title: Trinity Carol Roll

abstract: The Trinity Carol Roll is a 15th-century manuscript of thirteen English carols held by the Wren Library at Trinity College, Cambridge. It is the earliest surviving example of polyphonic music written in English. Compiled after 1415, it contains the earliest of two manuscript sources for the Agincourt Carol which tells of Henry V's victory at the Battle of Agincourt, as well as several early Christmas carols. The majority of texts are in Middle English with some of the carols alternating between Latin and Middle English, a common form for carols of the period known as macaronic.

text:
# Trinity Carol Roll

The **Trinity Carol Roll** is a 15th-century manuscript of thirteen English carols held by the Wren Library at Trinity College, Cambridge (MS O.3.58). It is the earliest surviving example of polyphonic music written in English. Compiled after 1415, it contains the earliest of two manuscript sources for the Agincourt Carol which tells of Henry V's victory at the Battle of Agincourt, as well as several early Christmas carols. The majority of texts are in Middle English (in a Norfolk dialect) with some of the carols alternating between Latin and Middle English, a common form for carols of the period known as macaronic.

## Description

Parchment scrolls were a common method of documentation in the Middle Ages, being both cheaper and easier to transport and store than bound books. However, their lack of protective covers meant they were comparatively prone to damage and loss. The Trinity Roll's provenance is unknown; the manuscript was given to Trinity College by Henricus Octavus Roe of Baldock in 1838, but is not recorded before this time.

The scroll is made from vellum 2 metres (6 ft 7 in) long and 17 centimetres (6.7 in) wide. When rolled, it forms a cylinder approximately 6 centimetres (2.4 in) in diameter.

The carols are noted in mensural notation on five-line staves. The beginning of each song is marked by decorative initials in blue ink with red adornments and each stanza is marked by a smaller blue or red initial. The text is handwritten in the *Cursiva Anglicana* script of the period, a form of writing initially used for letters and legal documents which soon became the most commonly used script for copying English literary texts of the period, for example the manuscripts of Geoffrey Chaucer and William Langland. A faded inscription is at the head of the roll, and the outer side of the roll (dorse) has prayers for four masses inscribed by another, later hand.

Analysis of the dialect in the carols on the roll imply that the scribe was from South Norfolk: the inclusion of *Deo Gratias Anglia* referencing Henry V's victory at Agincourt in 1415 gives an indication of the time frame of the composition of the carols. Some sources, for example J.A. Fuller Maitland suggest that carols were all composed by the same hand, but whether this was the scribe is unknown.

## Contents

The thirteen carols included in the roll are as follows:

1. Hail mary ful of grace (Hail Mary full of grace)
2. Nowel nowel (Noel, Noel)
3. Alma redemptoris mater (Loving Mother of our Saviour)
4. Now may we syngyn (Now may we sing)
5. Be mery be mery (Be merry be merry)
6. Nowel syng we now (Nowell sing we now)
7. Deo gratias Anglia (England give thanks to God) (a. k. Agincourt Carol)
8. Now make we merthe (Now make we mirth)
9. Abyde I hope (Abide I hope)
10. Qwat tydyngis bryngyst yu massager (What tidings bring you messenger?)
11. Eya martir stephane (Eia \[exclamation\] martyr Stephen)
12. Prey for us ye prynce of pees (Pray for us ye prince of peace)
13. Ther is no rose of swych vertu (There is no rose of such virtue)

### Texts

Christmas forms the subject of the majority of the carol's texts; six are on the subject of the Nativity of Jesus, two are about Saint Stephen and Saint John the Evangelist respectively, whose feast-days are on 26 and 27 December and three are Marian texts praising the Virgin Mary.

The two remaining carols are a Christian moral text and the Agincourt Carol. It is speculated that the latter may have formed part of a pageant staged in London in November 1415.

The texts are all composed in Middle English, but several are macaronic, incorporating Latin phrases from the liturgy of the Catholic Church, often as their burdens (choruses found at the beginning of the texts and repeated after each verse). For example, in the Agincourt Carol every stanza ends with the phrase *Deo gratias* ('Thanks be to God') – as all church services were conducted in Latin, even non-speakers would have been familiar with their meaning.

### Music

Although a large body of medieval carol texts survive, the Trinity Roll is almost unique in also containing the music for the carols. The music was formerly thought to have been composed by John Dunstable. In his 1891 study of the carols, J Fuller Maitland opines:

> Few of the songs have absolute melodic beauty such as would make them popular nowadays...\[but\] they have a special value, since they are almost the only existing specimens of English music of the period, or at all events the only specimens which have not been tampered with before reaching us in their modern dress. They are especially valuable, moreover, as being almost without a doubt the work of one composer...The similarity of certain passages is so remarkable (compare the opening bars of VIII and XIII) that there can be little doubt that the roll is a genuine transcript of original works by one composer, not a mere collection of stray pieces.

Modern scholars of early music are more complimentary, particularly of their writing for multiple independent voices. Dr Helen Deeming notes that the carols are:

> complex and intricate, and could only have been composed, sung and notated by highly trained musicians. Their part-writing, for two or three independent voices, is of a musical sophistication that goes well beyond the plainsong that formed the musical bread-and-butter of most medieval choirs.

## Performance and recordings

Of the carols, "There is No Rose of Such Virtue" has re-entered the repertoire, appearing in its original polyphonic form in services such as A Festival of Nine Lessons and Carols from King's College Cambridge. Alternative settings by John Joubert and Benjamin Britten using the text of the carol have also been composed. The Agincourt Carol, which also survives in a contemporaneous version in the Bodleian Library is also well-known, for example appearing in an arrangement by William Walton for Laurence Olivier's 1944 film *Henry V*. The composer Ernest Farrar used the Agincourt Carol as the basis for his 1918 *Heroic Elegy: For Soldiers*.

The Alamire consort recorded the complete carol roll in the Wren Library at Trinity College in September 2011, available on CD on the Obsidion label (CD709).


title: Gall adelgid

abstract: The gall adelgid is an adelgid species that produces galls in spruce trees. They infect the new buds of native spruce trees in the foothills of the Rocky Mountains in the spring. They also attack blue spruce to a lesser degree. The insects complete two generations within the year. They require two different trees for its life cycle, the second being the Rocky Mountain Douglas-fir. They may also attack Sitka, Engelmann, or white spruce. The many different species of adelgids produce different galls on different spruce species. The Cooley spruce gall adelgid is mainly a western species that usually alternates between white spruce and Douglas fir. It is rare in eastern Canada. In Ontario, the galls are found mostly on Colorado spruce.

text:
# Gall adelgid

The **gall adelgid** (***Adelges cooleyi***) is an adelgid species that produces galls in spruce trees. They infect the new buds of native spruce trees in the foothills of the Rocky Mountains in the spring. They also attack blue spruce to a lesser degree. The insects complete two generations within the year. They require two different trees for its life cycle, the second being the Rocky Mountain Douglas-fir. They may also attack Sitka, Engelmann, or white spruce. The many different species of adelgids produce different galls on different spruce species.

The Cooley spruce gall adelgid (*Adelges cooleyi* Gillette) is mainly a western species that usually alternates between white spruce and Douglas fir. It is rare in eastern Canada. In Ontario, the galls are found mostly on Colorado spruce.

## Identification

The infection is most noticeable on Cooley spruce in the spring, May to June, when the galls appear. This infection may be mistakenly diagnosed to be caused by worms, grubs, or even as a sex organ of the spruce. Spruce pollen, however, is released from a smaller structure that lacks needles. The galls are characterized by this pineapple-like form, with a length of 0.5 cm to 8 cm depending on the growth capacity of the tree. Most galls take on a pink, red, or even deep purple colour while the needles usually remain green. The segments of the new bud that have this gall form will die after the aphids leave in the summer. Once on Douglas fir, the adelgids consume the needles, but do not form galls.

## Infection

In the fall, the immature female adelgid, small, globular, and wingless (1.2-1.7 mm), finds a spruce on which to overwinter. In the spring when the winter thaw occurs, the female matures and lays some eggs in what resembles sacks (totalling several hundred eggs) on the branches near the developing buds. These, in fact, are not sacks, but individual tufts of white waxy threads that protect the eggs. The females prefer areas on the spruce where they have greater protection from the elements, especially wind. These female individuals have an obvious patch of white wax wool as a covering. Their mouthparts consist of thread-like stylets which are used to penetrate into vascular bundles for feeding.

Once hatched, the young nymphs begin feeding around the base of the needles in a new bud. The nymphs' saliva introduced into the plant trigger the changes in development of the plant, distinguished by the thickening and expansion of the basal portion of needles towards the characteristic gall form. When infections are incomplete, the side of the bud facing the ground will be infected first. Only partially afflicted buds can support new growth after the affected tissue has died.

The chamber at the base of each needle is not connected with any other chamber in the gall. This differentiates this infection from that caused by the woolly adelgid genus *Pineus*, where the chambers are interconnected.

The nymphs are light brown when first hatched, becoming black when settled in gall chamber; they are flattened oval in shape and secrete a fringe of white wax. If a gall is opened in June, this white wax will be easily visible.

## Lifecycle

The lifecycle of the gall adelgid requires six generations to complete, only two of which cause damage (nymph stages) and has two migration phases between the spruce and the Douglas fir. On Douglas fir, adults are about 0.1 cm long, oval, and light to dark brown in colour. At maturity, they are completely covered with white, waxy wool and appear, from spring to fall, as stationary wool tufts on the underside of needles.

While the chambers of the galls are closed, the nymphs actively feed and increase in size. By midsummer (August to September), the galls begin to dry out, the chambers open and winged forms of the adelgids emerge. These winged adult females have dark red-brown colour, with a heavily sclerotized thorax., These leave the original tree and most migrate to Douglas-fir trees. The abandoned galls continue to dry out and harden as the plant tissue dies. These dead galls are remnants that are never used again. The gall portion of partial infections dies, while the uninfected segment can continue growth, resulting in curved and convoluted shapes.

On Douglas fir, eggs are laid on the needles and several generations of adelgids are produced. Yellow spots and bent needles result from feeding damage. The needles of lightly to moderately infested trees exhibit chlorotic mottling where individual adults have fed. Attacked needles may also be twisted. Severely infested foliage may be completely chlorotic and drop prematurely. Late in the summer, some of the woolly adelgids develop wings and fly back to spruce to deposit eggs, which produce the overwintering population. Others are wingless and remain on Douglas fir trees, where they produce other overwintering forms.

## Predation and control

Natural predators, such as ladybirds/ladybugs, hoverfly and lacewing larvae, spiders, and mites do reduce adelgid and aphid populations to some degree.

Spraying against these adelgids with chemicals is possible, and can be done in either the fall or the early spring. Foliar treatments of carbaryl (Sevin) and permethrin have been most effective in Colorado State University trials. Horticultural oils, which have also been very effective, can cause temporary discoloration of spruce needles.

More on the invasive woolly aphid species:

A University of Minnesota Pamphlet with image of mature woolly adelgid female:  and related pests

## InfoBox

| Gall adelgid | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Hemiptera |
| Suborder: | Sternorrhyncha |
| Family: | Adelgidae |
| Genus: | *Adelges* |
| Species: | ***A. cooleyi*** |
| Binomial name | |
| ***Adelges cooleyi***<br>(Gillette, 1907) | |
|


title: Velòdrom d'Horta

abstract: Velòdrom d'Horta is a velodrome located in Barcelona, Catalonia, Spain. It was the track cycling venue for the 1992 Summer Olympics and was also the venue for the UCI Track Cycling World Championships in 1984. The velodrome, designed by Esteve Bonell and Francesc Rius, was built in 1984 as the first of Barcelona's construction projects in preparation for the bid for the 1992 Summer Olympics in 1986. It was the first velodrome built to new FIAC rules permitting a 250 m (270 yd) track if surfaced with wood. The building won the FAD architecture prize in 1985. It was the last permanent open-air velodrome used for Olympic Track Cycling events. Olympic velodromes have been built with a roof since 2000.

text:
# Velòdrom d'Horta

**Velòdrom d'Horta** is a velodrome located in Barcelona, Catalonia, Spain. It was the track cycling venue for the 1992 Summer Olympics and was also the venue for the UCI Track Cycling World Championships in 1984.

