title: Oliver Sain

abstract: Oliver Sain Jr. was an American saxophonist, songwriter, bandleader, drummer and record producer, who was an important figure in the development of rhythm and blues music, notably in St Louis, Missouri.

text:
# Oliver Sain

**Oliver Sain Jr.** (March 1, 1932  October 28, 2003) was an American saxophonist, songwriter, bandleader, drummer and record producer, who was an important figure in the development of rhythm and blues music, notably in St Louis, Missouri.

## Biography

He was born in Dundee, Mississippi, United States, and was the grandson of Dan Sane, the guitarist in Frank Stokes' Memphis blues act the Beale Street Sheiks. (The spelling discrepancy was the result of a birth certificate error). He played trumpet and drums as a child. In 1949, he moved to Greenville, Mississippi, to join his stepfather, pianist Willie Love, as a drummer in a band fronted by Sonny Boy Williamson, soon leaving to join Howlin’ Wolf where he acted as a drummer intermittently for the following decade. After returning from the United States Army draft, serving in the Korean War, he returned to Greenville, and took up the saxophone to rejoin Love in Little Milton's backing band.

Sain moved to Chicago in 1955, sometimes sitting in with Howlin' Wolf's band and becoming acquainted with the owners of Chess Records. In 1959, he was invited by Little Milton to join him for club engagements in East St Louis, and over time became Little Milton's musical director, as well as performing occasionally with Ike Turner's Kings of Rhythm. He recruited Fontella Bass as the Little Milton band's keyboard player, only later discovering her singing talents.

After a few years, Sain left Little Milton's band and installed Fontella Bass and Bobby McClure as co-lead singers in his Oliver Sain Soul Revue. The band made its first recordings in 1964, and the following year Sain wrote and produced Bass and McClure's number 5 R&B chart hit, "Don't Mess Up a Good Thing" recorded at the Chess studios in Chicago and released on the subsidiary Checker label. The song was later covered by Gregg Allman of the Allman Brothers Band, on his solo album *Laid Back*. After Bass left Sain's band for a solo career, she was replaced by Barbara Carr, who continued to sing with Sain until 1972.

He set up his own recording studio, Archway, in St Louis in 1965, and recorded and produced artists such as the Montclairs and Julius Hemphill, developing "a distinctively full, dynamic sound that would come to help define the St. Louis soul aesthetic." He released his first album, *Main Man*, in 1972, followed by *Bus Stop* in 1974. The track "Booty Bumpin' (The Double Bump)" from the latter album was issued as a single, and reached number 78 in the R&B chart. "Party Hearty", taken from his 1975 album *Blue Max*, reached number 16 on the R&B chart, and its flip side, "She's a Disco Queen", bubbled under the Hot 100. Sain's recordings, including "Bus Stop'", also became successful in British clubs (though it did not reach the UK singles chart), as a result of which he toured in the UK. His final R&B chart entry in the US came with "Feel Like Dancin'" in 1977.

Sain released two further albums, *So Good (In the Morning)* (1981) and *Fused Jazz* (1983), but increasingly concentrated on his work as a producer as well as live performances. In 1982, he produced Larry Davis' album *Funny Stuff*, which won a W. C. Handy Award. In 1987, he composed and produced Johnnie Johnson's debut album *Blue Hand Johnnie*. In 1986 and 1987, Sain toured Europe with former Kings of Rhythm members Clayton Love, Billy Gayles, Stacy Johnson and Robbie Montgomery (one of The Ikettes) as part of the St. Louis Kings of Rhythm. They were officially appointed as ambassadors for the City of St. Louis by Mayor Vincent Schoemehl. Sain continued to perform and to undertake studio work despite being diagnosed with bladder cancer in the mid-1990s, and is credited with discovering local singer Kim Massie.

Sain died on October 28, 2003, from bone cancer, which followed on from previous bladder cancer.

## Accolades

In 2019, Sain was inducted into the St. Louis Classic Rock Hall of Fame.

## InfoBox

| Oliver Sain | |
| --- | --- |
| Birth name | Oliver Sain Jr. |
| Born | (1932-03-01)March 1, 1932
Dundee, Mississippi, U.S. |
| Died | October 28, 2003(2003-10-28) (aged 71)
St Louis, Missouri, U.S. |
| Genres | R&B, blues, disco, jazz |
| Occupation(s) | Saxophonist, bandleader, songwriter, record producer |
| Years active | 1949–2003 |


title: Oliver Sacks: His Own Life

abstract: Oliver Sacks: His Own Life is a 2019 American biographical documentary film directed and created by Ric Burns about Oliver Sacks, a British neurologist and science historian, based on his autobiography, His Own Life. Produced by Zeitgeist Films, the film contains extensive interviews with Sacks and features commentary from friends and colleagues such as his publisher Roberto Calasso, his editor Kate Edgar, writer and doctor Atul Gawande and artist Shane Fistell. Sacks discusses his professional life and his personal difficulties such as substance abuse and internalized homophobia. The book, titled On the Move: A Life, was published six to seven months before his end-stage terminal cancer was diagnosed. The film initially premiered in 2019 at the Telluride Film Festival, and had its general release on September 23, 2020, having been delayed due to the COVID-19 pandemic.

text:
# Oliver Sacks: His Own Life

***Oliver Sacks: His Own Life*** is a 2019 American biographical documentary film directed and created by Ric Burns about Oliver Sacks, a British neurologist and science historian, based on his autobiography, *His Own Life*. Produced by Zeitgeist Films, the film contains extensive interviews with Sacks and features commentary from friends and colleagues such as his publisher Roberto Calasso, his editor Kate Edgar, writer and doctor Atul Gawande and artist Shane Fistell. Sacks discusses his professional life and his personal difficulties such as substance abuse and internalized homophobia. The book, titled *On the Move: A Life*, was published six to seven months before his end-stage terminal cancer was diagnosed.

The film initially premiered in 2019 at the Telluride Film Festival, and had its general release on September 23, 2020, having been delayed due to the COVID-19 pandemic.

## InfoBox

| Oliver Sacks: His Own Life | |
| --- | --- |
| Theatrical release poster | |
| Directed by | Ric Burns |
| Based on | *His Own Life*
by Oliver Sacks |
| Produced by | * Bonnie Lafave * Kathryn Clinard * Leigh Howell |
| Starring |  |
| Cinematography | Buddy Squires |
| Music by | Brian Keane |
| Production
company | Zeitgeist Films |
| Release date | * 13 August 2019 (2019-08-13) (Telluride) |
| Running time | 111 minutes |
| Country | United States |
| Language | English |


title: Oliver Twist (1919 film)

abstract: Oliver Twist is a 1919 Hungarian silent drama film directed by Márton Garas and starring Tibor Lubinszky, Emil Fenyvessy and Jenő Törzs. It is an adaptation of the 1838 novel Oliver Twist by Charles Dickens.

text:
# Oliver Twist (1919 film)

***Oliver Twist*** (Hungarian: ***Twist Olivér***) is a 1919 Hungarian silent drama film directed by Márton Garas and starring Tibor Lubinszky, Emil Fenyvessy and Jenő Törzs. It is an adaptation of the 1838 novel *Oliver Twist* by Charles Dickens.

## Plot summary

## Cast

## Bibliography

* Cunningham, John. *Hungarian Cinema: From Coffee House to Multiplex*. Wallflower Press, 2004.

