Did You Do For Summer Break | |
| --- | --- |
|  | |
| EP by M Ross Perkins | |
| Released | August 31, 2018 |
| Recorded | Dayton, Ohio |
| Genre | Psychedelic, Psychedelic pop, Soft rock, Blue-eyed soul |
| Length | 24:36 |
| Label | SofaBurn |
| Producer | M Ross Perkins |
| M Ross Perkins chronology | |
| *M Ross Perkins*
(2016) ***What Did You Do For Summer Break***
(2018) *E Pluribus M Ross*
(2022) | |


title: Maftuna Jonimqulova

abstract: Maftuna Jonimqulova is an Uzbekistani footballer who plays as a goalkeeper for Women's Championship club Sevinch and the Uzbekistan women's national team.

text:
# Maftuna Jonimqulova

**Maftuna Jonimqulova** (born 26 July 1999) is an Uzbekistani footballer who plays as a goalkeeper for Women's Championship club Sevinch and the Uzbekistan women's national team.

## International career

Jonimqulova capped for Uzbekistan at senior level during the 2018 AFC Women's Asian Cup qualification.

### International goals

*Scores and results list Uzbekistan's goal tally first*

| No. | Date | Venue | Opponent | Score | Result | Competition |
| --- | --- | --- | --- | --- | --- | --- |
| 1 | 23 November 2018 | Milliy Stadium, Tashkent, Uzbekistan | Afghanistan | **15**–0 | 20–0 | 2018 CAFA Women's Championship |

## InfoBox

Maftuna Jonimqulova
| Personal information | | | |
| --- | --- | --- | --- |
| Full name | Maftuna Fazliddin qizi Jonimqulova | | |
| Date of birth | (1999-07-26) 26 July 1999 | | |
| Place of birth | Qarshi, Uzbekistan | | |
| Position(s) | Goalkeeper | | |
| Team information | | | |
| Current team | Sevinch | | |
| Senior career\* | | | |
| Years | **Team** | **Apps** | **(Gls)** |
|  | Sevinch |  |  |
| International career | | | |
| 2014 | Uzbekistan U16 | 1+ | (0) |
| 2016–2017 | Uzbekistan U19 | 6 | (0) |
| 2017– | Uzbekistan | 2+ | (1) |
| 2018 | Uzbekistan (futsal) | 1+ | (0) |
| \*Club domestic league appearances and goals<br>‡ National team caps and goals, correct as of 9 April 2019 | | | |


title: María López Sández

abstract: María López Sández is a Galician philologist and essayist. She is an academic numerary of the Royal Galician Academy (RAG).

text:
# María López Sández

**María López Sández** (Lugo, September 17, 1973) is a Galician philologist and essayist. She is an academic numerary of the Royal Galician Academy (RAG).

## Education

She graduated from IES Lucus Augusti and obtained a degree in Hispanic, English and Galician-Portuguese Philology from the University of Santiago de Compostela (USD). She received her doctorate in Literary theory and comparative literature from this university with the thesis, *A descrición topográfica, o seu papel na construción dun imaxinario cultural no discurso literario galego ("Cantares gallegos", "Arredor de si" e o ciclo textual de "Tagen Ata").* (Topographic description, its role in the construction of a cultural imaginary in the Galician literary discourse - "Cantares Galicians", "Arredor de si" and the textual cycle of "Tagen Ata") (2006). She received the End of Education Career Award of the Autonomous Community of Galicia, and the National Award for Completion of University Studies in Philology.

## Career and research

Lopez taught in secondary education at Centro público integrado (CPI) Fonte Díaz, Touro, Spain and at Instituto de Educación Secundaria (IES) Xulián Magariños in Negreira. She is also an associate professor at the USC Faculty of Education Sciences. Her work as a researcher focuses on the relationship between Galician literature and landscape imagery and urban space, as well as the study of cartography as a semiotic of space. She is the author of articles and studies on Rosalía de Castro, *Rosalía e a paisaxe galega, Os efectos da aculturación en “El cadiceño” de Rosalía de Castro”*. She has participated in international congresses with reports on Castro, *O ensaio como subtexto na prosa de Rosalía de Castro, Cantares gallegos, novas perspectivas de análise*.\[6\]

In 2022, she was elected an academic numerary of RAG. On March 11, 2023. She delivered her induction speech *Onde abrolla o manancial: a paisaxe na raíz do ensaísmo galego* (Where the spring flows: the landscape at the root of the Galician essay).

## Awards and honours

* 2023, Premio 8 de Marzo
* 2020, Finalist, Raíña Lupa Award, for *A noite da Deusa*
* 2014, Finalist, La Voz de Galicia Novel Award, for *O faro escuro*
* 2012, Repsol Short Narrative Award, for *A forma das nubes*
* 2007, Ramón Piñeiro Prize for Essay, for *Paisaxe e nación. A creación discursiva do territorio.*

## Selected works in Galician

### Essays

* *Paisaxe e nación. A creación discursiva do territorio* (2008), Galaxia
* *Movendo os marcos do patriarcado*, co-author with Marilar Aleixandre, 2021 Translated into Spanish by the authors themselves.