The velodrome, designed by Esteve Bonell and Francesc Rius, was built in 1984 as the first of Barcelona's construction projects in preparation for the bid for the 1992 Summer Olympics in 1986. It was the first velodrome built to new FIAC rules permitting a 250 m (270 yd) track if surfaced with wood. The building won the FAD architecture prize in 1985.

It was the last permanent open-air velodrome used for Olympic Track Cycling events (Atlanta's velodrome at Stone Mountain in 1996 was temporary). Olympic velodromes have been built with a roof since 2000.

## InfoBox

Velòdrom d'Horta
| The banking of the Velòdrom d'Horta | |
| --- | --- |
|  | |
| Location | Barcelona, Catalonia, Spain |
| Coordinates | 41°26′17″N 2°08′56″E / 41.43813°N 2.148861°E / 41.43813; 2.148861 |
| Capacity | 3,200 seated
11,000 standing |
| Surface | Track: wood (250 m or 270 yd)
Infield: artificial turf |
| Construction | |
| Opened | August 1984 |
| Architect | Esteve Bonell and Francesc Rius (velodrome)
Herbert Schürmann (track) |


title: .bq

abstract: .bq is designated—but not in use—as the Internet country code top-level domain (ccTLD) for Bonaire, Sint Eustatius and Saba following the assignment on December 15, 2010, by the ISO 3166 Maintenance Agency of BQ as the ISO 3166-1 alpha-2 to the area. This decision followed the dissolution of the Netherlands Antilles and new status of the Caribbean Netherlands as public bodies of the Netherlands on October 10, 2010. On 15 December 2010 the ISO 3166-1 code for Bonaire, Sint Eustatius and Saba changed to reflect the BQ codified for the ccTLD. Previously, the Caribbean Netherlands used the former Netherlands Antilles's ccTLD,.an, which has been phased out in July 2015. As part of the Netherlands proper,.nl also applies. Use of the top level domain is as of July 2015 being considered and an economic evaluation is being performed to that effect. BQ was chosen as other possible codes had already been allocated.

text:
# .bq

**.bq** is designated—but not in use—as the Internet country code top-level domain (ccTLD) for *Bonaire, Sint Eustatius and Saba* (the Caribbean Netherlands) following the assignment on December 15, 2010, by the ISO 3166 Maintenance Agency of BQ as the ISO 3166-1 alpha-2 to the area. This decision followed the dissolution of the Netherlands Antilles and new status of the Caribbean Netherlands as public bodies of the Netherlands on October 10, 2010.

On 15 December 2010 the ISO 3166-1 code for Bonaire, Sint Eustatius and Saba changed to reflect the BQ codified for the ccTLD.

Previously, the Caribbean Netherlands used the former Netherlands Antilles's ccTLD, .an, which has been phased out in July 2015. As part of the Netherlands proper, .nl also applies. Use of the top level domain is as of July 2015 being considered and an economic evaluation is being performed to that effect.

BQ was chosen as other possible codes had already been allocated.

## InfoBox

.bq
| Introduced | 20 February 2010 |
| --- | --- |
| TLD type | Country code top-level domain |
| Status | Unassigned |
| Registry | None |
| Sponsor | None |
| Intended use | Entities connected with  Caribbean Netherlands |
| Actual use | Not available for use |
| Registration restrictions | Not available for registration |


title: Muhammad Rahim Khan Madrasah

abstract: The Muhammad Rahim Khan Madrasah is a Madrasah in Itchan Kala, the historic old town of Khiva, Uzbekistan. It is part of the UNESCO world heritage.

text:
# Muhammad Rahim Khan Madrasah

The **Muhammad Rahim Khan Madrasah** (Uzbek : *Muhammad Rahimxon madrasasi*) is a Madrasah in Itchan Kala, the historic old town of Khiva, Uzbekistan. It is part of the UNESCO world heritage.

## Building

The Muhammad Rahim Khan Madrasah is one of the largest in Khiva, and is located directly opposite the Konya Ark citadel. It has a size of 62 meters by 50 meters. It was built in 1871 on behalf of Khan Said Muhammad Rahim II (reign 1863 to 1910), who was also a well-known poet under the pseudonym Feruz Shah.
It was built as the last of the large madrasahs in Khiva. The rectangular building has a courtyard with four iwans. There are also small towers on the corners. The large entrance portal has a complicated vestibule with a five-span arcade. The student quarters of the madrasah are covered with *Balkhi* type domes. In addition to the living rooms, the madrasah also has utility rooms. There is a domed mosque in the south wing.

## Sources

41°22′43″N 60°21′34″E / 41.3785°N 60.3594°E / 41.3785; 60.3594


title: WQZL

abstract: WQZL, also known as "The River", is a radio station licensed to serve Belhaven, North Carolina. It has a format of adult hits as "92.3 & 101.1 The River". The station's antenna is in Washington, but the signal reaches New Bern, Greenville, and Washington, North Carolina.

text:
# WQZL

**WQZL** (101.1 FM), also known as "The River", is a radio station licensed to serve Belhaven, North Carolina. It has a format of adult hits as "92.3 & 101.1 The River". The station's antenna is in Washington, but the signal reaches New Bern, Greenville, and Washington, North Carolina.

## History

WKJA-FM signed on June 1, 1981, at 92.1 FM. The original Effective Radiated Power was 3000 watts.

WKJA-FM was originally licensed to Roach Communications, Robert Ray "Bob" Roach, President. The original format was light CHR, but Adult Contemporary and Country formats also took occasional turns throughout the 1980s. The station was sold to Winfas in 1984, whose other holdings at the time included WRCM/WJNC in Jacksonville, NC and WAMV/WCNV in Amherst, Virginia.

WKJA used to play oldies in the early 1990s, and then rebroadcast the signal of adult standards WANG-FM (now WBKZ). In 1999, it took the WANJ calls to reflect its association with WANG-FM. In 2002, WANJ began simulcasting with WQSL, taking the WQZL calls; both stations first had a rhythmic CHR under the moniker of "The Beat of Carolina", this was later tweaked to a more Rhythmic AC format but still with the "Beat" moniker. They later flipped formats to "The Touch FM", an Urban adult contemporary format. In August 2010, WQZL severed ties with WQSL after 8 years and began simulcasting sister Rocker WXQR, giving it coverage in the inland sections of the Greenville-New Bern-Jacksonville area (WXQR serves mostly the coastal regions). On January 2, 2012, WQZL flipped to variety hits using the "S.A.M.: Simply About Music" format and calling itself "101.1 SAM FM"; "S.A.M." was previously heard on WSSM. This was the first time since the 1990s WQZL had not simulcast with another station. After 19 months, the station would flip back to a simulcast with WQSL on August 29, 2013 as 92.3/101.1 Jack FM. The simulcast started at 12 noon with a stunt as a 1960s-based oldies format as *Oldies 92* before introducing Jack at 12 Noon the next day. WQZL had no air personalities since it was a Jack FM outlet, and most Jack FM branded stations do not have any personalities.

On December 16, 2013, WQZL changed their format to a country simulcast with WQSL, branded as "The Wolf".

In September 2017, Dick Broadcasting announced the purchase of Alpha Media stations in three markets — 18 stations and two translators in total, at a purchase price of $19.5 million. The acquisition of WQZL by Dick Broadcasting was consummated on December 20, 2017.

On July 6, 2018 at 5 pm, WQZL (and simulcaster WQSL) changed their format from country to variety hits, branded as "92.3 & 101.1 The River".

## InfoBox

WQZL
| Simulcasts WQSL Jacksonville | |
| --- | --- |
|  | |
| Broadcast area | Greenville, and New Bern |
| Frequency | 101.1 MHz |
| Branding | *92.3 & 101.1 The River* |
| Programming | |
| Format | Adult hits |
| Ownership | |
| Owner | * Dick Broadcasting * (Dick Broadcasting Company, Inc. of Tennessee) |
| Sister stations | WERO, WQSL, WRNS, WRNS-FM, WXQR-FM |
| History | |
| First air date | 1981 (as WKJA-FM) |
| Former call signs | WKJA-FM (1981–1999)<br>WANJ (1999–2002) |
| Technical information | |
| Licensing authority | FCC |
| Facility ID | 47883 |
| Class | C2 |
| ERP | 50,000 watts |
| HAAT | 185 meters |
| Transmitter coordinates | 35°18′18.00″N 76°45′45.00″W / 35.3050000°N 76.7625000°W / 35.3050000; -76.7625000 |
| Links | |
| Public license information |  |
| Webcast | Listen live |
| Website | rivernc.com |


title: Virtual hosting

abstract: Virtual hosting is a method for hosting multiple domain names on a single server. This allows one server to share its resources, such as memory and processor cycles, without requiring all services provided to use the same host name. The term virtual hosting is usually used in reference to web servers but the principles do carry over to other Internet services. One widely used application is shared web hosting. The price for shared web hosting is lower than for a dedicated web server because many customers can be hosted on a single server. It is also very common for a single entity to want to use multiple names on the same machine so that the names can reflect services offered rather than where those services happen to be hosted. There are two main types of virtual hosting, name-based and IP-based. Name-based virtual hosting uses the host name presented by the client. This saves IP addresses and the associated administrative overhead but the protocol being served must supply the host name at an appropriate point. In particular, there are significant difficulties using name-based virtual hosting with SSL/TLS. IP-based virtual hosting uses a separate IP address for each host name, and it can be performed with any protocol but requires a dedicated IP address per domain name served. Port-based virtual hosting is also possible in principle but is rarely used in practice because it is unfriendly to users. Name-based and IP-based virtual hosting can be combined: a server may have multiple IP addresses and serve multiple names on some or all of those IP addresses. This technique can be useful when using SSL/TLS with wildcard certificates. For example, if a server operator had two certificates, one for *.example.com and one for *.example.net, the operator could serve foo.example.com and bar.example.com off the same IP address but would need a separate IP address for baz.example.net.

text:
# Virtual hosting

**Virtual hosting** is a method for hosting multiple domain names (with separate handling of each name) on a single server (or pool of servers). This allows one server to share its resources, such as memory and processor cycles, without requiring all services provided to use the same host name. The term virtual hosting is usually used in reference to web servers but the principles do carry over to other Internet services.

One widely used application is shared web hosting. The price for shared web hosting is lower than for a dedicated web server because many customers can be hosted on a single server. It is also very common for a single entity to want to use multiple names on the same machine so that the names can reflect services offered rather than where those services happen to be hosted.

There are two main types of virtual hosting, name-based and IP-based. Name-based virtual hosting uses the host name presented by the client. This saves IP addresses and the associated administrative overhead but the protocol being served must supply the host name at an appropriate point. In particular, there are significant difficulties using name-based virtual hosting with SSL/TLS. IP-based virtual hosting uses a separate IP address for each host name, and it can be performed with any protocol but requires a dedicated IP address per domain name served. Port-based virtual hosting is also possible in principle but is rarely used in practice because it is unfriendly to users.

Name-based and IP-based virtual hosting can be combined: a server may have multiple IP addresses and serve multiple names on some or all of those IP addresses. This technique can be useful when using SSL/TLS with wildcard certificates. For example, if a server operator had two certificates, one for \*.example.com and one for \*.example.net, the operator could serve foo.example.com and bar.example.com off the same IP address but would need a separate IP address for baz.example.net.

## Name-based

Name-based virtual hosts use multiple host names for the same IP address.

A technical prerequisite needed for name-based virtual hosts is a web browser with HTTP/1.1 support (commonplace today) to include the target hostname in the request. This allows a server hosting multiple sites behind one IP address to deliver the correct site's content. More specifically it means setting the Host HTTP header, which is mandatory in HTTP/1.1.

For instance, a server could be receiving requests for two domains, www.example.com and www.example.net, both of which resolve to the same IP address. For www.example.com, the server would send the HTML file from the directory /var/www/user/Joe/site/, while requests for www.example.net would make the server serve pages from /var/www/user/Mary/site/. Equally two subdomains of the same domain may be hosted together. For instance, a blog server may host both blog1.example.com and blog2.example.com.