## InfoBox

| Oliver Twist | |
| --- | --- |
| Directed by | Márton Garas |
| Written by | Vajda László |
| Based on | *Oliver Twist*
1837 novel
by Charles Dickens |
| Starring | Tibor Lubinszky
Emil Fenyvessy
Jenő Törzs
László Z. Molnár |
| Cinematography | István Eiben |
| Production
company | Corvin Film |
| Release date | * 1919 (1919) |
| Running time | 40 minutes |
| Country | Hungary |
| Languages | Silent
Hungarian intertitles |


title: Oliva reticulata

abstract: Oliva reticulata, common name the blood olive, is a species of sea snail, a marine gastropod mollusk in the family Olividae, the olives.

text:
# Oliva reticulata

***Oliva reticulata***, common name the **blood olive**, is a species of sea snail, a marine gastropod mollusk in the family Olividae, the olives.

## Description

The length of the shell varies between 32 mm and 50 mm.

## Distribution

This species occurs in the Indian Ocean off Madagascar and in the Pacific Ocean off New Caledonia.

* Duclos, P. L. (1835-1840). Histoire naturelle générale et particulière de tous les genres de coquilles univalves marines a l'état vivant et fossile publiée par monographie. Genre Olive. Paris: Institut de France. 33 plates: pls 1-12

* Duclos, P. L. (1835-1840). Histoire naturelle générale et particulière de tous les genres de coquilles univalves marines a l'état vivant et fossile publiée par monographie. Genre Olive. Paris: Institut de France. 33 plates: pls 1-12
* "*Oliva (Viduoliva) reticulata*". *Gastropods.com*. Retrieved 16 January 2019.

## InfoBox

| *Oliva reticulata* | |
| --- | --- |
|  | |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Mollusca |
| Class: | Gastropoda |
| Subclass: | Caenogastropoda |
| Order: | Neogastropoda |
| Family: | Olividae |
| Genus: | *Oliva* |
| Species: | ***O. reticulata*** |
| Binomial name | |
| ***Oliva reticulata***<br>(Röding, 1798) | |
|
| Synonyms | |
| * *Oliva evania* Duclos, 1840 * *Oliva sanguinolenta* Lamarck, 1810 * *Oliva (Viduoliva) reticulata* (Röding, 1798) | |


title: Olivetti M20

abstract: The Olivetti M20 is a Zilog Z8000 based computer designed and released by Olivetti in 1982. Although it offered good performance, it suffered from a lack of software due to its use of the Z8000 processor and custom operating system, PCOS. The company introduced the IBM PC compatible Olivetti M24 in 1983 and the M20 line was phased out.

text:
# Olivetti M20

The **Olivetti M20** is a Zilog Z8000 based computer designed and released by Olivetti in 1982. Although it offered good performance, it suffered from a lack of software due to its use of the Z8000 processor and custom operating system, PCOS. The company introduced the IBM PC compatible Olivetti M24 in 1983 and the M20 line was phased out.

## History

System design began in 1979 in Cupertino, California at Olivetti's Advanced Technology Center. When announced on March 31, 1982, it was probably the first 16-bit personal computer in Europe with an expected price range of US$3,000-6,000.

*InfoWorld* magazine saw the M20 as an "answer to Tandy's Model 16, the IBM Personal Computer and the Apple III"; Olivetti itself compared its computer to the IBM PC, Sirius Victor, Commodore 8000 and Apple II in television advertising.

Although the computer was initially well received, its use of a non-standard OS (Olivetti's proprietary PCOS) and CPU (Zilog Z8001) proved to be its most serious limitations. The first major software package was a word processor by SofSys called *Executive Secretary*, followed later by another word processor, *OliWord*, and business software, *Olibiz*. There was also Microsoft BASIC 5.2 with full support for the hardware's features.

To alleviate a lack of applications, Olivetti sold a CP/M emulator for US$300 and distributed certain CP/M software packages (dBase II and SuperCalc) for their computer. Olivetti later introduced the "Alternate Processor Board" (APB 1086), based on an 8 MHz Intel 8086 CPU for compatibility with MS-DOS and CP/M-86 software.

In January 1984, Olivetti introduced a new IBM PC-compatible computer, the Olivetti M24, running MS-DOS as a "complement" to the Olivetti M20.

Olivetti sold around 50,000 M20 computers in the first year of production. Only a few games were released for the system.

## Features

M20 uses Zilog Z8001 4 MHz CPU and 128 KB RAM, which can be expanded up to 512 KB by three 128 KB memory boards. Keyboard, motherboard and disk drives are contained in all-in-one unit with separate monitor. The computer has also parallel (IEEE-488) and serial port (RS-232-C). Standard configuration includes two 5+14-inch 320 KB floppy disk drives (286 KB formatted capacity). Optional were 160 KB or 640 KB (compatible with 320 KB disks) drives or 5+14-inch hard disk in place of one of the floppy disk drives (9.2 MB formatted capacity).

Motherboard has two expansion slots intended for the hard disk controller board, additional parallel interface, twin serial interface or Corvus Omninet LAN card. This slot is also used by the APB 1086 CPU card.

M20 provides 512 × 256 display resolution on 12-inch monochrome or color monitor. With memory expanded by two 32 KB memory boards, the computer can display 8 colors. When using only one additional memory board, only 4 colors form 8 color palette are available. All graphics is pixel-generated (there is no specific text mode), text characters use resolution 64 characters per 16 rows (or 80 characters per 25 rows).

Keyboard lacks `Delete`, `Tab ↹` and `← Backspace` keys - their function can be mapped on `S1` or `s2` special keys by the "Change Key" system utility. Instead of standard function keys, user defined special functions are invoked by pressing orange-colored `⌘ Command` or light-blue-colored `Control` key along with another key (creates 24 user-definable function keys). Numeric keypad serves also as cursor controls.

## PCOS

PCOS (Professional Computer Operating System) is a single-user, single-tasking operating system. It was used on the Olivetti M20 and L1 computers. The first version (PCOS 1.0) supports 14 characters long filenames, with no directories and a limit of 192 files per disk (called *volume*). PCOS requires significant part of the main memory. Operating system with BASIC interpreter takes 64 KB RAM, another 16 KB are reserved for screen output and user is left with only around 40 KB RAM on unexpanded machine. Version 2.0 supports dynamic memory allocation alleviating segmented memory limitations of the Z8000 CPU. PCOS can protect by password volumes (disks), individual files and BASIC programs (against listing/editing/copying). Standard OS configuration includes BASIC interpreter, other programming languages (Assembler and PASCAL) are optional.

Example PCOS commands:

* `vformat` \- formats a volume
* `vrename` \- changes the name of a volume
* `vpass` \- changes the volume password
* `vlist` \- file list
* `vquick` \- quick file list
* `vcopy` \- volume copy
* `fcopy` \- file copy
* `flist` \- display a text file contents
* `basic` \- run the BASIC interpreter
* `dconfig` \- system configuration
* `slanguage` \- system regional settings