### Narratives

* *A forma das nubes* (2012)., Galaxia. Second edition, 2014.
* *O faro escuro* (2015), Galaxia
* *A noite da deusa* (2020), Galaxia, Costa Oeste ISBN 978-84-9151-469-5

### Collective works

* *Libres e vivas* (2021), Galaxia


title: Order-infinite-3 triangular honeycomb

abstract: In the geometry of hyperbolic 3-space, the order-infinite-3 triangular honeycomb is a regular space-filling tessellation with Schläfli symbol {3,∞,3}.

text:
# Order-infinite-3 triangular honeycomb

| Order-infinite-3 triangular honeycomb | |
| --- | --- |
| Type | Regular honeycomb |
| Schläfli symbols | {3,∞,3} |
| Coxeter diagrams |  |
| Cells | {3,∞} |
| Faces | {3} |
| Edge figure | {3} |
| Vertex figure | {∞,3} |
| Dual | Self-dual |
| Coxeter group | \[3,∞,3\] |
| Properties | Regular |

In the geometry of hyperbolic 3-space, the **order-infinite-3 triangular honeycomb** (or **3,∞,3 honeycomb**) is a regular space-filling tessellation (or honeycomb) with Schläfli symbol {3,∞,3}.

## Geometry

It has three Infinite-order triangular tiling {3,∞} around each edge. All vertices are ultra-ideal (existing beyond the ideal boundary) with infinitely many triangular tilings existing around each vertex in an order-3 apeirogonal tiling vertex figure.

|
Poincaré disk model |
Ideal surface |
| --- | --- |

It is a part of a sequence of regular honeycombs with Infinite-order triangular tiling cells: {3,∞,*p*}.

It is a part of a sequence of regular honeycombs with order-3 apeirogonal tiling vertex figures: {*p*,∞,3}.

It is a part of a sequence of self-dual regular honeycombs: {*p*,∞,*p*}.

### Order-infinite-4 triangular honeycomb

| Order-infinite-4 triangular honeycomb | |
| --- | --- |
| Type | Regular honeycomb |
| Schläfli symbols | {3,∞,4}
{3,∞1,1} |
| Coxeter diagrams |
= |
| Cells | {3,∞} |
| Faces | {3} |
| Edge figure | {4} |
| Vertex figure | {∞,4}
r{∞,∞} |
| Dual | {4,∞,3} |
| Coxeter group | \[3,∞,4\]
\[3,∞1,1\] |
| Properties | Regular |

In the geometry of hyperbolic 3-space, the **order-infinite-4 triangular honeycomb** (or **3,∞,4 honeycomb**) is a regular space-filling tessellation (or honeycomb) with Schläfli symbol {3,∞,4}.

It has four infinite-order triangular tilings, {3,∞}, around each edge. All vertices are ultra-ideal (existing beyond the ideal boundary) with infinitely many infinite-order triangular tilings existing around each vertex in an order-4 apeirogonal tiling vertex figure.

|
Poincaré disk model |
Ideal surface |
| --- | --- |

It has a second construction as a uniform honeycomb, Schläfli symbol {3,∞1,1}, Coxeter diagram, , with alternating types or colors of infinite-order triangular tiling cells. In Coxeter notation the half symmetry is \[3,∞,4,1+\] = \[3,∞1,1\].

### Order-infinite-5 triangular honeycomb

| Order-infinite-5 triangular honeycomb | |
| --- | --- |
| Type | Regular honeycomb |
| Schläfli symbols | {3,∞,5} |
| Coxeter diagrams |  |
| Cells | {3,∞} |
| Faces | {3} |
| Edge figure | {5} |
| Vertex figure | {∞,5} |
| Dual | {5,∞,3} |
| Coxeter group | \[3,∞,5\] |
| Properties | Regular |

In the geometry of hyperbolic 3-space, the **order-infinite-3 triangular honeycomb** (or **3,∞,5 honeycomb**) is a regular space-filling tessellation (or honeycomb) with Schläfli symbol {3,∞,5}. It has five infinite-order triangular tiling, {3,∞}, around each edge. All vertices are ultra-ideal (existing beyond the ideal boundary) with infinitely many infinite-order triangular tilings existing around each vertex in an *order-5 apeirogonal tiling* vertex figure.

|
Poincaré disk model |
Ideal surface |
| --- | --- |

### Order-infinite-6 triangular honeycomb

| Order-infinite-6 triangular honeycomb | |
| --- | --- |
| Type | Regular honeycomb |
| Schläfli symbols | {3,∞,6}
{3,(∞,3,∞)} |
| Coxeter diagrams |
= |
| Cells | {3,∞} |
| Faces | {3} |
| Edge figure | {6} |
| Vertex figure | {∞,6}
{(∞,3,∞)} |
| Dual | {6,∞,3} |
| Coxeter group | \[3,∞,6\] |
| Properties | Regular |

In the geometry of hyperbolic 3-space, the **order-infinite-6 triangular honeycomb** (or **3,∞,6 honeycomb**) is a regular space-filling tessellation (or honeycomb) with Schläfli symbol {3,∞,6}. It has infinitely many infinite-order triangular tiling, {3,∞}, around each edge. All vertices are ultra-ideal (existing beyond the ideal boundary) with infinitely many infinite-order triangular tilings existing around each vertex in an *order-6 apeirogonal tiling*, {∞,6}, vertex figure.

|
Poincaré disk model |
Ideal surface |
| --- | --- |

### Order-infinite-7 triangular honeycomb

| Order-infinite-7 triangular honeycomb | |
| --- | --- |
| Type | Regular honeycomb |
| Schläfli symbols | {3,∞,7} |
| Coxeter diagrams |  |
| Cells | {3,∞} |
| Faces | {3} |
| Edge figure | {7} |
| Vertex figure | {∞,7} |
| Dual | {7,∞,3} |
| Coxeter group | \[3,∞,7\] |
| Properties | Regular |

In the geometry of hyperbolic 3-space, the **order-infinite-7 triangular honeycomb** (or **3,∞,6 honeycomb**) is a regular space-filling tessellation (or honeycomb) with Schläfli symbol {3,∞,7}. It has infinitely many infinite-order triangular tiling, {3,∞}, around each edge. All vertices are ultra-ideal (existing beyond the ideal boundary) with infinitely many infinite-order triangular tilings existing around each vertex in an *order-7 apeirogonal tiling*, {∞,7}, vertex figure.