The biggest issue with name-based virtual hosting is that it is difficult to host multiple secure websites running SSL/TLS. Because the SSL/TLS handshake takes place before the expected hostname is sent to the server, the server doesn't know which certificate to present in the handshake. It is possible for a single certificate to cover multiple names either through the "subjectaltname" field or through wildcards but the practical application of this approach is limited by administrative considerations and by the matching rules for wildcards. There is an extension to TLS called Server Name Indication, that presents the name at the start of the handshake to circumvent that issue, except for some older clients (in particular Internet Explorer on Windows XP or older Android versions) which do not implement SNI.

Furthermore, if the Domain Name System (DNS) is not properly functioning, it is difficult to access a virtually-hosted website even if the IP address is known. If the user tries to fall back to using the IP address to contact the system, as in http://10.23.45.67/, the web browser will send the IP address as the host name. Since the web server relies on the web browser client telling it what server name (vhost) to use, the server will respond with a default website—often not the site the user expects.

A workaround in this case is to add the IP address and host name to the client system's hosts file. Accessing the server with the domain name should work again. Users should be careful when doing this, however, as any changes to the true mapping between host name and IP address will be overridden by the local setting. This workaround is not really useful for an average web user, but may be of some use to a site administrator while fixing DNS records.

## IP-based

When IP-based virtual hosting is used, each site (either a DNS host name or a group of DNS host names that act the same) points to a unique IP address. The webserver is configured with multiple physical network interfaces, virtual network interfaces on the same physical interface or multiple IP addresses on one interface. The web server can either open separate listening sockets for each IP address, or it can listen on all interfaces with a single socket and obtain the IP address the TCP connection was received on after accepting the connections. Either way, it can use the IP address to determine which website to serve. The client is not involved in this process and therefore (unlike with name-based virtual hosting) there are no compatibility issues.

The downside of this approach is the server needs a different IP address for every web site. This increases administrative overhead (both assigning addresses to servers and justifying the use of those addresses to internet registries) and contributes to IPv4 address exhaustion.

## Uses

Virtual web hosting is often used on a large scale in companies whose business model is to provide low cost website hosting for customers. The vast majority of web hosting service customer websites worldwide are hosted on shared servers, using virtual hosting technology.

Many business companies utilize virtual servers for internal purposes, where there is a technological or administrative reason to operate several separate websites, such as a customer extranet website, employee extranet, internal intranet, and intranets for different departments. If there are no security concerns in the website architectures, they can be merged into a single server using virtual hosting technology, which reduces management and administrative overhead and the number of separate servers required to support the business.


title: Mianchi railway station

abstract: Mianchi railway station is a station on Longhai railway in Mianchi County, Sanmenxia, Henan.

text:
# Mianchi railway station

**Mianchi railway station** (Chinese: 渑池站) is a station on Longhai railway in Mianchi County, Sanmenxia, Henan.

## History

The station was established in 1915.

## InfoBox

| Mianchi
渑池 | |
| --- | --- |
| General information | |
| Location | Mianchi County, Sanmenxia, Henan
China |
| Coordinates | 34°45′16″N 111°46′45″E / 34.75444°N 111.77917°E / 34.75444; 111.77917 |
| Operated by | CR Zhengzhou |
| Line(s) |  |
| Other information | |
| Station code | * 39221 (TMIS code) * MCF (telegraph code) * MCH (Pinyin code) |
| Classification | Class 2 station (二等站) |
| History | |
| Opened | 1915 |
|  | |
| Services | |
| Preceding station  China Railway Following station  Yimatowards Lianyungang East  Longhai railway  Sanmenxiatowards Lanzhou | |
|  | |
|  | |
|  | |
| Location  MianchiLocation of the stationMianchiMianchi (China) | |


title: Marqués de Santa María del Villar

abstract: Diego Quiroga y Losada, Marqués de Santa María del Villar,, was born in Madrid in 1880 and died in San Sebastián in 1976. He took pictures of many places of Spain, its landscapes, monuments and people.

text:
# Marqués de Santa María del Villar

**Diego Quiroga y Losada**, *Marqués de Santa María del Villar*, (Marquess of Santa María del Villar), was born in Madrid in 1880 and died in San Sebastián in 1976. He took pictures of many places of Spain, its landscapes, monuments and people.

## Biography

He started his work in the early 20th century and ended in the 1960s. Because he belonged to the nobility, he was close to Alfonso XIII, king of Spain. He took pictures of the daily work of the king and he also took photos when the king was doing some sport (hunting). He was asked to be the president of the National Patronage of Tourism, but he did not accept this post. However, his photos represented the same image of Spain as the kind of images encouraged by the National Patronage. His pictures were published in magazines and newspapers like *Blanco y Negro*, *Vértice* and *Trenes*.

Before the Spanish Civil War (1936), he had more than 120,000 photographs, but many of them were destroyed during this war.

His photographic style was pictorialism, but lately he changed to documental and ethnographic photography in order to show the way Spain looked like after the war. Most of his collection is in the *Archivo Real y General de Navarra* in Pamplona, which held several exhibitions of his work.

He was also founder of photographic societies in Madrid and Guipúzcoa.

* *El fotógrafo Santa María del Villar*, by Jorge Latorre
* Summa Artis XLVII
* *Del Daguerrotipo a la instamatic*, by Juan Miguel Sanchez Vigil


abstract: Members of the New South Wales Legislative Assembly who served in the 29th parliament held their seats from 1930 to 1932. They were elected at the 1930 state election, and at by-elections. The Nationalist Party was replaced by the United Australia Party in 1931. The Speaker was Frank Burke.

text:
# Members of the New South Wales Legislative Assembly, 1930–1932

**Members of the New South Wales Legislative Assembly** who served in the 29th parliament held their seats from 1930 to 1932. They were elected at the 1930 state election, and at by-elections. The Nationalist Party was replaced by the United Australia Party in 1931. The Speaker was Frank Burke.

| Name | Party | | Electorate | Term in office |
| --- | --- | --- | --- | --- |
| George Ardill |  | Nationalist | Yass | 1930–1941 |
| Richard Arthur |  | Nationalist | Mosman | 1904–1932 |
| Jack Baddeley |  | Labor | Cessnock | 1922–1949 |
| Richard Ball |  | Nationalist/Country | Corowa | 1895–1898, 1904–1937 |
| Henry Bate |  | Nationalist | South Coast | 1926–1941 |
| Sir Thomas Bavin |  | Nationalist | Gordon | 1917–1935 |
| Walter Bennett |  | Nationalist | Gloucester | 1889–1902, 1917–1934 |
| George Booth |  | Labor | Kurri Kurri | 1925–1960 |
| Malcolm Brown |  | Independent Country | Upper Hunter | 1931–1939 |
| Michael Bruxner |  | Country | Tenterfield | 1920–1962 |
| Arthur Budd |  | Country | Byron | 1927–1944 |
| Frank Burke |  | Labor | Newtown | 1917–1944 |
| Walter Butler |  | Labor | Hurstville | 1927–1932 |
| Ernest Buttenshaw |  | Country | Lachlan | 1917–1938 |
| Joseph Byrne |  | Labor | Parramatta | 1930–1932 |
| Joseph Cahill |  | Labor | Arncliffe | 1925–1932, 1935–1959 |
| Robert Cameron |  | Labor | Waratah | 1927–1956 |
| William Cameron |  | Nationalist | Upper Hunter | 1918–1931 |
| Harry Carter |  | Country | Liverpool Plains | 1927–1941 |
| Frank Chaffey |  | Nationalist | Tamworth | 1913–1940 |
| Joseph Clark |  | Labor | Castlereagh | 1920–1927, 1930–1932 |
| William Clementson |  | Labor | Waverley | 1930–1932 |
| Daniel Clyne |  | Labor | King | 1927–1956 |
| Hugh Connell |  | Labor | Hamilton | 1920–1925, 1927–1934 |
| Peter Connolly |  | Labor | Newcastle | 1927–1935 |
| Frank Connors |  | Labor | Dulwich Hill | 1930–1932 |
| Mat Davidson |  | Labor | Cobar | 1918–1949 |
| Billy Davies |  | Labor | Illawarra | 1917–1949 |
| Evan Davies |  | Labor | Ryde | 1930–1932 |
| John Donovan |  | Labor | Murray | 1930–1932 |
| David Drummond |  | Country | Armidale | 1920–1949 |
| Bill Dunn |  | Labor | Mudgee | 1910–1911, 1911–1932, 1935–1950 |
| John Dunningham |  | Nationalist | Coogee | 1928–1938 |
| Bill Ely |  | Labor | Granville | 1920–1922, 1925–1932 |
| Joseph Fitzgerald |  | Labor | Albury | 1920–1927, 1930–1932 |
| Herbert FitzSimons |  | Nationalist | Lane Cove | 1930–1944 |
| William Foster |  | Nationalist | Vaucluse | 1925–1936 |
| Mark Gosling |  | Labor | Kogarah | 1920–1932 |
| Jack Flanagan |  | Labor | Randwick | 1930–1932 |
| Martin Flannery |  | Labor | Murrumbidgee | 1920–1932 |
| William Folster |  | Labor | Orange | 1930–1932 |
| William Hedges |  | Country | Monaro | 1927–1941 |
| Robert Heffron |  | Labor | Botany | 1930–1968 |
| Sir Thomas Henley |  | Nationalist | Burwood | 1904–1935 |
| Alfred Henry |  | Country | Clarence | 1931–1938 |
| Ken Hoad |  | Labor | Cootamundra | 1925–1932 |
| Ted Horsington |  | Labor | Sturt | 1922–1947 |
| Ben Howe |  | Labor | North Sydney | 1930–1932 |
| Joseph Jackson |  | Nationalist | Nepean | 1922–1956 |
| Milton Jarvie |  | Nationalist | Ashfield | 1925–1929, 1929–1935 |
| William Keast |  | Labor | Ashburnham | 1930–1932 |
| Tom Keegan |  | Labor | Glebe | 1910–1920, 1921–1935 |
| Gus Kelly |  | Labor | Bathurst | 1925–1932, 1935–1967 |
| Matthew Kilpatrick |  | Country | Wagga Wagga | 1920–1941 |
| Ted Kinsella |  | Labor | Georges River | 1930–1932 |
| Hamilton Knight |  | Labor | Hartley | 1927–1947 |
| Abe Landa |  | Labor | Bondi | 1930–1932, 1941–1965 |
| Joe Lamaro |  | Labor | Petersham | 1927–1932, 1932–1934 |
| Jack Lang |  | Labor | Auburn | 1913–1943, 1943–1946 |
| Carlo Lazzarini |  | Labor | Marrickville | 1917–1952 |
| Sir Daniel Levy |  | Nationalist | Woollahra | 1901–1937 |
| Andrew Lysaght |  | Labor | Bulli | 1925–1933 |
| Hugh Main |  | Country | Temora | 1922–1938 |
| Clarrie Martin |  | Labor | Young | 1927–1930, 1932–1941 |
| Lewis Martin |  | Nationalist | Oxley | 1927–1941 |
| Alfred McClelland |  | Labor | Dubbo | 1920–1927, 1930–1932 |
| Henry McDicken |  | Labor | Concord | 1927–1932 |
| James McGirr |  | Labor | Bankstown | 1922–1952 |
| William McKell |  | Labor | Redfern | 1917–1947 |
| David McLelland |  | Labor | Drummoyne | 1930–1932 |
| William Missingham |  | Country | Lismore | 1922–1933 |
| Mark Morton |  | Nationalist | Wollondilly | 1901–1920, 1922–1938 |
| Barney Olde |  | Labor | Leichhardt | 1927–1932 |
| Walter O'Hearn |  | Labor | Maitland | 1920–1932 |
| Maurice O'Sullivan |  | Labor | Paddington | 1927–1959 |
| Alfred Pollack |  | Country | Clarence | 1927–1931 |
| John Quirk |  | Labor | Balmain | 1917–1938 |
| Bill Ratcliffe |  | Labor | Barwon | 1922–1932 |
| Alfred Reid |  | Nationalist | Manly | 1920–1922, 1925–1945 |
| John Reid |  | Country | Casino | 1930–1953 |
| Edward Sanders |  | Nationalist | Willoughby | 1925–1943 |
| William Scully |  | Labor | Namoi | 1923–1932 |
| James Shand |  | Nationalist | Hornsby | 1926–1944 |
| Tom Shannon |  | Labor | Phillip | 1927–1954 |
| Fred Stanley |  | Labor | Lakemba | 1927–1950 |
| Bertram Stevens |  | Nationalist | Croydon | 1927–1940 |
| Robert Stuart-Robertson |  | Labor | Annandale | 1907–1933 |
| Arthur Tonge |  | Labor | Canterbury | 1927–1932, 1932–1935 |
| Jack Tully |  | Labor | Goulburn | 1930–1932, 1935–1946 |
| Roy Vincent |  | Country | Raleigh | 1922–1953 |
| Bruce Walker Sr |  | Nationalist | Hawkesbury | 1917–1932 |
| Reginald Weaver |  | Nationalist | Neutral Bay | 1917–1925, 1927–1945 |