1. Mello-Grand, Sergio (June 1983). "The Docutel/Olivetti M20 A Sleek Import". *Byte*. Vol. 8, no. 6. Byte Publications. pp. 188–192. ISSN 0360-5280.
2. Freiberger, Paul (April 19, 1982). "Olivetti microcomputer debuts, M20 will be one of the first 16-bit systems in Europe". *InfoWorld*. Vol. 4, no. 13. IDG. pp. 1, 10. ISSN 0199-6649.
3. Freiberger, Paul (May 24, 1982). "Olivetti's new M20 confronts top micros". *InfoWorld*. Vol. 4, no. 20. IDG. p. 3. ISSN 0199-6649.
4. Kewney, Guy (May 23, 1983). "M20 embarrasses Olivetti execs at Hannover Fair". *InfoWorld*. Vol. 5, no. 21. IDG. p. 30. ISSN 0199-6649.
5. Kewney, Guy (May 17, 1982). "Micro firms vie for European market at Hannover". *InfoWorld*. Vol. 4, no. 19. IDG. p. 5. ISSN 0199-6649.
6. Marett, Warren (June 1983). "Italian micro enters New Zealand business market". *Bits and Bytes*. No. 9. Neill Birss, Dion Crooks and Paul Crooks. pp. 13–14, 33. ISSN 0111-9826.
7. Freiberger, Paul (October 4, 1982). "Olivetti releases software, announces plans for M20". *InfoWorld*. Vol. 4, no. 39. IDG. p. 15. ISSN 0199-6649.
8. "Late news, Olivetti unveils PC-compatible". *InfoWorld*. Vol. 6, no. 5. IDG. January 30, 1984. p. 9. ISSN 0199-6649.
9. "Olivetti M20 video games list, 'a' to 'z'". *Universal Videogame List*. Retrieved 2023-01-09.
10. Free, John (August 1982). "Bits & Bytes". *Popular Science*. Vol. 221, no. 2. Times Mirror Magazines. p. 42. ISSN 0161-7370.
11. "Monthly exchange rates and TWI - B1". Reserve Bank of New Zealand. September 4, 2017. Archived from the original (XLSX) on January 28, 2018. Retrieved May 31, 2018.
12. *The Olivetti L1 M20 Hardware Architecture and Function Manual*. Ivrea, Italy: Olivetti. July 1983.
13. "Olivetti M20".
14. *M20 Personal Computer PCOS (Professional Computer Operating System) User Guide*. Ivrea, Italy: Olivetti. June 1983. p. 1-1.

## InfoBox

Olivetti M20
|  | |
| --- | --- |
| Manufacturer | Olivetti |
| Type | Personal computer |
| Release date | 1982 (1982) |
| Discontinued | 1984 (1984) |
| Operating system | PCOS |
| CPU | Zilog Z8001 @ 4 MHz |
| Memory | 128 KB (expandable to 512 KB) |
| Graphics | 512×256
8 colors with 64 KB expansion boards, 4 colors with 32 KB expansion board.
80×25 or 64×16 characters |
| Successor | Olivetti M24 |


title: Olivetti Elea

abstract: The Elea was a series of mainframe computers Olivetti developed starting in the late 1950s. The system, made entirely with transistors for high performance, was conceived, designed and developed by a small group of researchers led by Mario Tchou (1924–1961), with industrial design by Ettore Sottsass. The ELEA 9001 was the first solid-state computer designed and manufactured in Italy. The acronym ELEA stood for Elaboratore Elettronico Aritmetico and was chosen with reference to the ancient Greek colony of Elea, home of the Eleatic school of philosophy. About forty units were placed with customers. In August 1964, only a few years after releasing the 9003, Olivetti's mainframe business was sold to GE.

text:
# Olivetti Elea

The **Elea** was a series of mainframe computers Olivetti developed starting in the late 1950s. The system, made entirely with transistors for high performance, was conceived, designed and developed by a small group of researchers led by Mario Tchou (1924–1961), with industrial design by Ettore Sottsass. The ELEA 9001 was the first solid-state computer designed and manufactured in Italy. The acronym ELEA stood for ***El**aboratore **E**lettronico **A**ritmetico* (Arithmetical Electronic Computer, then changed to *Elaboratore Elettronico Automatico* for marketing reasons) and was chosen with reference to the ancient Greek colony of Elea, home of the Eleatic school of philosophy. About forty units were placed with customers. In August 1964, only a few years after releasing the 9003, Olivetti's mainframe business was sold to GE.

## Generations

**ELEA 9001:** (Macchina Zero - Machine Zero) prototype was made with vacuum tubes, but used germanium transistors for the tape drive system. The system was completed in spring 1957 and was later sent to Ivrea where for six years it controlled the Olivetti production warehouses. The machine was a prototype.

**ELEA 9002:** (Macchina 1V - Machine 1V), 1958, was a prototype with printed circuits and optimized design, much faster than its predecessor and utilizing silicon transistors for the management of tape drives. The machine was used as a test for the transistors, to establish if they were more reliable and economic than vacuum tubes. This model was installed at the Olivetti headquarters in Via Clerici in Milan and presented at the Milan Trade Fair in April 1959. It was also awarded the Compasso d'Oro in 1959.

**ELEA 9003:** (Macchina 1T - Machine 1T), prototype in 1958, announced in 1959, designed entirely in discrete (diode–transistor logic), and following the previous year's announcement of the IBM 7070 transistorized computer, was one of the first fully transistorized commercial computers. It was leased to about 40 individual customers, of which the first (Elea 9003/01) was installed at the textile company Marzotto and second (Elea 9003/02) to Monte dei Paschi di Siena. Later this unit was donated for educational purposes to the "Enrico Fermi" Technical High School in Bibbiena, where it is still in use today. Other mainframes were leased to insurance companies and energy companies.

The Olivetti computers competed directly with foreign manufacturers such as IBM and Ferranti, but received no special consideration from the Italian government. Typical applications were payroll, inventory and accounting.

**ELEA 6001:** A smaller version of the 9003 with the intent of either scientific or commercial use - two separate versions (6001/S and 6001/C) being created respectively for these purposes. Presented at the Milan Trade Fair in 1961. Around 150 units were produced. Unlike previous models, third party programming languages including COBOL and Fortran were used, in addition to a specific program created by mathematician Mauro Pacelli.

**ELEA 4001:** A computer of reduced size and power compared to previous models, intended to be used in businesses. It was designed to be a stand-alone system but could also be connected with other computers. No examples of the ELEA 4001 are known to have survived to this day.

**ELEA 4115/ GE 115:** Initially released as the ELEA 4115 and later renamed to GE 115, after General Electric acquired the Olivetti Electronics Division. The computer was part of the GE 100 line, and was the smallest of these models. Around 5000 were sold worldwide.

## Features

The computing power (approximately 8 to 10,000 instructions per second) was higher than that of competitors for several years. Uptime - as with all computers of the time - was less than 50%, especially in the tape device. This meant the computer was available for productive work only part of the day, and then returned to technicians for maintenance.

The need to obtain 300,000 highly reliable transistors and diodes for each computer, convinced Adriano Olivetti to build a foundry called SGS in cooperation with the company Telettra . SGS (Società Generale Semiconduttori) later became part of STMicroelectronics.

The computer was equipped with words of 6 bits, plus a parity bit, and word mark bit, with ferrite core memories. Memory was organized in six-bit characters, representing letters, numerals and punctuation. The memory cycle frequency was 100 kHz, with a capacity between 20 and 160 thousand words. The computer did not have an operating system and could be programmed using machine language. The 9003 did not have floating point arithmetic instructions since it was intended for commercial data processing. All instructions were of fixed length (eight characters).

Mass storage for the 9003 was on magnetic tape. Drum, disk and diskette memory was developed but never used at a customer site. Input and output was through punched paper tape or punched cards, and printing on a line printer. A teleprinter was used as operator console to control the machine, with a front panel display for debugging and maintenance.

The industrial design of the system followed Olivetti esthetic and functional standards. Cabinets were about 1 metre high and interconnected by overhead conduits, so the system did not require the raised floor of other mainframe designs. Each cabinet contained a subsystem (processor, memory, tape drives).

## Developments

The Elea 6000 series were versions with reduced processing power and cost. They were originally designed for scientific computing with floating-point arithmetic, 4-bit memory width, then later developed for commercial applications (4+4 bits), with a microprogram memory. About 170 units were produced. The Elea 4000, was a later series that was successfully sold by General Electric after it purchased Olivetti's computer interests. Over 40,000 units were sold with the GE model names GE 105, GE-115, GE-125, and GE-130.