### Order-infinite-infinite triangular honeycomb

| Order-infinite-infinite triangular honeycomb | |
| --- | --- |
| Type | Regular honeycomb |
| Schläfli symbols | {3,∞,∞}
{3,(∞,∞,∞)} |
| Coxeter diagrams |
= |
| Cells | {3,∞} |
| Faces | {3} |
| Edge figure | {∞} |
| Vertex figure | {∞,∞}
{(∞,∞,∞)} |
| Dual | {∞,∞,3} |
| Coxeter group | \[∞,∞,3\]
\[3,((∞,∞,∞))\] |
| Properties | Regular |

In the geometry of hyperbolic 3-space, the **order-infinite-infinite triangular honeycomb** (or **3,∞,∞ honeycomb**) is a regular space-filling tessellation (or honeycomb) with Schläfli symbol {3,∞,∞}. It has infinitely many infinite-order triangular tiling, {3,∞}, around each edge. All vertices are ultra-ideal (existing beyond the ideal boundary) with infinitely many infinite-order triangular tilings existing around each vertex in an *infinite-order apeirogonal tiling*, {∞,∞}, vertex figure.

|
Poincaré disk model |
Ideal surface |
| --- | --- |

It has a second construction as a uniform honeycomb, Schläfli symbol {3,(∞,∞,∞)}, Coxeter diagram,  = , with alternating types or colors of infinite-order triangular tiling cells. In Coxeter notation the half symmetry is \[3,∞,∞,1+\] = \[3,((∞,∞,∞))\].

### Order-infinite-3 square honeycomb

| Order-infinite-3 square honeycomb | |
| --- | --- |
| Type | Regular honeycomb |
| Schläfli symbol | {4,∞,3} |
| Coxeter diagram |  |
| Cells | {4,∞} |
| Faces | {4} |
| Vertex figure | {∞,3} |
| Dual | {3,∞,4} |
| Coxeter group | \[4,∞,3\] |
| Properties | Regular |

In the geometry of hyperbolic 3-space, the **order-infinite-3 square honeycomb** (or **4,∞,3 honeycomb**) a regular space-filling tessellation (or honeycomb). Each infinite cell consists of a heptagonal tiling whose vertices lie on a 2-hypercycle, each of which has a limiting circle on the ideal sphere.

The Schläfli symbol of the *order-infinite-3 square honeycomb* is {4,∞,3}, with three infinite-order square tilings meeting at each edge. The vertex figure of this honeycomb is an order-3 apeirogonal tiling, {∞,3}.

|
Poincaré disk model |
Ideal surface |
| --- | --- |

### Order-infinite-3 pentagonal honeycomb

| Order-infinite-3 pentagonal honeycomb | |
| --- | --- |
| Type | Regular honeycomb |
| Schläfli symbol | {5,∞,3} |
| Coxeter diagram |  |
| Cells | {5,∞} |
| Faces | {5} |
| Vertex figure | {∞,3} |
| Dual | {3,∞,5} |
| Coxeter group | \[5,∞,3\] |
| Properties | Regular |

In the geometry of hyperbolic 3-space, the **order-infinite-3 pentagonal honeycomb** (or **5,∞,3 honeycomb**) a regular space-filling tessellation (or honeycomb). Each infinite cell consists of an infinite-order pentagonal tiling whose vertices lie on a 2-hypercycle, each of which has a limiting circle on the ideal sphere.

The Schläfli symbol of the *order-6-3 pentagonal honeycomb* is {5,∞,3}, with three *infinite-order pentagonal tilings* meeting at each edge. The vertex figure of this honeycomb is a heptagonal tiling, {∞,3}.

|
Poincaré disk model |
Ideal surface |
| --- | --- |

### Order-infinite-3 hexagonal honeycomb

| Order-infinite-3 hexagonal honeycomb | |
| --- | --- |
| Type | Regular honeycomb |
| Schläfli symbol | {6,∞,3} |
| Coxeter diagram |  |
| Cells | {6,∞} |
| Faces | {6} |
| Vertex figure | {∞,3} |
| Dual | {3,∞,6} |
| Coxeter group | \[6,∞,3\] |
| Properties | Regular |

In the geometry of hyperbolic 3-space, the **order-infinite-3 hexagonal honeycomb** (or **6,∞,3 honeycomb**) a regular space-filling tessellation (or honeycomb). Each infinite cell consists of an order-3 apeirogonal tiling whose vertices lie on a 2-hypercycle, each of which has a limiting circle on the ideal sphere.