1. Green, Antony. "1930 District List". *New South Wales Election Results 1856-2007*. Parliament of New South Wales. Retrieved 25 May 2020.
2. Green, Antony. "1930-1932 By elections". *New South Wales Election Results 1856-2007*. Parliament of New South Wales. Retrieved 25 May 2020.
3. "Part 5B - Members returned for each electorate" (PDF). *New South Wales Parliamentary Record*. Parliament of New South Wales. Retrieved 20 April 2020.
4. "Former members of the New South Wales Parliament, 1856–2006". New South Wales Parliament. Retrieved 4 December 2019.
5. "Part Ten - Officers of Parliament" (PDF). *NSW Parliamentary Record*. Parliament of New South Wales. Retrieved 14 May 2020.


title: Los Angeles Forum: April 26, 1969

abstract: Los Angeles Forum: April 26, 1969 is a live album by the Jimi Hendrix Experience. It was recorded during the group's last North American tour and includes a mix of popular Experience album songs along with some instrumentals. The album is the first full live release by the trio with Hendrix, Noel Redding, and Mitch Mitchell since 2013's Miami Pop Festival. Experience Hendrix and Sony Music's Legacy Recordings released it as a double record album and CD on November 18, 2022. It is the first time that the entire concert is available on an official album. Longtime Hendrix audio engineer Eddie Kramer mixed the recordings, which were "sourced directly from the original eight-track master tapes", according to Experience Hendrix.

text:
# Los Angeles Forum: April 26, 1969

***Los Angeles Forum: April 26, 1969*** is a live album by the Jimi Hendrix Experience. It was recorded during the group's last North American tour and includes a mix of popular Experience album songs along with some instrumentals. The album is the first full live release by the trio with Hendrix, Noel Redding, and Mitch Mitchell since 2013's *Miami Pop Festival*.

Experience Hendrix and Sony Music's Legacy Recordings released it as a double record album and CD on November 18, 2022. It is the first time that the entire concert is available on an official album. Longtime Hendrix audio engineer Eddie Kramer mixed the recordings, which were "sourced directly from the original eight-track master tapes", according to Experience Hendrix.

## Background

Since forming in October 1966, the Jimi Hendrix Experience released three highly successful albums and toured extensively throughout Europe and North America. By 1969, the group had become one of the few rock attractions "with enough drawing power to sell out huge venues like the Forum and New York's Madison Square Garden". In April 1969, they began yet another American tour. Experience manager Michael Jeffery arranged for Wally Heider (who had recorded the Experience at Monterey Pop in 1967) to record some shows. After promising performances at the Forum on April 26 and San Diego Sports Arena on May 24, Eddie Kramer arrived at Heider's Hollywood studios to prepare mixes from the multitrack recordings.

Jeffery was hoping to use a live album to satisfy a contract dispute with a former Hendrix manager. Kramer and Hendrix spent three days at Heider's studio, "assembled a superb album of live performances", and delivered the tapes to Jeffery. However, nothing was forthcoming and by June 15, 1969, plans for a live album were dropped. In later years, the Forum concert recordings were released piecemeal: "Foxey Lady" was added as a bonus track on the 1989 CD-reissue of *The Jimi Hendrix Concerts* (1982) and the following year, the rest of the tracks were included on disc four of *Lifelines: The Jimi Hendrix Story* box set. Other releases include "Red House" on *Variations on a Theme: Red House* (1992); "I Don't Live Today" on *The Jimi Hendrix Experience* (2000) box set and the *Voodoo Child: The Jimi Hendrix Collection* (2001) compilation; and The "Star Spangled Banner" and "Purple Haze" on *West Coast Seattle Boy: The Jimi Hendrix Anthology* (2010).

## Performance

In 1969, rock concerts at large indoor venues, such as the Forum, were relatively new. It was also a time of social unrest and popular concert events attracted their share of difficulties. Hendrix biographer Keith Shadwick commented, "As so often there was a troubled atmosphere in the arena reflecting the turmoil that continued to dominate America's social and political life; here it was exacerbated by the security personnel's reaction to provocation from unruly elements in the crowd." In an effort to prevent the capacity crowd from rushing the stage, "the cops had lined up on the stage in front of him \[Hendrix\], in some mysterious police method of crowd control".

Tensions heightened and those in charge threatened to cut the power; Hendrix announced "Look, they're going to cut the show short if this keeps up. So just sit down and be cool so these other 'people' \[coughs\] will get off the stage." During his performance of "Purple Haze", he changed "'scuse me while I kiss the sky" to "'scuse me while I kiss that policeman". Some see his attempts as sarcasm, however, Shadwick feels that with humor and common sense, Hendrix "repeatedly defuses a situation where more heavy-handed methods would only make things worse".

Also, by 1969, difficulties between Experience bassist Noel Redding and Hendrix were coming to a head. Hendrix had played bass on several songs that appeared on *Axis: Bold As Love* (1967 and *Electric Ladyland* (1968), and invited other musicians to record on the latter. In his autobiography, Redding expressed his increasing frustration with Hendrix's habit of showing up late for recording sessions, sometimes accompanied by a group of hangers-on, and generally not being supportive of his role in the group. Redding responded in part by forming his own band, Fat Mattress, where he returned to playing guitar, instead of bass. During the Forum concert, Redding's approach to dealing with the security issue also showed the growing division, with his angry comments at odds with Hendrix's more conciliatory approach. After riots during performances in San Diego (May 24) and Denver (June 29), Redding quit the Experience and returned to England.

## Critical reception

Professional ratings
| Review scores | |
| --- | --- |
| Source | Rating |
| All About Jazz |  |
| AllMusic |  |
| *American Songwriter* |  |
| *Mojo* |  |
| *The Telegraph* |  |

AllMusic reviewer Mark Deming gave the album a rating of four out of five stars. He writes:

> If this isn't the most tightly focused Jimi Hendrix Experience performance of all, it shows the group was still capable of delivering exciting, remarkable music even under difficult circumstances ... both \[Hendrix and Mitchell\] were in an inspired fashion this evening, while Redding's bass gives the music a simple but steady foundation ... the depth, detail, and sense of space in the audio serves this performance well.

## Track listing

All tracks are written by Jimi Hendrix, except where noted

*Los Angeles Forum: April 26, 1969* track listing
| No. | Title | Notes | Length |
| --- | --- | --- | --- |
| 1. | "Introduction" | Spoken (no music) | 2:27 |
| 2. | "Tax Free" (Bo Hannson, Janne Karlsson) | Instrumental with drum solo | 15:34 |
| 3. | "Foxey Lady" |  | 4:56 |
| 4. | "Red House" |  | 11:25 |
| 5. | "Spanish Castle Magic" | Includes improvised solo guitar | 11:58 |
| 6. | "Star Spangled Banner" (Francis Scott Key arr. Hendrix) | Solo guitar instrumental | 2:31 |
| 7. | "Purple Haze" |  | 6:44 |
| 8. | "I Don't Live Today" |  | 7:04 |
| 9. | "Voodoo Child (Slight Return)" (first part) | Tracks 9–11 are a medley | 9:16 |
| 10. | "Sunshine of Your Love" (Jack Bruce, Pete Brown, Eric Clapton) | Instrumental | 4:16 |
| 11. | "Voodoo Child (Slight Return)" (second part) |  | 3:20 |
| Total length: | | | 79:10 |

## Personnel

## Charts

Chart performance for *Los Angeles Forum: April 26, 1969*
| Chart (2022) | Peak
position |
| --- | --- |
| Austrian Albums (Ö3 Austria) | 41 |
| Belgian Albums (Ultratop Flanders) | 114 |
| Belgian Albums (Ultratop Wallonia) | 68 |
| Dutch Albums (Album Top 100) | 65 |
| German Albums (Offizielle Top 100) | 40 |
| Japanese Albums (Oricon) | 23 |
| Japanese Hot Albums (*Billboard Japan*) | 40 |
| Scottish Albums (OCC) | 27 |
| Spanish Albums (PROMUSICAE) | 70 |
| Swiss Albums (Schweizer Hitparade) | 19 |
| UK Album Downloads (OCC) | 65 |
| UK Rock & Metal Albums (OCC) | 3 |
| US *Billboard* 200 | 164 |

1. Harvey, Kubernik (11 November 2022). "Kubernik: Jimi Hendrix Experience  Los Angeles Forum 1969". *Music Connection*. Retrieved December 5, 2022.
2. Experience Hendrix (September 8, 2022). "Jimi Hendrix Experience *Los Angeles Forum: April 26, 1969* to Be Released November 18". *Jimihendrix.com (official website)*. Retrieved September 8, 2022.
3. Lifelines 1990, p. 2.
4. Shadwick 2003, p. 184.
5. McDermott, Kramer & Cox 2009, p. 163.
6. McDermott, Kramer & Cox 2009, p. 265.
7. McDermott, Kramer & Cox 2009, p. 164.
8. Shapiro & Glebbeek 1991, pp. 543–544, 552.
9. Prato, Greg. "Jimi Hendrix: *Stages*  Review". *AllMusic*. Retrieved December 5, 2022.
10. Lifelines 1990, p. 4.
11. Wheeler & Gore 1992, p. 3.
12. Shadwick 2003, p. 185.
13. Loder 2001, p. 12.
14. McDermott 2010, p. 32.
15. Pates 1982, pp. 2–3.
16. Pates 1982, p. 2.
17. Shapiro & Glebbeek 1991, p. 355.
18. Waksman 1999, eBook.
19. McDermott, Kramer & Cox 2009, p. 148.
20. McDermott, Kramer & Cox 2009, pp. 73, 75.
21. Shapiro & Glebbeek 1991, pp. 531–533.
22. Redding & Appleby 1990, pp. 86, 128.
23. Shapiro & Glebbeek 1991, p. 324.
24. Redding & Appleby 1990, pp. 131–132.
25. Collette, Doug (November 20, 2022). "The Jimi Hendrix Experience: Los Angeles Forum April 26, 1969  Review". *All About Jazz*. Retrieved November 25, 2022.
26. Deming, Mark. "Jimi Hendrix: *Live at the L.A. Forum, April 26, 1969*  Review". *AllMusic*. Retrieved November 18, 2022.
27. Horowitz, Hal (November 15, 2022). "Review: Do We Need Yet Another Hendrix Live Performance? When It's This Powerful, Why Not?". *American Songwriter*. Retrieved November 25, 2022.
28. Simmons, Michael (December 2022). "Jimi Hendrix Experience: *Live At The LA Forum*". *Mojo*. No. 349. p. 98. Retrieved 8 December 2022.
29. Woods, Cat; Johnston, Kathleen; Hall, James; Thomas, Jen; Harrison, Emma; Hobbs, Thomas; Shutler, Ali (18 November 2022). "The Jimi Hendrix Experience, Los Angeles Forum: April 26, 1969". *Telegraph*. Retrieved November 25, 2022.
30. "Austriancharts.at – Jimi Hendrix Experience – Los Angeles Forum - April 26, 1969" (in German). Hung Medien. Retrieved November 30, 2022.
31. "Ultratop.be – Jimi Hendrix Experience – Los Angeles Forum - April 26, 1969" (in Dutch). Hung Medien. Retrieved November 27, 2022.
32. "Ultratop.be – Jimi Hendrix Experience – Los Angeles Forum - April 26, 1969" (in French). Hung Medien. Retrieved November 27, 2022.
33. "Dutchcharts.nl – Jimi Hendrix Experience – Los Angeles Forum - April 26, 1969" (in Dutch). Hung Medien. Retrieved November 26, 2022.
34. "Offiziellecharts.de – Jimi Hendrix Experience – Los Angeles Forum - April 26, 1969" (in German). GfK Entertainment Charts. Retrieved November 25, 2022.
35. "Oricon Top 50 Albums: 2022-11-28/p/3" (in Japanese). Oricon. Retrieved November 23, 2022.
36. "Billboard Japan Hot Albums – Week of November 23, 2022". *Billboard Japan* (in Japanese). Retrieved November 23, 2022.
37. "Official Scottish Albums Chart Top 100". Official Charts Company. Retrieved November 26, 2022.
38. "Top 100 Albums Weekly". *El portal de Música*. Promusicae. Retrieved November 29, 2022.
39. "Swisscharts.com – Jimi Hendrix Experience – Los Angeles Forum - April 26, 1969". Hung Medien. Retrieved November 28, 2022.
40. "Official Album Downloads Chart Top 100". Official Charts Company. Retrieved November 26, 2022.
41. "Official Rock & Metal Albums Chart Top 40". Official Charts Company. Retrieved November 26, 2022.
42. "Jimi Hendrix Chart History (*Billboard* 200)". *Billboard*. Retrieved November 29, 2022.