The laboratories had also begun to develop a successor to the 9000 series that features a new hardware architecture. The company developed a programming language Palgol, a derivative of ALGOL, and an assembler named Psyche. However, only a limited amount of system and utility software was provided by Olivetti to customers. The death of the engineers Olivetti and Tchou put a brake on laboratory work, which was subsequently sold to General Electric. This marked the end of Elea computers.

Even though the electronics division of Olivetti had been sold off, the knowledge gained was applied in the development of the successful Programma 101 electronic calculator.

## InfoBox

Olivetti Elea
| Several computers from Olivetti's *Elea* line | |
| --- | --- |
| Manufacturer | Olivetti |
| Product family | *Elea* |
| Type | Mainframe |
| Release date | 1957 (*Machine Zero*) |


title: Olivetti P6040

abstract: The Olivetti P6040 was a personal computer, described by its maker as a personal minicomputer. The P6040 was programmable in Mini BASIC and featured a floppy disk drive that used proprietary 2.5-inch sleeveless disks called "Minidisk". It was produced starting from 1977 and was the first microprocessor-based Olivetti computer, the Intel 8080, instead of on TTL logic CPU. Designed by Pier Giorgio Perotto, it was presented at Hannover Messe in April 1975 together with the P6060, its hardware used TTL technology. Both had a brown-colored case. The P6040 was little in dimensions and weight, thanks to the introduction of microprocessor. Another innovation in the model was the introduction of the light-emitting diode display. The design was by Mario Bellini.

text:
# Olivetti P6040

The **Olivetti P6040** was a personal computer, described by its maker as a personal minicomputer. The P6040 was programmable in Mini BASIC and featured a floppy disk drive that used proprietary 2.5-inch sleeveless disks called "Minidisk". It was produced starting from 1977 and was the first microprocessor-based Olivetti computer, the Intel 8080, instead of on TTL logic CPU.

Designed by Pier Giorgio Perotto, it was presented at Hannover Messe in April 1975 together with the P6060, its hardware used TTL technology. Both had a brown-colored case.

The P6040 was little in dimensions and weight, thanks to the introduction of microprocessor (for the first time at Olivetti).

Another innovation in the model was the introduction of the light-emitting diode display. The design was by Mario Bellini.

## Bibliography

* (it) *La minimizzazione delle grammatiche libere da contesto*, Angelo Monfroglio – Politecnico di Milano, 20 dicembre 1974

1. Computer History: P6040

## InfoBox

Olivetti P6040
| The Olivetti P6040 Portable Computer | |
| --- | --- |
| Manufacturer | Olivetti |
| Type | Personal Computer |
| Release date | April 1975 (1975-04) |
| Operating system | Mini BASIC |
| CPU | Intel 8080 |
| Input | Keyboard |
| Successor | Olivetti P6060 |


title: Old Things New

abstract: Old Things New is the sixth studio album by American country music artist Joe Nichols, released on October 27, 2009 by Universal South Records. It produced two singles: "Believers", which peaked at number 26 on the Billboard Hot Country Songs chart, and "Gimmie That Girl" which became his third number-one song in May 2010. "The Shape I'm In" is the album's third single to radio on July 19, 2010.

text:
# Old Things New

Professional ratings
| Review scores | |
| --- | --- |
| Source | Rating |
| Allmusic |  |
| Slant Magazine |  |
| Roughstock | (favorable) |

***Old Things New*** is the sixth studio album by American country music artist Joe Nichols, released on October 27, 2009 by Universal South Records. It produced two singles: "Believers", which peaked at number 26 on the *Billboard* Hot Country Songs chart, and "Gimmie That Girl" which became his third number-one song in May 2010. "The Shape I'm In" is the album's third single to radio on July 19, 2010.

## Track listing

| No. | Title | Writer(s) | Length |
| --- | --- | --- | --- |
| 1. | "Gimmie That Girl" |  | 3:05 |
| 2. | "It's Me I'm Worried About" |  | 3:10 |
| 3. | "Old Things New" |  | 3:52 |
| 4. | "Man Woman" |  | 3:32 |
| 5. | "Believers" |  | 3:06 |
| 6. | "Cheaper Than a Shrink" |  | 3:07 |
| 7. | "The Shape I'm In" | * Akins * Davidson * Hayslip | 3:10 |
| 8. | "This Bed's Too Big" |  | 3:39 |
| 9. | "We All Go Home" |  | 3:38 |
| 10. | "An Old Friend of Mine" | * Brock Stalvey * Rick Tiger | 3:30 |

## Personnel

Adapted from liner notes

## Chart performance

### Album

| Chart (2009) | Peak
position |
| --- | --- |
| U.S. *Billboard* Top Country Albums | 15 |
| U.S. *Billboard* 200 | 71 |
|

### End of year charts

| Chart (2010) | Year-end
2010 |
| --- | --- |
| US *Billboard* Top Country Albums | 63 |
|

## InfoBox

| Old Things New | |
| --- | --- |
|  | |
| Studio album by Joe Nichols | |
| Released | October 27, 2009 (2009-10-27) |
| Genre | Country |
| Length | 41:08 |
| Label | Universal South Records |
| Producer | Brent Rowan (tracks 3, 5, 6, 8-10)
Mark Wright (tracks 1, 2, 4, 7) |
| Joe Nichols chronology | |
| *Real Things*
(2007) ***Old Things New***
(2009) *Greatest Hits*
(2011) | |
|  | |
| Digital cover | |
|  | |
|  | |
|  | |
| Singles from  *Old Things New* | |
| 1. "Believers"
Released: April 20, 2009 2. "Gimmie That Girl"
Released: October 19, 2009 3. "The Shape I'm In"
Released: July 19, 2010 | |
|  | |


title: Old Testament theology

abstract: Old Testament theology is the branch of Biblical theology that seeks theological insight within the Old Testament or Hebrew Bible. It explores past and present theological concepts as they pertain to God and God's relationship with creation. While the field started out as a Christian endeavor written mostly by men and aimed to provide an objective knowledge of early revelation, in the twentieth century it became informed by other voices and views, including those of feminist and Jewish scholars, which provided new insights and showed ways that the early work was bound by the perspectives of their authors.

text:
# Old Testament theology

**Old Testament theology** is the branch of Biblical theology that seeks theological insight within the Old Testament or Hebrew Bible. It explores past and present theological concepts as they pertain to God and God's relationship with creation. While the field started out as a Christian endeavor written mostly by men and aimed to provide an objective knowledge of early revelation, in the twentieth century it became informed by other voices and views, including those of feminist and Jewish scholars, which provided new insights and showed ways that the early work was bound by the perspectives of their authors.

## History

The discipline of Old Testament (OT) theology is a rather recent development, barely going back further than the beginning of the nineteenth century. The very name "Old Testament" theology designates it as a particularly Christian enterprise; the conversation with Jewish scholars has been limited.

The earliest investigations of OT theology (OTT) started in recognition of the changing social, political, and religious conditions in which the various OT books were written. But a history-of-religions approach to OT theology soon met the obstacle of deciphering exactly when specific theological concepts developed and re-emerged.

It was not until 1787 that Johann Philipp Gabler made a distinction between dogmatic and biblical theology. Until then the OT was viewed in a systematic sense and only in relationship to New Testament (NT) understanding. Gabler began to study the OT in a critical sense looking at how the theology of ancient Israel would have been reflected in the OT books. This was a new way to look at the OT, as Robyn Routledge wrote in Old Testament Theology, “The OT was not written as a theological document, and a systematic approach necessarily involves imposing an alien order and structure on it.”