The Schläfli symbol of the *order-infinite-3 hexagonal honeycomb* is {6,∞,3}, with three infinite-order hexagonal tilings meeting at each edge. The vertex figure of this honeycomb is an order-3 apeirogonal tiling, {∞,3}.

|
Poincaré disk model |
Ideal surface |
| --- | --- |

### Order-infinite-3 heptagonal honeycomb

| Order-infinite-3 heptagonal honeycomb | |
| --- | --- |
| Type | Regular honeycomb |
| Schläfli symbol | {7,∞,3} |
| Coxeter diagram |  |
| Cells | {7,∞} |
| Faces | {7} |
| Vertex figure | {∞,3} |
| Dual | {3,∞,7} |
| Coxeter group | \[7,∞,3\] |
| Properties | Regular |

In the geometry of hyperbolic 3-space, the **order-infinite-3 heptagonal honeycomb** (or **7,∞,3 honeycomb**) a regular space-filling tessellation (or honeycomb). Each infinite cell consists of an infinite-order heptagonal tiling whose vertices lie on a 2-hypercycle, each of which has a limiting circle on the ideal sphere.

The Schläfli symbol of the *order-infinite-3 heptagonal honeycomb* is {7,∞,3}, with three infinite-order heptagonal tilings meeting at each edge. The vertex figure of this honeycomb is an order-3 apeirogonal tiling, {∞,3}.

### Order-infinite-3 apeirogonal honeycomb

| Order-infinite-3 apeirogonal honeycomb | |
| --- | --- |
| Type | Regular honeycomb |
| Schläfli symbol | {∞,∞,3} |
| Coxeter diagram |  |
| Cells | {∞,∞} |
| Faces | Apeirogon {∞} |
| Vertex figure | {∞,3} |
| Dual | {3,∞,∞} |
| Coxeter group | \[∞,∞,3\] |
| Properties | Regular |

In the geometry of hyperbolic 3-space, the **order-infinite-3 apeirogonal honeycomb** (or **∞,∞,3 honeycomb**) a regular space-filling tessellation (or honeycomb). Each infinite cell consists of an infinite-order apeirogonal tiling whose vertices lie on a 2-hypercycle, each of which has a limiting circle on the ideal sphere.

The Schläfli symbol of the apeirogonal tiling honeycomb is {∞,∞,3}, with three *infinite-order apeirogonal tilings* meeting at each edge. The vertex figure of this honeycomb is an infinite-order apeirogonal tiling, {∞,3}.

The "ideal surface" projection below is a plane-at-infinity, in the Poincaré half-space model of H3. It shows an Apollonian gasket pattern of circles inside a largest circle.

|
Poincaré disk model |
Ideal surface |
| --- | --- |

### Order-infinite-4 square honeycomb

| Order-infinite-4 square honeycomb | |
| --- | --- |
| Type | Regular honeycomb |
| Schläfli symbol | {4,∞,4} |
| Coxeter diagrams |
= |
| Cells | {4,∞} |
| Faces | {4} |
| Edge figure | {4} |
| Vertex figure | {∞,4}
{∞,∞} |
| Dual | self-dual |
| Coxeter group | \[4,∞,4\] |
| Properties | Regular |

In the geometry of hyperbolic 3-space, the **order-infinite-4 square honeycomb** (or **4,∞,4 honeycomb**) a regular space-filling tessellation (or honeycomb) with Schläfli symbol {4,∞,4}.

All vertices are ultra-ideal (existing beyond the ideal boundary) with four infinite-order square tilings existing around each edge and with an order-4 apeirogonal tiling vertex figure.

|
Poincaré disk model |
Ideal surface |
| --- | --- |

It has a second construction as a uniform honeycomb, Schläfli symbol {4,∞1,1}, Coxeter diagram, , with alternating types or colors of cells. In Coxeter notation the half symmetry is \[4,∞,4,1+\] = \[4,∞1,1\].

### Order-infinite-5 pentagonal honeycomb

| Order-infinite-5 pentagonal honeycomb | |
| --- | --- |
| Type | Regular honeycomb |
| Schläfli symbol | {5,∞,5} |
| Coxeter diagrams |  |
| Cells | {5,∞} |
| Faces | {5} |
| Edge figure | {5} |
| Vertex figure | {∞,5} |
| Dual | self-dual |
| Coxeter group | \[5,∞,5\] |
| Properties | Regular |

In the geometry of hyperbolic 3-space, the **order-infinite-5 pentagonal honeycomb** (or **5,∞,5 honeycomb**) a regular space-filling tessellation (or honeycomb) with Schläfli symbol {5,∞,5}.

All vertices are ultra-ideal (existing beyond the ideal boundary) with five infinite-order pentagonal tilings existing around each edge and with an order-5 apeirogonal tiling vertex figure.

|
Poincaré disk model |
Ideal surface |
| --- | --- |

### Order-infinite-6 hexagonal honeycomb

| Order-infinite-6 hexagonal honeycomb | |
| --- | --- |
| Type | Regular honeycomb |
| Schläfli symbols | {6,∞,6}
{6,(∞,3,∞)} |
| Coxeter diagrams |
= |
| Cells | {6,∞} |
| Faces | {6} |
| Edge figure | {6} |
| Vertex figure | {∞,6}
{(5,3,5)} |
| Dual | self-dual |
| Coxeter group | \[6,∞,6\]
\[6,((∞,3,∞))\] |
| Properties | Regular |

In the geometry of hyperbolic 3-space, the **order-infinite-6 hexagonal honeycomb** (or **6,∞,6 honeycomb**) is a regular space-filling tessellation (or honeycomb) with Schläfli symbol {6,∞,6}. It has six infinite-order hexagonal tilings, {6,∞}, around each edge. All vertices are ultra-ideal (existing beyond the ideal boundary) with infinitely many hexagonal tilings existing around each vertex in an order-6 apeirogonal tiling vertex figure.

|
Poincaré disk model |
Ideal surface |
| --- | --- |

It has a second construction as a uniform honeycomb, Schläfli symbol {6,(∞,3,∞)}, Coxeter diagram, , with alternating types or colors of cells. In Coxeter notation the half symmetry is \[6,∞,6,1+\] = \[6,((∞,3,∞))\].