## Bibliography

## InfoBox

| Los Angeles Forum: April 26, 1969 | |
| --- | --- |
|  | |
| Live album by the Jimi Hendrix Experience | |
| Released | November 18, 2022 (2022-11-18) |
| Recorded | April 26, 1969 |
| Venue | The Forum, Inglewood, California |
| Genre | Rock |
| Length | 79:10 |
| Label | Experience Hendrix/Legacy |
| Producer | Janie Hendrix, Eddie Kramer, John McDermott |
| Jimi Hendrix chronology | |
| *Live in Maui*
(2020) ***Los Angeles Forum: April 26, 1969***
(2022) | |


title: Muromonab-CD3

abstract: Muromonab-CD3 is an immunosuppressant medication given to reduce acute rejection in people with organ transplants. It is a monoclonal antibody targeted at the CD3 receptor, a membrane protein on the surface of T cells. It is the first monoclonal antibody to be approved for clinical use in humans.

text:
# Muromonab-CD3

**Muromonab-CD3** (brand name **Orthoclone OKT3**, marketed by Janssen-Cilag) is an immunosuppressant medication given to reduce acute rejection in people with organ transplants. It is a monoclonal antibody targeted at the CD3 receptor, a membrane protein on the surface of T cells. It is the first monoclonal antibody to be approved for clinical use in humans.

## Medical uses

Muromonab-CD3 is approved for the therapy of acute, glucocorticoid-resistant rejection of allogeneic kidney, heart, and liver transplants. Unlike the monoclonal antibodies basiliximab and daclizumab, it is not approved for prophylaxis of transplant rejection, although a 1996 review has found it to be safe for that purpose.

## Contraindications

Except under special circumstances, the drug is contraindicated for patients with an allergy against mouse proteins, as well as patients with uncompensated heart failure, uncontrolled arterial hypertension or epilepsy. It should not be used during pregnancy or lactation.

## Adverse effects

Especially during the first infusion, the binding of muromonab-CD3 to CD3 can activate T cells to release cytokines like tumor necrosis factor and interferon gamma. This cytokine release syndrome, or CRS, includes side effects like skin reactions, fatigue, fever, chills, myalgia, headaches, nausea and diarrhea, and could lead to life-threatening conditions like apnoea, cardiac arrest, and flash pulmonary edema. To minimize the risk of CRS and to offset some of the minor side effects patient experience, glucocorticoids (such as methylprednisolone), acetaminophen, and diphenhydramine are given before the infusion.

Other adverse effects include leucopenia, as well as an increased risk for severe infections and malignancies typical of immunosuppressive therapies. Neurological side effects like aseptic meningitis and encephalopathy have been observed. Possibly, they are also caused by the T cell activation.

Repeated application can result in tachyphylaxis (reduced effectiveness) due to the formation of anti-mouse antibodies in the patient, which accelerates elimination of the drug. It can also lead to an anaphylactic reaction against the mouse protein, which may be difficult to distinguish from a CRS.

## Pharmacology

T cells recognise antigens primarily via the T cell receptor (TCR). CD3 is one of the proteins that make up the TCR complex. The TCR transduces the signal for the T cell to proliferate and attack the antigen.

Muromonab-CD3 is a murine (mouse) monoclonal IgG2a antibody which was created using hybridoma technology. It binds to the T cell receptor-CD3-complex (specifically the CD3 epsilon chain) on the surface of circulating T cells, initially leading to an activation, but subsequently inducing the clearance of TCR complex from cell surface and apoptosis of the T cells. This protects the transplant against the T cells. When administered for transplant induction, the drug is administered daily thereafter for up to 7 days.

Newer monoclonal antibodies in development with the same mechanism of action include otelixizumab (also known as TRX4), teplizumab (also known as hOKT3γ1(Ala-Ala) ), visilizumab and foralumab. They are being investigated for the treatment of other conditions like Crohn's disease, ulcerative colitis, and type 1 diabetes.

## History

Muromonab-CD3 was approved by the U.S. Food and Drug Administration (FDA) in 1986, making it the first monoclonal antibody to be approved anywhere as a drug for humans. In the European Communities, it is the first drug to be approved under the directive 87/22/EWG, a precursor of the European Medicines Agency (EMA) centralised approval system in the European Union. This process included an assessment by the Committee for Proprietary Medicinal Products (CPMP, now CHMP), and a subsequent approval by the national health agencies; in Germany, for example, in 1988 by the Paul Ehrlich Institute in Frankfurt. However, the manufacturer of muromonab-CD3 has voluntarily withdrawn it from the United States market in 2010 due to numerous side-effects, better-tolerated alternatives and declining usage.

## Society and culture

Orthoclone OKT3 was withdrawn from the US market in 2010.

### Etymology

Muromonab-CD3 was developed before the WHO nomenclature of monoclonal antibodies took effect, and consequently its name does not follow this convention. Instead, it is a contraction from "*mur*ine *mon*oclonal *a*nti*b*ody targeting *CD3*".

## Research

It has also been investigated for use in treating T-cell acute lymphoblastic leukemia.

## Further reading

## InfoBox

Muromonab-CD3
| Monoclonal antibody | |
| --- | --- |
| Type | Whole antibody |
| Source | Mouse |
| Target | CD3 |
| Clinical data | |
| Trade names | Orthoclone OKT3 |
| AHFS/Drugs.com | Consumer Drug Information |
| MedlinePlus | a605011 |
| Routes of
administration | Intravenous |
| ATC code |  |
| Legal status | |
| Legal status | * In general: ℞ (Prescription only) |
| Identifiers | |
| CAS Number |  |
| DrugBank |  |
| ChemSpider | * none |
| UNII |  |
| KEGG |  |
| ChEMBL |  |
| CompTox Dashboard (EPA) |  |
| Chemical and physical data | |
| Formula | C6460H9946N1720O2043S56 |
| Molar mass | 146189.98 g·mol−1 |
| NY (what is this?)  (verify) | |


title: Melih Cevdet Anday

abstract: Melih Cevdet Anday was a Turkish writer whose poetry stands outside the traditional literary movements. He also wrote in many other genres which, over six and a half decades, included eleven collections of poems, eight plays, eight novels, fifteen collections of essays, several of which won major literary awards. He also translated several books from diverse languages into Turkish.

text:
# Melih Cevdet Anday

**Melih Cevdet Anday** (13 March 1915 – 28 November 2002) was a Turkish writer whose poetry stands outside the traditional literary movements. He also wrote in many other genres which, over six and a half decades, included eleven collections of poems, eight plays, eight novels, fifteen collections of essays, several of which won major literary awards. He also translated several books from diverse languages into Turkish.

## Biography

Melih Cevdet Anday was born in Istanbul in 1915 and lived there until his parents moved to Ankara in 1931. He graduated from Gazi High School and for a while began studying sociology in Belgium on a State Railways scholarship but had to return home in 1940 after the German invasion. Between 1942–51 he worked as a publication consultant for the Ministry of Education in Ankara and then as a city librarian. During this time he began his career as a journalist for several newspapers. After 1954, he worked as a teacher for the Istanbul Municipal Conservatory. Between 1964 and 1969, Anday served on Turkish Radio Television’s Board of Directors. After he retired from his position in the Conservatory in 1977, Anday was assigned to UNESCO Headquarters in Paris as Cultural Attaché until recalled after a change of Government.

## Literary career

As a poet, Anday was one of the leaders of the Garip movement, which also included Orhan Veli and Oktay Rifat. According to the preface of their joint collection, published in 1941, poetry should abandon the formalism and rhetorical classical style of previous centuries, making itself simple, colloquial, and matter of fact—an artless art designed to serve the common people.

However, present there even then was an uneasy acknowledgement of French Surrealism, and Anday was eventually to change his engaged style to a cerebral neo-surrealism as he cautiously navigated beyond the difficult political waters of his country. This culminated in what was regarded at the time as his masterwork, the four-sectioned long poem "Ulysses Bound" (*Kolları Bağlı Odysseus*) of 1963. In this he deploys an original rhetoric of his own:

A slow world, in progress, with no memory Visible only to the eye before there was an eye Where nameless beings were advancing among other beings Trees grew before trees were And a star in the temple of the clouds Opened wide the unharvested sky To the bloody dawn of the epochs before there was reason.

Other sectioned poems of some length were to follow, including "On the Nomad Sea" (*Göçebe Denizin Üstünde*, 1970) and "A poem in the manner of Karacaoğlan" (*Karacaoğlan’ın Bir Şiiri Üzerine Çeşitlemeler’de*). But there were also many short poems of disarming simplicity such as "Sun" (I was just about to speak/ When suddenly the sun came out) and "Seagull" (Seagull, capital letter/ Scribbled by a child) whose thoughtful qualities journey beyond his earlier manner.

From henceforth his varied work began to earn Anday official recognition. In particular his play *Mikado’nun Çöpleri* (The Mikado Game) earned him several awards: Most Successful Playwright of the 1967–1968 Drama Season; the İlhan İskender Prize; Ankara Art Lovers Foundation for the Best Playwright in 1971–1972. Another play, *Ölümsüzler ya da Bir Cinayetin Söylencesi* (The Immortals or the Legend of a Murder) won the Enka Art Prize in 1980. His poetry collection *Teknenin Ölümü* (Death of the Boat) won the 1978 Sedat Simavi Foundation Literature Prize, and *Ölümsüzlük Ardında Gılgamış* (Gilgamesh Beyond Death) gained the 1981 Türkiye İş Bankası Prize. In 1971 UNESCO honoured him among other outstanding European authors. He also received the TÜYAP Honour Prize for 1991 and the 2000 Aydın Doğan Foundation’s Literature Award.

In 1994 the sculptor Metin Yurdanur cast a seated statue of him in bronze which is now sited in the park named after him at Ören on the Gulf of Gökova. Later in 1998 Yurdanur again sculpted him for a monument in the Şairler Sofası Park.

## Bibliography

Poetry * *Garip* (Odd, 1941) with Orhan Veli and Oktay Rifat
* *Rahatı Kaçan Ağaç* (The Disturbed Tree, 1946)
* *Telgrafhane* (Telegram Office, 1952)
* *Yan Yana* (Side by side, 1956)
* *Kolları bağlı Odysseus* (Odysseus Bound, 1963)
* *Göçebe Denizin Üstünde* (On the Nomad Sea, 1970)
* *Teknenin Ölümü* (The death of a Boat, 1975)
* *Sözcükler* (Words, 1978)
* *Ölümsüzlük Ardında Gılgamış* (Gilgamesh Beyond Death, 1981)
* *Güneşte* (In the Sun, 1989)
* *Yağmurun Altında* (Under the Rain, 1995)
* *Seçme Şiirler* (Selected Poetry, 1997).

Novels * *Aylaklar* (The Vagabonds, 1965)
* *Gizli Emir* (The Secret Command, 1970)
* *İsa'nın Güncesi* (The Diary of Christ, 1974)
* *Raziye* (1975)
* *Yağmurlu Sokak* (Rainy Street, 1991),
* *Meryem Gibi* (Like Mary, 1991)
* *Birbirimizi Anlayamayız* (We Cannot Understand Each Other, 1992).