Walther Eichrodt wrote his two volume OTT, published in 1933. His approach was similar to Gabler’s in that they both looked for the historical context of the books, but differed by systematizing it. Eichrodt thought that the OT must be read in the way that the ancient Israelites would have, but there is one theme that acts as a “glue” that keeps all the theology together. The theme he saw was the Sinaitic Covenant. He saw other themes as well, but this was the core of the OT. He picked themes that, he thought, came up naturally in the OT, i.e. God and the people, God and the world.

When Gerhard von Rad his OTT in the 1960s, he rejected Eichrodt’s views on a systematic OTT and one central theme in the theology of the OT. He instead emphasized the dynamic nature of the Israelite faith. Von Rad argued that the events of the OT are based on historical events, but the final draft of the OT conveys the events which fit the needs of a new generation. He argued the OT recorded the *Heilsgeschichte*, a word he coined, which is the story of salvation viewed through the eyes of faithful Israelites.

In the 1970s Phyllis Trible pioneered a Christian feminist approach to OTT, using the approach of rhetorical criticism developed by her dissertation advisor, James Muilenburg.

In 1987 the Jewish biblical scholar Jon Levenson published an essay, *Why Jews Are Not Interested in Biblical Theology*, which challenged the findings and methods of the fields of biblical theology and historical criticism, which has subsequently been widely discussed. In the late 1990s his body of work as of that time was reviewed by Marvin A. Sweeney and put in the larger context of the field of biblical theology; Sweeney wrote: "A great deal of his work focuses on the seminal question of identifying the role that Christian theological constructs have played in the reading of biblical literature, even when the reading is presented as historically based objective scholarship, and of developing reading strategies that can remove these constructs in order to let the biblical texts 'speak for themselves.' Work of this kind naturally paves the way for the development of Jewish biblical theology."

## Approaches

Some theologians base their theology solely on observation of the presentation of God found in the sacred documents, a descriptive approach. Others try to establish the message of the text as a normative guide for the Christian church today, a prescriptive approach.

*Typology* is an approach to biblical interpretation in which an element within the Old Testament is perceived to suggest one found within the New Testament. The first is seen as the type and the completion is recognized as what Bernard Ramm described as the antitype. The type or antitype can be an event, person, or event; however, often the type is related to the messiah and often connected to the idea of salvation. "The use of Biblical typology enjoyed greater popularity in previous centuries, although even now it is by no means ignored as a hermeneutic".

John Goldingay's *evangelical approach* to OTT exhibits an interesting concept and has opened up new ways in which to examine the Old Testament and its relationship to Israel and the New Testament. This approach does not attempt to read Jesus into the OT through typology or any other artificial techniques. It does observe that the God of the OT exhibits grace persistently, undeterred by the lack of human obedience or response.

This evangelical approach insists that Jesus operated in the same way as the God who sent Abraham to a new land strictly out of love for him and the people he would guide into the Promised Land. Goldingay stated "The structure of Old Testament faith is itself that structure of the gospel - or rather, the structure of the gospel is the structure of Old Testament faith". It is the pattern of love in the Old Testament story which fuels the fire that continues in the Gospels. In order to have a true relational (covenant) connection there needs to be a true love relationship. A theological approach which depends entirely on historical facticity ignores the fact that the emphasis of the OT is on this relationship. Events occur and are remembered precisely because they depict elements of the relationship.

Whatever approach is used, interpreters must describe as well as possible what their methodologies and presuppositions are for carrying out their work. Then careful textual, linguistic, literary, historical, semantic, and philosophical exegesis must establish the basic foundational themes and aspects of any OT theology. Currently, a multifaceted and interdisciplinary approach is being developed. Anthropology, sociology, psychology, poetics, and linguistics offer helpful insights to mine the riches of these ancient revelation documents. Paul D. Hanson observed, "the rich diversity of traditions found in the Old Testament does not yield a chaotic theological picture, but one that is both dynamic and unified. The reason is that this approach goes beyond analysis of individual periods or traditions to grasp the overall development of biblical theology, by paying attention to all levels of tradition and all periods."

## Identity of God

YHWH (yod, he, vav, he), the name of the God of Israel, is called the tetragrammaton (= four letters). OT scholars believe that the name derives from the Hebrew verb “to be.” The name of God was revealed to Moses in the Old Testament book of Exodus 3:13-15. Through this passage, readers can see the personality of God revealed. Because the earliest writing in the Hebrew language did not utilize vowel marks and the Hebrew people revered God so much that they declined to pronounce the name aloud, the true pronunciation of the name of God has been lost due to a lack of use. Medieval Jewish scholars developed a system for inserting vowel marks into the consonantal text. Due to the tradition of reading aloud the word "adonai" (my Lord) whenever YHWH was encountered in the text, scribes inserted the vowel marks for "adonai" into the consonants Y-H-W-H. Centuries later, German translators of the Hebrew text transliterated the name of God as "Jehowah" and English translators followed the lead producing the word "Jehovah."

The OT presents YHWH as covenant maker and keeper. A covenant is a formal and binding agreement, under seal, between two or more parties, for the performance of some action. Those named in the covenant understand that it is not a trivial matter and the parties are expected to uphold the terms of the covenant. YHWH is portrayed throughout the OT as the initiator of covenants with people. Five main/major covenants give structure to the OT: Noahic, Abrahamic, Mosaic, Davidic, and the New Covenant (as prophesied by Jeremiah and Ezekiel). The first four of these covenants were specific covenants which YHWH made with individuals in a way that affected both them and the people to whom they belonged. Some of the applications of these covenants were specific to the individuals, while other aspects pertained to the nation of Israel and/or the world.

As the initiator of covenants, YHWH is depicted as providing all the necessary conditions for a covenant to occur. Moreover, YHWH is not only maker of the covenant; he is also the keeper of the covenant. His keeping of the covenant, specifically the unconditional covenant was not contingent upon the people keeping their end of the bargain. Even when the people break conditional covenants, YHWH executes a plan to bring them back into the covenant.

## Bibliography

## Further reading


title: Olwyn Owen

abstract: Olwyn Owen, FSA Scot, is a British archaeologist and academic specialising in Scandianvian Scotland. She is an expert in Viking material culture, and has commented on the Galloway Hoard for National Geographic magazine. She has excavated widely in Scotland and Scandinavia and has had a long career in a range of heritage management roles. Owen is also an archaeological consultant and in March 2017, she was made Visiting Reader at Orkney College, University of Highlands and Islands.

text:
# Olwyn Owen

**Olwyn Owen,** FSA Scot, is a British archaeologist and academic specialising in Scandianvian Scotland.

She is an expert in Viking material culture, and has commented on the Galloway Hoard for National Geographic magazine.

She has excavated widely in Scotland and Scandinavia and has had a long career in a range of heritage management roles.

Owen is also an archaeological consultant and in March 2017, she was made Visiting Reader at Orkney College, University of Highlands and Islands.

## Education

She was awarded a BA in English from Durham University in 1976, during which time she also took classes in archaeology under Rosemary Cramp.

In 1979, she completed her MA degree, also at Durham University, with a thesis on the English Urnes Style.

## Career

Owen has written extensively on Scandinavian links with Scotland, and introduced audiences to Scotland's Viking past, for example in her book *Things in the Viking World* (2012).

She appeared in an episode of Time Team series 5 episode 3, at Sanday, Orkney, which aired on 18 January 1998.