### Order-infinite-7 heptagonal honeycomb

| Order-infinite-7 heptagonal honeycomb | |
| --- | --- |
| Type | Regular honeycomb |
| Schläfli symbols | {7,∞,7} |
| Coxeter diagrams |  |
| Cells | {7,∞} |
| Faces | {7} |
| Edge figure | {7} |
| Vertex figure | {∞,7} |
| Dual | self-dual |
| Coxeter group | \[7,∞,7\] |
| Properties | Regular |

In the geometry of hyperbolic 3-space, the **order-infinite-7 heptagonal honeycomb** (or **7,∞,7 honeycomb**) is a regular space-filling tessellation (or honeycomb) with Schläfli symbol {7,∞,7}. It has seven infinite-order heptagonal tilings, {7,∞}, around each edge. All vertices are ultra-ideal (existing beyond the ideal boundary) with infinitely many heptagonal tilings existing around each vertex in an order-7 apeirogonal tiling vertex figure.

### Order-infinite-infinite apeirogonal honeycomb

| Order-infinite-infinite apeirogonal honeycomb | |
| --- | --- |
| Type | Regular honeycomb |
| Schläfli symbols | {∞,∞,∞}
{∞,(∞,∞,∞)} |
| Coxeter diagrams |
 |
| Cells | {∞,∞} |
| Faces | {∞} |
| Edge figure | {∞} |
| Vertex figure | {∞,∞}
{(∞,∞,∞)} |
| Dual | self-dual |
| Coxeter group | \[∞,∞,∞\]
\[∞,((∞,∞,∞))\] |
| Properties | Regular |

In the geometry of hyperbolic 3-space, the **order-infinite-infinite apeirogonal honeycomb** (or **∞,∞,∞ honeycomb**) is a regular space-filling tessellation (or honeycomb) with Schläfli symbol {∞,∞,∞}. It has infinitely many infinite-order apeirogonal tiling {∞,∞} around each edge. All vertices are ultra-ideal (existing beyond the ideal boundary) with infinitely many infinite-order apeirogonal tilings existing around each vertex in an infinite-order apeirogonal tiling vertex figure.

|
Poincaré disk model |
Ideal surface |
| --- | --- |

It has a second construction as a uniform honeycomb, Schläfli symbol {∞,(∞,∞,∞)}, Coxeter diagram, , with alternating types or colors of cells.

* Coxeter, *Regular Polytopes*, 3rd. ed., Dover Publications, 1973. ISBN 0-486-61480-8. (Tables I and II: Regular polytopes and honeycombs, pp. 294–296)
* *The Beauty of Geometry: Twelve Essays* (1999), Dover Publications, LCCN 99-35678, ISBN 0-486-40919-8 (Chapter 10, Regular Honeycombs in Hyperbolic Space) Table III
* Jeffrey R. Weeks *The Shape of Space, 2nd edition* ISBN 0-8247-0709-5 (Chapters 16–17: Geometries on Three-manifolds I, II)
* George Maxwell, *Sphere Packings and Hyperbolic Reflection Groups*, JOURNAL OF ALGEBRA 79,78-97 (1982)
* Hao Chen, Jean-Philippe Labbé, *Lorentzian Coxeter groups and Boyd-Maxwell ball packings*, (2013)
* Visualizing Hyperbolic Honeycombs arXiv:1511.02851 Roice Nelson, Henry Segerman (2015)


title: Merit shop

abstract: A merit shop is term which refers to a firm or organization that pays certain employees by merit. Contrary to popular belief, a merit shop can be non-union or union shop. Management retains the right to perform hiring, promotion, salary adjustments, bonuses, and termination, based on the laws of the state and federal government, along with its evaluation of individual's ability to accomplish the tasks assigned to them by the employer. By law, such decisions will not be biased by age, race, national origin, organizational affiliation, seniority, color, creed and sex. The term "merit shop" was coined by John Trimmer, who served from 1952 to 1976 as an officer of the Associated Builders and Contractors, an American trade association of primarily non-union construction contractors. In common usage, "merit shop" is often synonymous with being non-union or open shop.

text:
# Merit shop

A **merit shop** is term which refers to a firm or organization that pays certain employees by merit (experience/worth to company). Contrary to popular belief, a merit shop can be non-union or union shop. Management retains the right to perform hiring, promotion, salary adjustments, bonuses, and termination, based on the laws of the state and federal government, along with its evaluation of individual's ability to accomplish the tasks assigned to them by the employer.

By law, such decisions will not be biased by age, race, national origin, organizational affiliation, seniority, color, creed and sex. The term "merit shop" was coined by John Trimmer, who served from 1952 to 1976 as an officer of the Associated Builders and Contractors, an American trade association of primarily non-union construction contractors. In common usage, "merit shop" is often synonymous with being non-union or open shop.