Plays * *İçerdekiler* (Insiders, 1965)
* *Mikado'nun Çöpleri* (The Mikado Game, 1967)
* *Dört Oyun* (Four Plays: Tomorrow in a Different Grove, Beware of the Dog, The Dead Want to Speak, and Inspectors,1972)
* *Ölümsüzler* (The Immortals: Complete Plays 1 and 2, 1981)

Essays * *Doğu-Batı* (East-West, 1961)
* *Konuşarak* (Speaking, 1964)
* *Gelişen Komedya* (Developing Comedy, 1965)
* *Yeni Tanrılar* (The New Gods, 1974)
* *Sosyalist Bir Dünya* (A Socialist World, 1975)
* *Dilimiz Üstüne Konuşmalar* (Discussions about our Language, 1975)
* *Maddecilik ve Ülkücülük* (Materialism and Idealism, 1977)
* *Yasak* (The Ban, 1978)
* *Paris Yazıları* (Paris Writings, 1982)
* *Açıklığa Doğru* (Towards Openness, 1984)
* *Sevişmenin Güdüklüğü ve Yüceliği* (On the Deficiency and Loftiness of Love-Making, 1990)
* *Yiten Söz* (The Vanishing Word, 1992)
* *Aldanma ki* (Don’t Be Fooled, 1992)
* *İmge Ormanları* (The Forests of Images, 1994)
* *Geleceği Yaşamak* (Living the Future, 1994)

Memoir * *Sovyet Rusya, Azerbaycan, Özbekistan, Bulgaristan, Macaristan* (Soviet Russia, Azerbaijan, Uzbekistan, Bulgaria, Hungary, 1965)

## Translations into European languages

Anday’s works have been translated into Russian, German, Hungarian, Romanian, French and English. Book-length translations include the novel *Aylaklar* into Bulgarian (Sofia 1966) and poetry selections into French: *Ulysse Bras Attachés et autres poèmes*, (Poésie-Club UNESCO, Paris, 1970) and *Offrandes* 1946–1989 (Editions UNESCO, 1998). US selections of poetry include *On The Nomad Sea*, (Geronimo Books, New York, 1974); *Rain One Step Away*, (Charioteer Press, Washington, DC, 1980); *Silent Stones: Selected Poems of Melih Cevdet Anday* (Northfield: Talisman House, 2017). The last of these, translated by poets Sidney Wade and Efe Murad, was winner of the 2015 Meral Divitçi Prize.

**Sources**

1.*M.C.ANDAY*. "EI" Magazine of European Art Center (EUARCE) of Greece, 8st issue 1994, p.11 & 38-39

## InfoBox

| Melih Cevdet Anday | |
| --- | --- |
| Melih Cevdet Anday | |
| Born | (1915-03-13)13 March 1915
Istanbul, Turkey |
| Died | 28 November 2002(2002-11-28) (aged 87)
Istanbul, Turkey |


title: Virtual herbarium

abstract: In botany, a virtual herbarium is a herbarium in a digitized form. That is, it concerns a collection of digital images of preserved plants or plant parts. Virtual herbaria often are established to improve availability of specimens to a wider audience. However, there are digital herbaria that are not suitable for internet access because of the high resolution of scans and resulting large file sizes. Additional information about each specimen, such as the location, the collector, and the botanical name are attached to every specimen. Frequently, further details such as related species and growth requirements are mentioned.

text:
# Virtual herbarium

In botany, a **virtual herbarium** is a herbarium in a digitized form. That is, it concerns a collection of digital images of preserved plants or plant parts. Virtual herbaria often are established to improve availability of specimens to a wider audience. However, there are digital herbaria that are not suitable for internet access because of the high resolution of scans and resulting large file sizes (several hundred megabytes per file). Additional information about each specimen, such as the location, the collector, and the botanical name are attached to every specimen. Frequently, further details such as related species and growth requirements are mentioned.

## Specimen imaging

The standard hardware used for herbarium specimen imaging is the "HerbScan" scanner. It is an inverted flat-bed scanner which raises the specimen up to the scanning surface. This technology was developed because it is standard practice to never turn a herbarium specimen upside-down. Alternatively, some herbaria employ a flat-bed book scanner or a copy stand to achieve the same effect.

A small color chart and a ruler must be included on a herbarium sheet when it is imaged. The JSTOR Plant Science requires that the ruler bears the herbarium name and logo, and that a ColorChecker chart is used for any specimens to be contributed to the Global Plants Initiative (GPI).

## Uses

Virtual herbaria are established in part to increase the longevity of specimens. Major herbaria participate in international loan programs, where a researcher can request specimens to be shipped in for study. This shipping contributes to the wear and tear of specimens. If, however, digital images are available, images of the specimens can be sent electronically. These images may be a sufficient substitute for the specimens themselves, or alternatively, the researcher can use the images to "preview" the specimens, to which ones should be sent out for further study. This process cuts down on the shipping, and thus the wear and tear of the specimens, as well as the wait times associated with shipping.

Virtual herbaria can also be used to increase public awareness of herbaria. Some herbaria make their specimen databases publicly available on the Internet. Digital images of specimens can be added to these databases to allow the public to further engage with the material. Some herbaria also capitalize on their images by selling herbarium prints and greeting cards featuring particularly attractive specimens.

## Five task clusters for digitization

* pre-digitization curation and staging
* specimen image capture
* specimen image processing
* electronic data capture, and
* georeferencing specimen data

Herbar Digital


title: Michael James Down

abstract: Michael James Down is a songwriter from Belfast, Northern Ireland. He is best known as a composer and lyricist of several pop songs performed by other artists, many of them in national pre-selections of the Eurovision Song Contest. He has worked with American popstar/rapper Sean Paul, the Japanese girlgroup MAX and in 2018 it was revealed that he'd written six of the songs for Russian pop star Sergey Lazarev's album 'The One' which charted at number 1 in Russia.

text:
# Michael James Down

**Michael James Down** is a songwriter from Belfast, Northern Ireland. He is best known as a composer and lyricist of several pop songs performed by other artists, many of them in national pre-selections of the Eurovision Song Contest. He has worked with American popstar/rapper Sean Paul, the Japanese girlgroup MAX and in 2018 it was revealed that he'd written six of the songs for Russian pop star Sergey Lazarev's album 'The One' which charted at number 1 in Russia.

## Discography

### Entries in the Junior Eurovision Song Contest

### Entries in national Eurovision pre-selections

**2012**

* "This Must Be Love" by Ana Mardare (Romania 2012), 13th place

**2013**

**2014**

**2015**

**2016**

**2017**

**2018**

**2019**

**2020**

**2022**

**2023**

* "Love You Like That" by Jake (Malta 2023), eliminated (quarter-final)
* "Haunted" by Lyndsay (Malta 2023), eliminated (quarter-final)
* "Love Again" by Skrellex (Norway 2023), 7th place

### Other notable songs

## InfoBox

| Michael James Down | |
| --- | --- |
| Also known as | Michael James |
| Born | (1988-07-15) 15 July 1988<br>Belfast, Northern Ireland |
| Genres | Pop |
| Years active | 2011 – |


abstract: Members of the New South Wales Legislative Assembly who served in the 30th parliament held their seats from 1932 to 1935. They were elected at the 1932 state election, and at by-elections. The Speaker was Sir Daniel Levy.

text:
# Members of the New South Wales Legislative Assembly, 1932–1935

**Members of the New South Wales Legislative Assembly** who served in the 30th parliament held their seats from 1932 to 1935. They were elected at the 1932 state election, and at by-elections. The Speaker was Sir Daniel Levy.

| Name | Party | | Electorate | Term in office |
| --- | --- | --- | --- | --- |
| George Ardill |  | United Australia | Yass | 1930–1941 |
| Jack Baddeley |  | Labor | Cessnock | 1922–1949 |
| Richard Ball |  | Country | Corowa | 1895–1898, 1904–1937 |
| Henry Bate |  | United Australia | South Coast | 1926–1941 |
| Thomas Bavin |  | United Australia | Gordon | 1917–1935 |
| Charles Bennett |  | United Australia | Gloucester | 1934–1941 |
| Walter Bennett |  | United Australia | Gloucester | 1889–1902, 1917–1934 |
| George Booth |  | Labor | Kurri Kurri | 1925–1960 |
| William Brennan |  | Labor | Hamilton | 1934–1935 |
| Malcolm Brown |  | Country | Upper Hunter | 1931–1939 |
| Michael Bruxner |  | Country | Tenterfield | 1920–1962 |
| Arthur Budd |  | Country | Byron | 1927–1944 |
| Frank Burke |  | Labor | Newtown | 1917–1944 |
| Ernest Buttenshaw |  | Country | Lachlan | 1917–1938 |
| Robert Cameron |  | Labor | Waratah | 1927–1956 |
| Harry Carter |  | Country | Liverpool Plains | 1927–1941 |
| Frank Chaffey |  | United Australia | Tamworth | 1913–1940 |
| Daniel Clyne |  | Labor | King | 1927–1956 |
| Hugh Connell |  | Labor | Hamilton | 1920–1925, 1927–1934 |
| Peter Connolly |  | Labor | Newcastle | 1927–1935 |
| Mat Davidson |  | Labor | Cobar | 1918–1949 |
| Billy Davies |  | Labor | Illawarra | 1917–1949 |
| David Drummond |  | Country | Armidale | 1920–1949 |
| John Dunningham |  | United Australia | Coogee | 1928–1938 |
| Hilton Elliott |  | Country | Ashburnham | 1932–1941 |
| Herbert FitzSimons |  | United Australia | Lane Cove | 1930–1944 |
| Claude Fleck |  | United Australia | Granville | 1932–1938 |
| William Foster |  | United Australia | Vaucluse | 1925–1936 |
| William Frith |  | Country | Lismore | 1933–1953 |
| George Gollan |  | United Australia | Parramatta | 1932–1953 |
| Bob Gorman |  | Labor | Annandale | 1933–1950 |
| Robert Hankinson |  | Country | Murrumbidgee | 1932–1941 |
| Horace Harper |  | United Australia | Arncliffe | 1932–1935 |
| William Hedges |  | Country | Monaro | 1927–1941 |
| Robert Heffron |  | Labor | Botany | 1930–1968 |
| Sir Thomas Henley |  | United Australia | Burwood | 1904–1935 |
| Alfred Henry |  | Country | Clarence | 1931–1938 |
| Edward Hocking |  | United Australia | Canterbury | 1932–1935 |
| Ted Horsington |  | Labor | Sturt | 1922–1947 |
| Walter Howarth |  | United Australia | Maitland | 1932–1956 |
| Joseph Jackson |  | United Australia | Nepean | 1922–1956 |
| Milton Jarvie |  | United Australia | Ashfield | 1925–1929, 1929–1935 |
| Tom Keegan |  | Labor | Glebe | 1910–1920, 1921–1935 |
| Matthew Kilpatrick |  | Country | Wagga Wagga | 1920–1941 |
| Hamilton Knight |  | Labor | Hartley | 1927–1947 |
| Joe Lamaro |  | Labor | Leichhardt | 1927–1932, 1932–1934 |
| Jack Lang |  | Labor | Auburn | 1913–1943, 1943–1946 |
| Joe Lawson |  | Country | Murray | 1932–1973 |
| Carlo Lazzarini |  | Labor | Marrickville | 1917–1952 |
| John Lee |  | United Australia | Drummoyne | 1920–1941 |
| Sir Daniel Levy |  | United Australia | Woollahra | 1901–1937 |
| Herbert Lloyd |  | United Australia | Mosman | 1929–1941 |
| Stan Lloyd |  | United Australia | Concord | 1932–1941 |
| Peter Loughlin |  | United Australia | Goulburn | 1917–1927, 1932–1935 |
| Andrew Lysaght |  | Labor | Bulli | 1925–1933 |
| Hugh Main |  | Country | Temora | 1922–1938 |
| Alexander Mair |  | United Australia | Albury | 1932–1946 |
| Lewis Martin |  | United Australia | Oxley | 1927–1941 |
| Claude Matthews |  | Labor | Leichhardt | 1934–1954 |
| James McGirr |  | Labor | Bankstown | 1922–1952 |
| William McKell |  | Labor | Redfern | 1917–1947 |
| William Missingham |  | Country | Lismore | 1922–1933 |
| Cecil Monro |  | United Australia | Georges River | 1932–1941, 1950–1953 |
| Mark Morton |  | United Australia | Wollondilly | 1901–1920, 1922–1938 |
| Arthur Moverly |  | United Australia | Randwick | 1932–1941 |
| John Ness |  | United Australia | Dulwich Hill | 1927–1938 |
| Barney Olde |  | Labor | Leichhardt | 1927–1932 |
| Maurice O'Sullivan |  | Labor | Paddington | 1927–1959 |
| Hubert Primrose |  | United Australia | North Sydney | 1932–1941 |
| John Quirk |  | Labor | Balmain | 1917–1938 |
| Albert Reid |  | Country | Young | 1927–1930, 1932–1941 |
| Alfred Reid |  | United Australia | Manly | 1920–1922, 1925–1945 |
| John Reid |  | Country | Casino | 1930–1953 |
| Bill Ross |  | Country | Cootamundra | 1932–1941 |
| James Ross |  | United Australia | Kogarah | 1932–1941 |
| Edward Sanders |  | United Australia | Willoughby | 1925–1943 |
| James Shand |  | United Australia | Hornsby | 1926–1944 |
| Tom Shannon |  | Labor | Phillip | 1927–1954 |
| Colin Sinclair |  | Country | Namoi | 1932–1941 |
| Eric Solomon |  | United Australia | Petersham | 1932–1941 |
| Eric Spooner |  | United Australia | Ryde | 1932–1940 |
| David Spring |  | United Australia/Country | Mudgee | 1932–1935 |
| Fred Stanley |  | Labor | Lakemba | 1927–1950 |
| Bertram Stevens |  | United Australia | Croydon | 1927–1940 |
| Robert Stuart-Robertson |  | Labor | Annandale | 1907–1933 |
| John Sweeney |  | Labor | Bulli | 1933–1947 |
| Norman Thomas |  | United Australia | Bondi | 1932–1941 |
| Alwyn Tonking |  | United Australia | Orange | 1932–1944 |
| Roy Vincent |  | Country | Raleigh | 1922–1953 |
| John Waddell |  | United Australia | Waverley | 1932–1939 |
| Ben Wade |  | Country | Barwon | 1932–1940 |
| Bruce Walker Jr |  | United Australia | Hawkesbury | 1932–1941 |
| Reginald Weaver |  | United Australia | Neutral Bay | 1917–1925, 1927–1945 |
| James Webb |  | United Australia | Hurstville | 1932–1939 |
| Gordon Wilkins |  | United Australia/Country | Bathurst | 1932–1935 |
| George Wilson |  | Country | Dubbo | 1932–1942 |
| Alfred Yeo |  | Country | Castlereagh | 1932–1941 |