## Selected works

* (1999) *The Sea Road,* Edinburgh, ISBN 0-86241-873-9.
* (1999) *Scar: a Viking boat burial on Orkney* (Tuckwell Press monograph; with Magnar Dalland)
* (1999) *The Sea Road: a Viking voyage through Scotland* (= *The Making of Scotland* series, Canongate).
* (1999) *Kebister, Shetland: the four thousand year old story of one Shetland township* (= Society of Antiquaries of Scotland monograph, 14; with C E Lowe).(2016) ‘A decorative mount from the Brough of Birsay, Orkney’, in Morris, C D (ed), *The Birsay Bay Project* 3.
* (2001) ‘The strange beast that is the English Urnes Style’, in Graham-Campbell, J, Hall, R, Jesch, J and Parsons, D N (eds), *Vikings and the Danelaw*, 203-22 (= Proceedings of the 13th Viking Congress, Oxbow).
* (2001) ‘The Southwell lintel, its style and significance’, in Graham-Campbell, J, Hall, R, Jesch, J and Parsons, D N (eds), *Vikings and the Danelaw*, 203-22 (= Proceedings of the 13th Viking Congress, Oxbow) (with Philip Dixon & David Stocker).(2016) *Shetland and the Viking World: Papers from the Proceedings of the Seventeenth Viking Congress, Lerwick* (eds Turner, V E, Owen, O A and Waugh, D J).
* (2002) ‘Sound Foundations: Archaeology in ’s towns and cities and the role of the Scottish Burgh Survey’, *Antiquity* 76 (2002), 802-807.
* (2002) ‘Inveresk and Historic Scotland: managing and protecting the archaeological remains’, in Bishop, M C (ed), *Roman Inveresk: Past, Present and Future*, 81-87. Armatvra Press.
* (2003) ‘Curiouser and curiouser: mysteries of Scar and Tuquoy, Orkney’, in Waugh, D J (ed), *The Faces of Orkney:* *Stones, Skalds & Saints*, 138-160 (= Scottish Society for Northern Studies, 11).
* (2004) ‘The Scar boat burial - and the missing decades of the early Viking Age in Orkney and Shetland’, in Adams, J & Holman, K (eds), *Scandinavia and 800-1350, Contact, Conflict and Coexistence*, 3-33 (= Medie Texts and Cultures of , 4, Brepols).
* (2005) ‘A brief guide to saga sites to visit in Orkney’, in Owen, O (ed) *The World of Orkneyinga Saga – ‘The Viking Broad-cloth Trip’*, 224-231.
* (2005) ‘History, archaeology and Orkneyinga saga: the case of Tuquoy’, in Owen, O (ed) *The World of Orkneyinga Saga – ‘The Viking Broad-cloth Trip’*, 192-212.
* (2005) ‘’s Viking towns: a contradiction in terms?’, in Mortensen, A & Arge, S V (eds), *Viking and Norse in the North Atlantic*, 297-306 (= Proceedings of the 14th Viking Congress, Faroe Islands).
* (2011) ‘Norse influence at Govan on the Firth of Clyde, Scotland’, in Sigmundsson, S (ed), *Viking Settlements and Viking Society*, 333-46 (= Proceedings of the 16th Viking Congress, ) (with Stephen Driscoll).
* (2012) *Things in the Viking World*. Lerwick (edited by O Owen), Shetland Amenity Trust, ISBN 978-0956569882
* (2013) *Viking Unst: Excavation and Survey in Northern Shetland 2006-2010*. Lerwick (edited by O Owen).
* (2013) 'The legacy of the Viking Unst project', in Turner, V E, Bond, J M and Larsen, A-C, *Viking Unst: Excavation and Survey in Northern Shetland 2006-2010*, 234-52 (with V E Turner).
* (2015) 'Galloway's Viking treasure: the story of a discovery', *British Archaeology*, no 140 (Jan/Feb 2015), 16-23.

1. "Olwyn Owen - Academia.edu". *independent.academia.edu*. Retrieved 2019-05-09.
2. "Pictures: An Elite Viking's Prized Possessions". *National Geographic News*. 2016-03-23. Archived from the original on March 27, 2016. Retrieved 2019-05-09.
3. "Landing in Paradise: The Vikings in Scotland". *Museums and Galleries Edinburgh*. 2018-02-20. Retrieved 2019-05-09.
4. "Archaeology Institute - Staff". *www.uhi.ac.uk*. Retrieved 2019-05-09.
5. "Gazette, XXII (ns) including supplement". *Durham University*. p. 54.
6. "Town's Viking past to be revealed". 2013-09-16. Retrieved 2019-05-09.

## InfoBox

| Olwyn OwenFSA Scot | |
| --- | --- |
| Nationality | British |
| Education | BA at Durham University and MA at Durham University |
| Occupation | Archaeologist |
| Known for | Expert in Viking history of Scotland |


title: Oliver Nash

abstract: Oliver Nash was a politician in the American state of Florida. He served in the Florida House of Representatives from 1959 to 1964, representing Franklin County.

text:
# Oliver Nash

**Oliver Nash** (February 26, 1931 – May 27, 2013) was a politician in the American state of Florida. He served in the Florida House of Representatives from 1959 to 1964, representing Franklin County.

## InfoBox

| Oliver Nash | |
| --- | --- |
|  | |
|  | |
| Member of the Florida House of Representatives
from the Franklin County district | |
| **In office**
1959–1964 | |
|  | |
| Personal details | |
| Born | (1931-02-26)February 26, 1931
Apalachicola, Florida, U.S. |
| Died | May 27, 2013(2013-05-27) (aged 82)
Apalachicola, Florida, U.S. |
| Political party | Democratic |
| Residence(s) | Apalachicola, Florida |
| Occupation | paper tester |
|  | |


title: Olney F. Flynn

abstract: Olney F. Flynn was an American politician who served as the 22nd Mayor of Tulsa between 1944 and 1946.

text:
# Olney F. Flynn

**Olney F. Flynn** was an American politician who served as the 22nd Mayor of Tulsa between 1944 and 1946.

## Biography

Olney F. Flynn was the son of Dennis Thomas Flynn, a delegate to the U.S. House of Representatives representing Oklahoma Territory. Flynn served as the 22nd Mayor of Tulsa from 1944 to 1946. He is considered Tulsa's "wartime mayor" for World War II and multiple former and future mayors worked in his administration such as Dan W. Patton, Lee Price, and George H. Stoner. He was also considered a "anti-New Dealer." He was the Republican nominee in the 1946 Oklahoma gubernatorial election. He died on November 2, 1970.

## InfoBox

| Olney F. Flynn | |
| --- | --- |
|  | |
| 22nd Mayor of Tulsa | |
| **In office**<br>1944–1946 | |
| Preceded by | Clarence H. Veale |
| Succeeded by | Lee Price |
|  | |
| Personal details | |
| Died | (1970-11-02)November 2, 1970 |
| Political party | Republican |
| Parent |  |
|  | |


title: Omphiscola glabra

abstract: Omphiscola glabra, commonly known as the pond mud snail, is a species of small to medium-size, air-breathing, freshwater snail, an aquatic pulmonate gastropod mollusk in the family Lymnaeidae. Omphiscola glabra is the type species of the genus Omphiscola.

text:
# Omphiscola glabra

***Omphiscola glabra***, commonly known as the **pond mud snail**, is a species of small to medium-size, air-breathing, freshwater snail, an aquatic pulmonate gastropod mollusk in the family Lymnaeidae. *Omphiscola glabra* is the type species of the genus *Omphiscola*.

## Distribution

This European snail can be found from southern Scandinavia (61° N) to southern Spain.