## Further reading

* Cook, Samuel (2005). *Freedom In The Workplace: The Untold Story Of Merit Shop Construction's Crusade Against Compulsory Trade Unionism*. Washington, DC: Regnery. p. 839. ISBN 978-0895260352.


title: Phenethyl isothiocyanate

abstract: Phenethyl isothiocyanate (PEITC) is a naturally occurring isothiocyanate whose precursor, gluconasturtiin is found in some cruciferous vegetables, especially watercress. PEITC has been studied for its potential for chemoprevention of cancers, such as prostate cancer. In terms of biosynthesis, PEITC is produced from gluconasturtiin by the action of the enzyme myrosinase.

text:
# Phenethyl isothiocyanate

**Phenethyl isothiocyanate** (**PEITC**) is a naturally occurring isothiocyanate whose precursor, gluconasturtiin is found in some cruciferous vegetables, especially watercress.

PEITC has been studied for its potential for chemoprevention of cancers, such as prostate cancer.

In terms of biosynthesis, PEITC is produced from gluconasturtiin by the action of the enzyme myrosinase.

## InfoBox

Phenethyl isothiocyanate
|  | |
| --- | --- |
|  | |
| Names | |
| Preferred IUPAC name (2-Isothiocyanatoethyl)benzene | |
| Other names Phenylethyl isothiocyanate; Phenethyl mustard oil | |
| Identifiers | |
| CAS Number |  |
| 3D model (JSmol) |  |
| Abbreviations | PEITC |
| ChEBI |  |
| ChEMBL |  |
| ChemSpider |  |
| ECHA InfoCard | 100.017.142 |
| PubChem CID |  |
| UNII |  |
| CompTox Dashboard (EPA) |  |
| InChI * InChI=1S/C9H9NS/c11-8-10-7-6-9-4-2-1-3-5-9/h1-5H,6-7H2 YKey: IZJDOKYDEWTZSO-UHFFFAOYSA-N Y * InChI=1/C9H9NS/c11-8-10-7-6-9-4-2-1-3-5-9/h1-5H,6-7H2Key: IZJDOKYDEWTZSO-UHFFFAOYAB | |
| SMILES * S=C=N/CCc1ccccc1 | |
| Properties | |
| Chemical formula | C9H9NS |
| Molar mass | 163.24 g·mol−1 |
| Except where otherwise noted, data are given for materials in their standard state (at 25 °C \[77 °F\], 100 kPa). N verify (what is YN ?)  Infobox references | |


title: Personal Enemy

abstract: Personal Enemy is a play by John Osborne and Anthony Creighton. It was written in 1954, prior to Osborne's 'big break' with Look Back in Anger at the Royal Court Theatre in 1956, and first performed in Harrogate in 1955. It was thought that the play manuscript was lost, but copies were found in the Lord Chamberlain's archive in the British Library in 2008. The two plays were subsequently published as Before Anger, with a foreword by Peter Nichols. Personal Enemy was produced in its uncensored form for the first time in 2010 at the White Bear Theatre, as part of their Lost Classics Project, before transferring to New York's Brits Off Broadway festival at 59E59 Theaters in November of that year. The play is the only work by Osborne to be set in the United States.

text:
# Personal Enemy

***Personal Enemy*** is a play by John Osborne and Anthony Creighton. It was written in 1954, prior to Osborne's 'big break' with *Look Back in Anger* at the Royal Court Theatre in 1956, and first performed in Harrogate in 1955. It was thought that the play manuscript was lost, but copies were found (along with another early Osborne play, *The Devil Inside Him*) in the Lord Chamberlain's archive in the British Library in 2008. The two plays were subsequently published as *Before Anger,* with a foreword by Peter Nichols. *Personal Enemy* was produced in its uncensored form for the first time in 2010 at the White Bear Theatre, as part of their *Lost Classics Project*, before transferring to New York's Brits Off Broadway festival at 59E59 Theaters in November of that year. The play is the only work by Osborne to be set in the United States.

## Scenario

Set in 1953, in the fictional US town of Langley Springs, *Personal Enemy* tells us the story of the Constant family. Mrs Constant is the head of the household and inspiration of the town. Her qualities and principles embody the ethos of the community: decency, godliness and pleasantness are paramount. Mr Constant is doing well for himself  the American Dream is becoming a reality for this hard working, decent, suburban man in the insurance racket.

### Plot

The play opens on Mrs Constant's birthday. Her daughter, Caryl, her son-in-law, Sam, and her last remaining son, Arnie, are planning a picnic. Tomorrow is the second anniversary of Donald Constant's death. Mrs Constant's eldest son died defending American ideals in the Korean War. A corner of the Constant living room is devoted to enshrining his memory. However, Don was not perhaps as strait-laced as she might have thought. When Caryl discovers a book full of dangerous ideas that Arnie is reading  and the inscription within it from the communist librarian, Ward Perry  she reveals that Don, too, had a friendship with Ward, and that he too had been given a copy of the forbidden book. Caryl launches an attack on her brothers and their high ideas, asserting an image of a world that is structured, logical and controlled and she accuses ‘clever-talk’ of perverting that world into something messy, tangled and interconnected. Her tirade is halted by a telegram informing the Constants that Don is alive. He was a prisoner of war and will be returning to the USA shortly.