1. Green, Antony. "1932 District List". *New South Wales Election Results 1856-2007*. Parliament of New South Wales. Retrieved 25 May 2020.
2. Green, Antony. "1932-1935 By elections". *New South Wales Election Results 1856-2007*. Parliament of New South Wales. Retrieved 25 May 2020.
3. "Part 5B - Members returned for each electorate" (PDF). *New South Wales Parliamentary Record*. Parliament of New South Wales. Retrieved 20 April 2020.
4. "Former members of the New South Wales Parliament, 1856–2006". New South Wales Parliament. Retrieved 4 December 2019.
5. "Part Ten - Officers of Parliament" (PDF). *NSW Parliamentary Record*. Parliament of New South Wales. Retrieved 14 May 2020.


title: Martins Dukurs

abstract: Martins Dukurs is a former Latvian skeleton racer, currently a coach, who has competed since 1998. He is a six-time world champion in men's skeleton, a double Olympic silver winner, and the athlete with the most World Cup titles with a total of 11, having won eight consecutive titles between 2010 and 2017, plus another three consecutive titles between 2020 and 2022.

text:
# Martins Dukurs

**Martins Dukurs** (born 31 March 1984) is a former Latvian skeleton racer, currently a coach, who has competed since 1998. He is a six-time world champion in men's skeleton, a double Olympic silver winner (at Vancouver 2010 and Sochi 2014), and the athlete with the most World Cup titles with a total of 11, having won eight consecutive titles between 2010 and 2017, plus another three consecutive titles between 2020 and 2022.

## Career

Dukurs finished seventh in the men's skeleton event at the 2006 Winter Olympics in Turin and sixth in the men's skeleton event at the 2007 FIBT World Championships in St. Moritz. He won the gold medal in the men's event at the 2011 FIBT World Championships, 2012 FIBT World Championships, 2015 FIBT World Championships, 2016 FIBT World Championships and 2017 FIBT World Championships.

Martins won the overall World Cup for the 2009–10, 2010–11, 2011–12, 2012–13, 2013–14, 2014–15, 2015–16 season, 2016–17 season and 2019–20 season.

At the end of the 2019–20 Skeleton World Cup season, he had 54 World Cup race victories.

His older brother Tomass is also a skeleton racer. Both he and his brother qualified for the 2010 Winter Olympics and the 2014 Winter Olympics. In 2010 Martins Dukurs was decorated with the Order of the Three Stars.

In November 2017, Sochi gold medalist Alexander Tretiakov was disqualified by the IOC, and his medal stripped from him; however, a decision on whether Martins Dukurs would be granted a gold medal was not made by the IBSF. He would have been the first-ever Latvian athlete to win gold at the Winter Olympics. However, Tretiakov would appeal against his disqualification to the Court of Arbitration for Sport, who overturned his disqualification and reinstated his gold medal.

On 19 January 2018, Martins was retroactively disqualified from the 2018 St. Moritz World Cup for having a too-hard sled.

Martins and Tomass' father, Dainis Dukurs, is a former bobsleigh brakeman, former manager of the Sigulda sledding track, sled designer, and coach of the Latvian skeleton team.

In August 2022, Dukurs was appointed a performance coach for the British national team.

## Career results

### Skeleton World Cup

| Season | Place | Points | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| 2004–05 | **19th** | **139** | WIN
37 | ALT
20 | IGL
 | SIG
14 | CES
10 | STM
19 | LPL
13 |
| 2005–06 | **20th** | **151** | CAL
26 | LPL
10 | IGL
20 | SIG
20 | KON
16 | STM
14 | ALT
19 |
| 2006–07 | **12th** | **255** | CAL
18 | PKC
23 | LPL
24 | NAG
15 | IGL
9 | CES
 | WIN
3 | KON
5 |
| 2007–08 | **5th** | **1369** | CAL
7 | PKC
11 | LPL
4 | CES1
7 | CES2
7 | STM
6 | KON
11 | WIN
1 |
| 2008–09 | **6th** | **1282** | WIN
3 | ALT
2 | IGL
3 | KON
4 | STM
17 | WIN
12 | PKC
11 | LKP
11 |
| 2009–10 | **1st** | **1694** | PKC
1 | LKP
3 | CES
2 | WIN
1 | ALT
5 | KON
1 | STM
3 | IGL
1 |
| 2010–11 | **1st** | **1719** | WHI
5 | CAL
1 | PKC
3 | LKP
2 | IGL
1 | WIN
1 | STM
1 | CES
1 |
| 2011–12 | **1st** | **1751** | IGL
1 | LPL
1 | WIN
1 | ALT
1 | KON
6 | STM
1 | WHI
1 | CAL
1 |
| 2012–13 | **1st** | **2010** | LKP
1 | PKC
1 | WHI
2 | WIN
1 | LPL
1 | ALT
1 | KON
1 | IGL
1 | SOC
1 |
| 2013–14 | **1st** | **1720** | CAL
1 | PKC
2 | LKP
8 | WIN
1 | STM1
1 | STM2
1 | IGL
1 | KON
1 |
| 2014–15 | **1st** | **1770** | LKP
1 | CAL
1 | ALT
1 | KON
2 | STM
1 | LPL
1 | IGL
1 | SOC
2 |
| 2015–16 | **1st** | **1785** | ALT
1 | WIN
1 | KON1
1 | LPL
1 | PAC
1 | WHI
1 | STM
2 | KON2
1 |
| 2016–17 | **1st** | **1662** | WHI
4 | LPL
5 | ALT
2 | WIN
1 | STM
1 | KON
6 | IGL
1 | PYE
1 |
| 2017–18 | **4th** | **1440** | LPL
1 | PAC
2 | WHI
6 | WIN
2 | IGL
1 | ALT
5 | STM
DSQ | KON
2 |
| 2018–19 | **3rd** | **1533** | SIG
2 | WIN
7 | ALT
7 | IGL
1 | STM
8 | LPL
2 | CAL1
3 | CAL2
4 |
| 2019–20 | **1st** | **1665** | LKP1
2 | LKP1
2 | WIN
4 | PAC
2 | IGL
1 | KON
7 | STM
1 | SIG
1 |
| 2020–21 | **1st** | **1456** | SIG1
1 | SIG2
1 | IGL1
1 | IGL2
1 | WIN
2 | STM
2 | KON
11 | IGL3
 |
| 2021–22 | **1st** | **1623** | IGL1
2 | IGL2
11 | ALT1
3 | WIN1
4 | ALT2
1 | SIG
3 | WIN2
1 | STM
1 |

## InfoBox

Martins Dukurs
| Dukurs in 2020 | |
| --- | --- |
| Personal information | |
| Nationality | Latvian |
| Born | (1984-03-31) 31 March 1984
Rīga, Latvian SSR |
| Height | 1.79 m (5 ft 10 in) |
| Weight | 77 kg (170 lb) |
| Sport | |
| Country | Latvia |
| Sport | Skeleton |
| Turned pro | 1998 |
| Medal record      Olympic Games  2010 Vancouver Men  2014 Sochi Men  World Championships  2011 Königssee Men  2012 Lake Placid Men  2015 Winterberg Men  2016 Igls Men  2017 Königssee Men  2019 Whistler Men  2013 St. Moritz Men  European Championships  2010 Igls Men  2011 Winterberg Men  2012 Altenberg Men  2013 Igls Men  2014 Königssee Men  2015 La Plagne Men  2016 St. Moritz Men  2017 Winterberg Men  2018 Igls Men  2019 Igls Men  2020 Sigulda Men  2022 St. Moritz Men  2021 Winterberg Men | |


title: 16 Collyer Quay

abstract: 16 Collyer Quay, formerly CALTEX HOUSE and Hitachi Tower, is a 37-storey, 166 m (545 ft), skyscraper in the central business district of Singapore. It is located on 16 Collyer Quay, in the zone of Raffles Place, near Chevron House, Change Alley, Tung Centre, and The Arcade, all of which are roughly 100 metres away. Facing Clifford Pier, the building commands a panoramic view of Marina Bay. It has an underground linkage to Raffles Place MRT station. The skyscraper has a spire that is 13 m (43 ft), which increases the tower overall height from 166 to 179 m It is on a 999-year leasehold. 16 Collyer Quay has a net lettable area of approximately 25,980 m⁲ (279,600 sq ft). The building had close to 100% occupancy as of December 31, 2007, and key tenants include Hitachi and American Express.

text:
# 16 Collyer Quay

**16 Collyer Quay**, formerly **CALTEX HOUSE and Hitachi Tower**, is a 37-storey, 166 m (545 ft), skyscraper in the central business district of Singapore. It is located on 16 Collyer Quay, in the zone of Raffles Place, near Chevron House, Change Alley, Tung Centre, and The Arcade, all of which are roughly 100 metres away. Facing Clifford Pier, the building commands a panoramic view of Marina Bay. It has an underground linkage to Raffles Place MRT station.

The skyscraper has a spire that is 13 m (43 ft), which increases the tower overall height from 166 to 179 m (545 to 587 ft) It is on a 999-year leasehold.

16 Collyer Quay has a net lettable area of approximately 25,980 m2 (279,600 sq ft). The building had close to 100% occupancy as of December 31, 2007, and key tenants include Hitachi and American Express.

## History

Hitachi Tower was designed by Murphy/Jahn, Inc. Architects, and local firm Architects 61 Pte Ltd. It was completed in 1992. Other firms involved in the development include Hitachi, CapitaLand Commercial Limited, Savu Investments Private Limited, CapitaLand Limited, Obayashi Gumi Corporation, Sendai Eversendai Engineering Group, Steen Consultants Private Limited, PCR Engineers Private Limited, and Rider Hunt Levett & Bailey.