The distribution of *Omphiscola glabra* is very scattered and rare. It is seriously threatened, and has become locally extinct in many places. It is threatened by continuing habitat destruction because of drainage and intensive farming. Acriculturally induced eutrophication is also a threat. *Omphiscola glabra* has disappeared widely from urbanized areas such as London.

## Shell description

The shell is strongly cylindrical, horny, often with a brownish or blackish surface, the apex is blunt, 7–8 moderately convex whorls, with last whorl being twice as high as the narrow aperture, and with aperture often with white lip.

The height of the shell is 9–12 mm, up to 15 mm or up to 20 mm. The width of the shell is 3–4 mm, up to 5.5 mm.

## Habitat

This snail lives in places such as swampy meadows and ditches.

*Omphiscola glabra* is said to occur in small areas of standing water that have a lot of vegetation such as swamps, and also in standing forest waters with leaf litter, often in water with organic iron contents and low calcium contents.

In Central France, the populations of *Omphiscola glabra* are currently declining because its habitat is threatened by modern agricultural practices.

In Britain however, this species occurs in small standing waters that are low in nutrients, with poor aquatic flora, often in waters drying out periodically. They usually do not occur in habitats with high molluscan diversity, and usually in habitats on uncultivated land. They are calciphile and have a pH tolerance of 5.4–8.8.

Reproduction begins in May. Juveniles hatch after 15–25 days. *Omphiscola glabra* has two generations per year.

## Parasites

*Omphiscola glabra* can serve as an intermediate host for several digenean trematodes. In France, *Omphiscola glabra* is naturally infected with *Fasciola hepatica*, *Calicophoron daubneyi*, and *Haplometra cylindracea*; in all, seven digenean species parasitize *O. glabra* in the Brenne Regional Natural Park, central France. Moreover, a report suggests that the species is also susceptible to *Fascioloides magna* infection.

This article incorporates public domain text from the reference.

## InfoBox

| *Omphiscola glabra* | |
| --- | --- |
|  | |
| A live individual of *Omphiscola glabra* on a paper grid, scale bar 1 cm | |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Mollusca |
| Class: | Gastropoda |
| Superorder: | Hygrophila |
| Family: | Lymnaeidae |
| Genus: | *Omphiscola* |
| Species: | ***O. glabra*** |
| Binomial name | |
| ***Omphiscola glabra***<br>(Müller, 1774) | |
|
| Synonyms | |
| * *Buccinum glabrum* * *Lymnaea glabra* * *Stagnicola glaber* | |


title: Omphisa vaovao

abstract: Omphisa vaovao is a moth in the family Crambidae. It was described by Viette in 1973. It is found in Madagascar.

text:
# Omphisa vaovao

***Omphisa vaovao*** is a moth in the family Crambidae. It was described by Viette in 1973. It is found in Madagascar.

## InfoBox

| *Omphisa vaovao* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Lepidoptera |
| Family: | Crambidae |
| Subfamily: | Spilomelinae |
| Tribe: | Margaroniini |
| Genus: | *Omphisa* |
| Species: | ***O. vaovao*** |
| Binomial name | |
| ***Omphisa vaovao***<br>Viette, 1973 | |
|


title: Onathinge

abstract: Onathinge is a settlement in northern Namibia, Onayena Constituency situated in Oshikoto Region in the Ondonga area, the village has schools including Onathinge Primary and Secondary Schools. The economy is based on substance farming. It is one of the biggest villages in Onayena with infrastructures such as a clinic, and a tarred road, it is also electrified.

text:
# Onathinge

**Onathinge** is a settlement in northern Namibia, Onayena Constituency situated in Oshikoto Region in the Ondonga area, the village has schools including Onathinge Primary and Secondary Schools. The economy is based on substance farming. It is one of the biggest villages in Onayena with infrastructures such as a clinic, and a tarred road, it is also electrified.

## InfoBox

| Onathinge | |
| --- | --- |
| Village | |
| OnathingeLocation in Namibia | |
| Coordinates: 18°00′22″S 16°15′52″E / 18.00611°S 16.26444°E / -18.00611; 16.26444 | |
| Country | Namibia |
| Region | Oshikoto Region |
| Government | |
| Type | Local Traditional Authority |
| Elevation | 3,560 ft (1,085 m) |
| Time zone | UTC+1 (South African Standard Time) |
| Climate | BSh |


title: Oliva pacifica

abstract: Oliva pacifica is a species of sea snail, a marine gastropod mollusk in the family Olividae, the olives.

text:
# Oliva pacifica

***Oliva pacifica*** is a species of sea snail, a marine gastropod mollusk in the family Olividae, the olives.

## Description

Its shell is long and roughly cylindrical in shape and is 30–63 mm long, with a narrow slit running along the length of it.

## Distribution

***Oliva pacifica*** is mainly found in western Thailand.

## InfoBox

| *Oliva pacifica* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Mollusca |
| Class: | Gastropoda |
| Subclass: | Caenogastropoda |
| Order: | Neogastropoda |
| Family: | Olividae |
| Genus: | *Oliva* |
| Species: | ***O. pacifica*** |
| Binomial name | |
| ***Oliva pacifica***
Marrat, 1870 | |
|
| Synonyms | |
| *Oliva arctata* Marrat, 1870
*Oliva zeigleri* da Motta, 1981 | |


title: Oliva pica

abstract: Oliva pica is a species of sea snail, a marine gastropod mollusk in the family Olividae, the olives.

text:
# Oliva pica

***Oliva pica*** is a species of sea snail, a marine gastropod mollusk in the family Olividae, the olives.

## Description

## Distribution

This species occurs in the Indian Ocean off Mauritius and the Seychelles.

* Sargent D.M. & Petuch E.J. (2012) *A new species of Oliva (Gastropoda: Olividae) from Mauritius*, Mascarene Islands. Visaya 3(5): 4–10.

## InfoBox

| *Oliva pica* | |
| --- | --- |
|  | |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Mollusca |
| Class: | Gastropoda |
| Subclass: | Caenogastropoda |
| Order: | Neogastropoda |
| Family: | Olividae |
| Genus: | *Oliva* |
| Species: | ***O. pica*** |
| Binomial name | |
| ***Oliva pica***<br>Duclos, 1840 | |
|
| Synonyms | |
| * *Oliva (Miniaceoliva) pica* Lamarck, 1811 * *Oliva mascarena* Tursch & Greifeneder, 1996 | |


title: Omalo

abstract: Omalo is a principal village in the historical region of Tusheti, Georgia. Administratively, it is part of the Akhmeta District in Kakheti. It lies between the Greater Caucasus Mountain Range and the Pirikita Range of Tusheti. Due to Omalo's high mountain location on the northern slopes of the Greater Caucasus Mountain Range and the absence of well-maintained roads, it is largely isolated from the rest of Georgia for most of the year. The only access road is through the Abano pass at 2,850 metres (9,350 ft) The fortress of Keselo is a landmark in Zemo (upper) Omalo, this place served as a refuge for locals in wartime.

text:
# Omalo

**Omalo** (Georgian: ომალო) is a principal village in the historical region of Tusheti, Georgia. Administratively, it is part of the Akhmeta District in Kakheti. It lies between the Greater Caucasus Mountain Range and the Pirikita Range of Tusheti. Due to Omalo's high mountain location on the northern slopes of the Greater Caucasus Mountain Range and the absence of well-maintained roads, it is largely isolated from the rest of Georgia for most of the year. The only access road is through the Abano pass at 2,850 metres (9,350 ft) The fortress of Keselo is a landmark in Zemo (upper) Omalo, this place served as a refuge for locals in wartime.