A few days later, we rejoin Mrs Constant as she prepares the house for Don's return, which she does with the help of Mrs Slifer, their Polish-born neighbour. Her preparations are soon disturbed by the arrival of the Federal Investigator. This servant of the state informs Mr and Mrs Constant that Don has refused to repatriate, deciding instead to stay in Korea and defect to Communist North Korea. The government, says the Investigator, is very concerned by this and has come to look into what influenced Don to defect. Don's books are of particular interest. The Investigator takes away Don's copy of the book given to both him and Arnie by Ward Perry. When the Investigator has left, and Mr Constant has comforted his wife as much as possible before returning to work, Mrs Constant pins Arnie down into an interrogation of his relationship with Ward Perry, worried about the political and sexual decisions she feels her son is being led into. Arnie passionately and eloquently defends his freedom to socialise with whomever he pleases, and tries to reassure his mother that he is more than capable of making his own decisions about his political beliefs. Shortly after Arnie leaves this conversation, Mrs Constant takes a call that is meant for Arnie. It is Ward Perry. She takes the opportunity to ask him to come round and talk with her. She intends to interrogate him.

In the evening of the same day, Mrs Constant and Caryl are making preparations for the interrogation. Mr Constant has attempted to take charge of the situation, wanting to talk to Ward alone in his study, in order to come to a calm informed solution to the problem of Ward's relationship with Arnie. Mr Constant has therefore refused to have any part in it. Ward Perry arrives and is ruthlessly asked to defend his lifestyle by the Constant women, whilst Sam impotently tries to temper the situation. Ward tries to remain aloof and polite but has his fill and refuses to be interrogated any further. At that very moment Arnie comes home and, seeing Ward leaving, chases after him. When he returns he informs his mother that Ward has said he wants nothing more to do with Arnie. Arnie is devastated and in his emotional tumult confesses to being a ‘Commie and a pervert.' Mrs Constant savagely beats her son repeatedly calling him a 'little beast.'

A few weeks later we rejoin Mrs Constant. She is a shell of her former self. It is Reverend Merrick who informs us of the reason for this: Arnie has drowned himself to his mother's great shame. Merrick seems to offer a way out for Mrs Constant, by suggesting that Arnie committed suicide not because he was gay but, on the contrary, because he had fathered the child of a coloured girl in the town. Meanwhile, Mr Constant has been called to testify at the House Committee on Un-American Activities, and has thus lost his job, and is accused of becoming a drunk. Mrs Slifer's son Paul has also lost his job in Washington due to the McCarthy witch hunts. Ward Perry arrives to tell Mrs Constant that he has heard from Don, and in an act of love he wants to give her back her pride in her sons. She responds only with hatred. Sam finally erupts at Caryl and Mrs Constant, but somewhat misses the point, blaming their spitefulness on their womanhood, and revealing his own shameful prejudices. Eventually Mr Constant resolves to travel to the committee with Ward Perry: in his gentle way he is refusing to be pushed around, and refusing to be segregated from his fellow man. In the end, we are given a glimpse of a way back for the stuttering paralyzed hope of the American Dream, as Mrs Constant resolves to look after the coloured girl's baby  and we hope take pride in it for being itself.

## Productions

The play was originally performed in Harrogate in 1955, but was heavily cut by the Lord Chamberlain's office, who objected to the homosexual undercurrents in the play. The production was largely panned by critics, as it made little sense after the censor's cuts.

The play was performed uncut at the White Bear Theatre (London) in June/July 2010 by FallOut Theatre. The production was directed by David Aula, with set designed by Anna Hourriere, sound designed by Edward Lewis and lighting designed by James Baggaley. The cast was as follows: Karen Lewis (Mrs Constant), James Callum (Mr Constant), Joanne King (Caryl Kessler), Mark Oosterveen (Sam Kessler), Peter Clapp (Arnie Constant), Genevieve Allenbury (Mrs Slifer) and Steven Clarke (Ward Perry/The Investigator/Reverend Merrick). Music for the production was composed and performed by Luke Rosier.

The FallOut production transferred to the Brits Off Broadway festival in New York in November 2010, where it ran for 28 performances at 59E59 Theaters. In New York, the part of Mr Constant was played by Tony Turner.

## Footnotes

## InfoBox

| Personal Enemy | |
| --- | --- |
| Written by | John Osborne |
| Date premiered | 1955 |
| Place premiered | Harrogate |
| Original language | English |
| Genre | social realism |
| Setting | A small American town |


title: Maftuna Shoyimova

abstract: Maftuna Shoyimova is an Uzbekistani footballer who plays as a midfielder for Women's Championship club Sevinch and the Uzbekistan women's national team.

text:
# Maftuna Shoyimova

**Maftuna Shoyimova** (born 1 January 1999) is an Uzbekistani footballer who plays as a midfielder for Women's Championship club Sevinch and the Uzbekistan women's national team.