### Selling of stake

On January 16, 2008, CapitaLand sold its 50% stake in Hitachi Tower for S$403.5 million, which it had earlier bought in 2000. The National University of Singapore, which owns the remaining 50% of the office building, also sold its stake. Upon the deal's completion, CapitaLand will recognise a gain of S$110.1 million.

According to CapitaLand, the deal took into consideration the agreed value of the development at $811 million, or about $2,900 per square foot of net lettable area. It also claimed the consideration was arrived at on a willing-buyer willing-seller basis. However, the company did not state the buyer, but sources said that the building was bought by a fund linked to Goldman Sachs. This is based on the fact that Goldman Sachs bought the next-door Chevron House a year earlier.

In January 2011, NTUC Income acquired a 49 percent stake in Savu Investments, the holding company which owns the asset, from Goldman Sachs. In January 2013, NTUC Income bought over Goldman Sach's remaining 51% stake in Savu Investments, the acquisition valuing the property at around $660 million, or less than $2,400 per square foot, on a net lettable space of over 278,000 square feet.

## Architecture

16 Collyer Quay is linked to the 33-storey Chevron House by a four-storey glass galleria. According to the Urban Redevelopment Authority (URA), the two buildings are designed and planned in parallel, with each tower takes on different architectural expressions, while complementing each other to "strengthen the urban quality" of Raffles Place.

The building is topped off by a two-storey navigating beacon. URA claims it recalls the maritime history of the Collyer Quay area. Its facade is expressed in three parts, which breaks the verticality of the 37-storey tower and creates a stepping down effect that matches with the height of its shorter neighbour, Tung Centre.

At the urban level, the two buildings respect and are designed around established patterns of pedestrian movement and urban use. The bank lobby is lifted to the upper floors to create Change Alley on the first storey, a pedestrian thoroughfare lined with retail activities that is today, a well-used and vibrant space linking Raffles Place to Collyer Quay.

## InfoBox

| 16 Collyer Quay | |
| --- | --- |
| 16 Collyer Quay, with Tung Centre on the right | |
|  | |
| Former names | CALTEX HOUSE and Hitachi Tower |
| General information | |
| Status | Completed |
| Type | Commercial offices |
| Architectural style | Modernism |
| Location | 16 Collyer Quay, Singapore 049318 |
| Coordinates | 1°17′03.08″N 103°51′08.72″E / 1.2841889°N 103.8524222°E / 1.2841889; 103.8524222 |
| Cost | $60 million |
| Owner | NTUC Income |
| Height | |
| Antenna spire | 179 m (587 ft) |
| Roof | 166 m (545 ft) |
| Technical details | |
| Floor count | 37 |
| Lifts/elevators | 12 |
| Design and construction | |
| Architect(s) | Murphy/Jahn, Inc. Architects, Architects 61 Pte Ltd |
| References | |
|  | |


title: Murder Goes to College

abstract: Murder Goes to College is a 1937 American comedy mystery film directed by Charles Reisner and written by Brian Marlow, Eddie Welch and Robert Wyler. The film stars Roscoe Karns, Marsha Hunt, Lynne Overman, Buster Crabbe, Astrid Allwyn and Harvey Stephens. The film was released on February 24, 1937, by Paramount Pictures. Karns' and Overman's private-eye characters were reteamed for a sequel, Partners in Crime, later that year.

text:
# Murder Goes to College

***Murder Goes to College*** is a 1937 American comedy mystery film directed by Charles Reisner and written by Brian Marlow, Eddie Welch and Robert Wyler. The film stars Roscoe Karns, Marsha Hunt, Lynne Overman, Buster Crabbe, Astrid Allwyn and Harvey Stephens. The film was released on February 24, 1937, by Paramount Pictures.

Karns' and Overman's private-eye characters were reteamed for a sequel, *Partners in Crime*, later that year.

## Plot

In a large university, a policy-racket scheme intertwines with the world of applied mathematics, involving both the academic elite and the criminal underworld. The plot thickens when a professor named Tom Barry is murdered in the Dean's office. It is revealed that Barry had developed a system to help gangster Strike Belno beat the numbers-racket, only to betray him and become a prime suspect in his murder. Greta Barry, Tom's wife, is torn between her love for Belno and the romantic advances of another professor. Meanwhile, Nora Barry, Tom's sister, is furious and her fiancé appears suspicious.

## Cast

## InfoBox

| Murder Goes to College | |
| --- | --- |
|  | |
| Directed by | Charles Reisner |
| Screenplay by | Brian Marlow
Eddie Welch
Robert Wyler |
| Produced by | William T. Lackey |
| Starring | Roscoe Karns
Marsha Hunt
Lynne Overman
Buster Crabbe
Astrid Allwyn
Harvey Stephens |
| Cinematography | Henry Sharp |
| Edited by | Edward Dmytryk |
| Music by | Charles Kisco |
| Production
company | Paramount Pictures |
| Distributed by | Paramount Pictures |
| Release date | * February 24, 1937 (1937-02-24) |
| Running time | 77 minutes |
| Country | United States |
| Language | English |


title: WHCB

abstract: WHCB is a Religious formatted broadcast radio station licensed to Bristol, Tennessee, serving the Tri-Cities, VA/TN area. WHCB is owned and operated by Appalachian Educational Communications Corp.

text:
# WHCB

**WHCB** (91.5 FM) is a Religious formatted broadcast radio station licensed to Bristol, Tennessee, serving the Tri-Cities, VA/TN area. WHCB is owned and operated by Appalachian Educational Communications Corp.

36°26′02″N 82°08′02″W / 36.434°N 82.134°W / 36.434; -82.134

1. "Facility Technical Data for WHCB". *Licensing and Management System*. Federal Communications Commission.

## InfoBox

WHCB
|  | |
| --- | --- |
| Broadcast area | Tri-Cities, VA/TN |
| Frequency | 91.5 MHz |
| Branding | *"WHCB Radio"* |
| Programming | |
| Format | Religious |
| Ownership | |
| Owner | Appalachian Educational Communications Corp. |
| History | |
| First air date | 1999 |
| Former call signs | WKKB (1982) |
| Call sign meaning | **W**e **H**erald **C**hrist's **B**lessing |
| Technical information | |
| Licensing authority | FCC |
| Facility ID | 2460 |
| Class | C1 |
| ERP | 1,500 watts |
| HAAT | 715 meters (2,346 ft) |
| Links | |
| Public license information |  |
| Webcast | WHCB Webstream |
| Website | WHCB Online |


title: Vasseti Group

abstract: The Vasseti Group consists of multiple businesses in various fields, ranging from telecommunications to lifestyle concepts. As of 3 January 2011, the Vasseti Group began operations in its new corporate headquarters at Plaza Sentral, in close proximity with KL Sentral Station. This is also the same location as the Vasseti Concierge office on the ground floor which serves as Vasseti's front lines, providing information on anything and everything Vasseti-related. In August 2010, Malaysian billionaire Syed Yusof, chairman of the Vasseti Group bought his own stake in the group – totaling at 30%. Also in August 2010, Vasseti introduced 1,000 Mbit/s internet service to parts of Kuala Lumpur for RM199 per month. chief executive officer of Vasseti, Ahmad Razmy Abdul Rashid, said that the new deployment will help web TV, voice-over-internet-protocol (VoIP) as well as surveillance.

text:
# Vasseti Group

The **Vasseti Group** consists of multiple businesses in various fields, ranging from telecommunications to lifestyle concepts. As of 3 January 2011, the Vasseti Group began operations in its new corporate headquarters at Plaza Sentral, in close proximity with KL Sentral Station. This is also the same location as the Vasseti Concierge office on the ground floor which serves as Vasseti's front lines, providing information on anything and everything Vasseti-related.

In August 2010, Malaysian billionaire Syed Yusof, chairman of the Vasseti Group bought his own stake in the group – totaling at 30%. Also in August 2010, Vasseti introduced 1,000 Mbit/s internet service to parts of Kuala Lumpur for RM199 per month. chief executive officer of Vasseti, Ahmad Razmy Abdul Rashid, said that the new deployment will help web TV (sometimes referred to as IPTV or Internet-Protocol-Television), voice-over-internet-protocol (VoIP) as well as surveillance.


title: Michael James Genovese

abstract: Michael James Genovese was an alleged boss of the Pittsburgh crime family. References to Michael Genovese as the brother of New York mob boss Vito Genovese are to a different Michael Genovese; Michael James Genovese was first cousin to Vito Genovese.

text:
# Michael James Genovese

**Michael James Genovese** (April 9, 1919 – October 31, 2006) was an alleged boss of the Pittsburgh crime family. References to Michael Genovese as the brother of New York mob boss Vito Genovese are to a different Michael Genovese; Michael James Genovese was first cousin to Vito Genovese.

## Early years

Genovese was born to Anthony and Ursula Genovese in East Liberty, Pittsburgh Pennsylvania. He had two brothers. Felix and Fiore, and three sisters: Virginia, Frances and Angeline. In his early years, Genovese was arrested for robbery and carrying concealed weapons. Among his " legitimate businesses was a car wash. According to a report by the then Pennsylvania Crime Commission, Genovese once controlled the Numbers Game in Western Pennsylvania. His climb through the Pittsburgh crime family included stints as caporegime and underboss to John Sebastian LaRocca, who became boss in 1956. In November 1957, Genovese accompanied LaRocca to the abortive Apalachin meeting of mob bosses in Apalachin, New York with Gabriel "Kelly" Mannarino. In 1978, facing poor health, LaRocca formed a three-man commission of Genovese, Mannarino, and Joseph "Jo Jo" Pecora to take over day-to-day operations of the family.

## Family boss

Within a year, with the death of Mannarino and the imprisonment of Pecora, Genovese headed the commission. Under Genovese's reign, the Pittsburgh family dominated illegal gambling in Western Pennsylvania, the West Virginia Panhandle, and Eastern Ohio. The family was also involved in major drug trafficking, loan sharking, scams, and theft in Pittsburgh. However, the Mafia Commission in New York would not allow Genovese to recruit new members into the family; he could only replace those who died or retired. Three years after Genovese took control, Pecora died at age 68. In 1985, the Federal Bureau of Investigation (FBI) described the Pittsburgh family as being one of the lower-ranked crime families. However, in a 1995 report, the FBI implied that due to large scale federal prosecutions of New York's Five Families and the Chicago Outfit, the Pittsburgh organization was one of the stronger families in the Eastern United States.

## Prosecutions

Age and federal prosecutors began catching up with organized crime in Pittsburgh by the early 1990s. In March 1990, underboss Charles "Chucky" Porter (Genovese's right-hand man), and capo Louis Raucci Sr., were indicted for distribution of narcotics, extortion, conspiracy to commit murder, robbery, gambling and racketeering. Police stake-outs at L.A. Motor in Verona, Pennsylvania where Genovese worked, revealed him meeting almost daily with Porter, and Raucci. However, surveillance equipment never recorded Genovese making any incriminating statements. Genovese was always careful to go outside when talking to his mob subordinates. Though not indicted, Genovese was named as the head of the Pittsburgh crime family during testimony. Porter and Raucci were both convicted of all charges in the trial.

## Death

In 1990, Genovese was suspected of ordering the takeover of territories of Youngstown and Cleveland, formerly held by the Cleveland crime family. On October 31, 2006, Genovese died of natural causes at his home in West Deer Township, Pennsylvania.

## Further reading

* Block, Alan A. *East Side-West Side: Organizing Crime in New York, 1930-1950*. New Brunswick, New Jersey: Transaction Publishers, 1983. ISBN 0-87855-931-0
* Capeci, Jerry. *The Complete Idiot's Guide to the Mafia*. Indianapolis: Alpha Books, 2002. ISBN 0-02-864225-2
* *Pennsylvania Crime Commission*. St. Davids, Pennsylvania: DIANE Publishing, 1984. ISBN 0-8182-0000-6
* United States. Congress. Senate. Committee on Governmental Affairs. Permanent Subcommittee on Investigations. *Organized Crime and Use of Violence: hearings before the Permanent Subcommittee on Investigations of the Committee on Governmental Affairs*. 1980.
* United States. Congress. Senate. Select Committee on Improper Activities in the Labor or Management Field. *Investigation of Improper Activities in the Labor Or Management Field: hearings before the Committee on Improper Activities in the Labor or Management Field*. 1959.