## International goals

| No. | Date | Venue | Opponent | Score | Result | Competition |
| --- | --- | --- | --- | --- | --- | --- |
| 1. | 23 November 2018 | Milliy Stadium, Tashkent, Uzbekistan | Afghanistan | **12**–0 | 20–0 | 2018 CAFA Women's Championship |
| 2. | 29 August 2019 | Yakkasary Stadium, Tashkent, Uzbekistan | India | **2**–1 | 5–1 | Friendly |
| 3. | 5 April 2021 | AGMK Stadium, Olmaliq, Uzbekistan | India | **1**–0 | 1–0 | Friendly |
| 4. | 20 September 2021 | Pakhtakor Stadium, Tashkent, Uzbekistan | Mongolia | **12**–0 | 12–0 | 2022 AFC Women's Asian Cup qualification |
| 5. | 20 July 2022 | Pamir Stadium, Dushanbe, Tajikistan | Iran | **1**–0 | 1–0 | 2022 CAFA Women's Championship |
| 6. | 5 April 2023 | Milliy Stadium, Tashkent, Uzbekistan | Bhutan | **9**–0 | 9–0 | 2024 AFC Women's Olympic Qualifying Tournament |
| 7. | 8 April 2023 | | East Timor | **3**–0 | 3–0 | |
| 8. | 25 September 2023 | Linping Sports Center Stadium, Hangzhou, China | Mongolia | **3**–0 | 6–0 | 2022 Asian Games |
|

## InfoBox

Maftuna Shoyimova
| Personal information | | | |
| --- | --- | --- | --- |
| Full name | Maftuna Suyunboy qizi Shoyimova | | |
| Date of birth | (1999-01-01) 1 January 1999 | | |
| Place of birth | Chirakchi, Uzbekistan | | |
| Position(s) | Midfielder | | |
| Team information | | | |
| Current team | Sevinch | | |
| Senior career\* | | | |
| Years | **Team** | **Apps** | **(Gls)** |
|  | Sevinch |  |  |
| International career | | | |
| 2014–2017 | Uzbekistan U19 | 7+ | (1) |
| 2017– | Uzbekistan | 7 | (0) |
| \*Club domestic league appearances and goals<br>‡ National team caps and goals, correct as of 9 April 2019 | | | |


title: Nepal during World War I

text:
# Nepal during World War I

The Nepalese Army participated in World War I with The First Rifle, Kalibox, Sumsher Dal, Jabbar Jung, Pashupati Prasad, Bhairab Nath, Second Rifle, Bhairung and Srinath Battalions. The total number of NA troops deployed to India at the time was 14,000, though some sources claim it to be as 16,000. Troops were armed with the Martini-Henry and Enfield rifles. General Babar Shumsher, General Tej Shumsher and General Padma Shumsher, were the main commanders. The discipline, professionalism and adaptability of the Nepalese soldiers was again well respected in the First World War. Additionally, Nepal also sent almost two hundred thousand troops, and proportionately a higher percentage of military aged men than most countries, to fight as part of the British Indian Army itself. Nepal also provided financial aid to the British government, in the form of 1 million pounds.


title: Samuel L. Greitzer

abstract: Samuel L. Greitzer was an American mathematician, the founding chairman of the United States of America Mathematical Olympiad, and the publisher of the precollege mathematics journal Arbelos. Together with H.S.M. Coxeter in 1967, Greitzer coauthored the well-received textbook Geometry Revisited, which has remained in print for more than 40 years.

text:
# Samuel L. Greitzer

**Samuel L. Greitzer** (August 10, 1905 – February 22, 1988) was an American mathematician, the founding chairman of the United States of America Mathematical Olympiad, and the publisher of the precollege mathematics journal *Arbelos*. Together with H.S.M. Coxeter in 1967, Greitzer coauthored the well-received textbook *Geometry Revisited*, which has remained in print for more than 40 years.

## Biography

Born in the Russian Empire, Greitzer moved to the United States in 1906, graduated from Stuyvesant High School, received his bachelor's degree in 1927 from City College of New York, and later earned a Ph.D. from Yeshiva University. He held academic positions at Yeshiva University, Brooklyn Polytechnic Institute, Columbia University, and Rutgers University. In the 1970s, he directed a National Science Foundation summer program at Rutgers for high-ability high-school math students.

Samuel Greitzer and his wife Ethel had one son. Samuel died on February 22, 1988, in Metuchen, New Jersey.

## Selected publications

* Coxeter, H.S.M.; Greitzer, S.L. (1967). *Geometry Revisited*. Mathematical Association of America. ISBN 978-0-88385-619-2.
* Greitzer, S. (1973). "The First U.S.A. Mathematical Olympiad". *American Mathematical Monthly*. **80** (3): 276–281. doi:10.2307/2318449. JSTOR 2318449.
* Greitzer, Samuel (1979). *International Mathematical Olympiads 1959–1977*. Mathematical Association of America. ISBN 978-0-88385-627-7.


title: Opisthopatus highveldi

abstract: Opisthopatus highveldi is a species of velvet worm in the family Peripatopsidae. This species is a clade in the O. cinctipes species complex. This species has 16 pairs of legs and varies in color from brown to black to indigo. The original description of this species is based on two holotypes ranging from 16 mm to 17 mm in length. Also known as the Highveld velvet worm, this species is found in indigenous forest patches along the Highveld in Mpumalanga province in South Africa.

text:
# Opisthopatus highveldi

***Opisthopatus highveldi*** is a species of velvet worm in the family Peripatopsidae. This species is a clade in the *O. cinctipes* species complex. This species has 16 pairs of legs and varies in color from brown to black to indigo. The original description of this species is based on two holotypes ranging from 16 mm to 17 mm in length. Also known as the Highveld velvet worm, this species is found in indigenous forest patches along the Highveld in Mpumalanga province in South Africa.

## Further reading

## InfoBox

| *Opisthopatus highveldi* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Onychophora |
| Family: | Peripatopsidae |
| Genus: | *Opisthopatus* |
| Species: | ***O. highveldi*** |
| Binomial name | |
| ***Opisthopatus highveldi***<br>Daniels et al., 2016 | |
|