## InfoBox

| Omalo ომალო | |
| --- | --- |
|  | |
| OmaloLocation of Omalo in GeorgiaOmaloOmalo (Kakheti) | |
| Coordinates: 42°22′44″N 45°37′48″E / 42.37889°N 45.63000°E / 42.37889; 45.63000 | |
| Country | Georgia |
| Mkhare | Kakheti |
| Municipality | Akhmeta |
| Elevation | 1,880 m (6,170 ft) |
| Population (2014) | |
| Total | 37 |
| Time zone | UTC+4 (Georgian Time) |


title: Omega Lithium

abstract: Omega Lithium was a Croatian industrial metal/gothic metal band. It was formed in 2007 and is signed to Drakkar Entertainment, a part of Sony BMG. The band's debut album, Dreams in Formaline, was released in 2009.

text:
# Omega Lithium

**Omega Lithium** was a Croatian industrial metal/gothic metal band. It was formed in 2007 and is signed to Drakkar Entertainment, a part of Sony BMG. The band's debut album, *Dreams in Formaline*, was released in 2009.

## Career

The first single from the debut album was "Stigmata". The single was played on the MTV rock chart and peaked to the 4 place on the MTV Adria Rock chart, receiving a constant airplay for more than 2 months. The video appeared on other European and worldwide TV stations in their daily charts.
On YouTube "Stigmata" received more than a quarter of a million views, which is the highest viewing number for a debut song in this genre.

The band toured with the German folk metal band Subway to Sally on their Kreuzfeuer tour from 18 to 30 December 2009.

They headlined the 2nd stage on Metal Camp 2010, appeared on Wave Gothic Treffen and concluded the Dreams in Formaline tour with a performance on Metal Female Voices Fest 2010. On 26 February 2010, they announced that a North American version of the debut album *Dreams in Formaline* will be released by Artoffact Records on 6 April and will include a bonus track.

The band released their second album *Kinetik* in 2011 via Drakkar Entertainment/Sony Music. It was recorded in Horus Studio in Hannover and was co-produced by the band's guitarist Malice Rime, and produced by Žare Pak. The band disbanded in 2011. Afterwards Marko Matijević Sekul (Malice Rime) and Zoltan Lečei (Zoltan Harpax) went on to form industrial folk metal band Manntra, while Teodor Klaj (Torsten Nihill) joined Croatian death/thrash metal band *Monox*.

## Awards

They were awarded as "Newcomer of the year 2009" by *Zillo* (one of the leading German's alternative music magazines).

They were also awarded as "Newcomer of the year 2009" on Sonic Seducer (Also one of the German's leading alternative music magazines)

## Lineup

### Final lineup

* Mya Mortensen – vocals (2008-2011)
* Malice Rime – guitars, synthesizers, backing vocals (2007-2011)
* Zoltan Harpax – bass, lyrics (2007-2011)
* Torsten Nihill – drums, percussion (2007-2011)

### Former members

* Andrea Zuppani – vocals (2007-2008)

## Discography

### Albums

### Singles & EPs

* *Andromeda* (2007)
* *Colossus* (2011)
* *Dance With Me* (2011)

## InfoBox

| Omega Lithium | |
| --- | --- |
|  | |
| Background information | |
| Origin | Umag, Croatia |
| Genres | Industrial metal, gothic metal |
| Years active | 2007–2011 |
| Labels | Drakkar Entertainment
Sony BMG
Artoffact Records |
|  | |
| Members | Mya Mortensen
Malice Rime
Zoltan Harpax
Torsten Nihill |


title: Omar Mena

abstract: Omar Mena Abreu is a retired male sprinter from Cuba. He claimed a total number of two medals at the 1995 Pan American Games in Mar del Plata, Argentina. Meña set his personal best in the men's 400 metres (46.19) on June 10, 1999, in Havana, Cuba.

text:
# Omar Mena

**Omar Mena Abreu** (born August 13, 1966, in Havana, Ciudad de la Habana) is a retired male sprinter from Cuba. He claimed a total number of two medals at the 1995 Pan American Games in Mar del Plata, Argentina. Meña set his personal best in the men's 400 metres (46.19) on June 10, 1999, in Havana, Cuba.

## Achievements

| Year | Competition | Venue | Position | Event | Notes |
| --- | --- | --- | --- | --- | --- |
| Representing  Cuba | | | | | |
| 1993 | Central American and Caribbean Games | Ponce, Puerto Rico | 3rd | 400 m | 46.32 |
| | | | 1st | 4 × 400 m relay | 3:05.62 |
| 1995 | Pan American Games | Mar del Plata, Argentina | 2nd | 400 m | 45.64 |
| | | | 1st | 4 × 400 m relay | 3:01.53 |
| 1997 | Central American and Caribbean Championships | San Juan, Puerto Rico | 2nd | 4 × 400 m relay | 3:04.50 |
| 1998 | Central American and Caribbean Games | Maracaibo, Venezuela | 1st | 4 × 400 m relay | 3:03.18 |


title: One (Casualty)

abstract: "One" is the thirty-first series finale of the British medical drama television series Casualty and the 1,049th episode of the overall series. The episode is written by Paul Unwin, the show's co-creator, and directed by Jon Sen. It premiered on BBC One and BBC One HD on 29 July 2017. "One" is a fly on the wall episode following an hour in Holby City Hospital's emergency department (ED) with additional focus on sister Lisa "Duffy" Duffin mentoring two work experience girls and paramedic Jez Andrews grieving the death of a baby. "One" pays homage to Casualty and the National Health Service (NHS); executive producer Oliver Kent stated that it recognises the efforts of the NHS, while actress Amanda Mealing said it showcases the challenges faced by the NHS. Producers began planning "One" in 2016, with an idea of producing a live episode. After this was ruled out due to technical difficulties, Unwin settled on an episode filmed in one take. Crew members questioned whether it would be possible, while there was a mixed response from cast members. Most of the cast were trained in theatre so relied on their training for filming, whereas the crew did not have this luxury and found the experience scary. Filming took place in early April 2017. Cast rehearsed the script in twelve sections, before piecing the sections together and filming it twice every day. "One" was filmed in one take using one mobile camera, which covered 360-degree shots. 35 radio microphones and 6 booms were hidden into the set, while 26 actors wore body microphones. Multiple methods for capturing film and sound used in regular episodes had to be changed for "One". To capture the entirety of the serial's set, a camera operator was lifted down a 17 feet drop in a harness while recording a scene. The production team wore medical scrubs on-set in case they were caught on camera. The episode was promoted through promotional trailers, a Twitter hashtag, and a countdown on social media. Within a 28-day period, 6.57 million viewers watched the episode. "One" received a mixed response from viewers and television critics alike. Some viewers criticised the camera movement in the episode, stating that they felt "disoriented" watching it. Alison Graham of the Radio Times called the episode a "bold piece of television" while Jessica Ransom of What's on TV felt the episode highlighted the disorderly nature of an ED. The Daily Telegraph critic Michael Hogan gave the episode a mixed review, opining that although the episode was directed and performed well, the script was poor and "needed some doctoring of its own".

text:
# One (Casualty)

"**One**" is the thirty-first series finale of the British medical drama television series *Casualty* and the 1,049th episode of the overall series. The episode is written by Paul Unwin, the show's co-creator, and directed by Jon Sen. It premiered on BBC One and BBC One HD on 29 July 2017. "One" is a fly on the wall episode following an hour in Holby City Hospital's emergency department (ED) with additional focus on sister Lisa "Duffy" Duffin (Cathy Shipton) mentoring two work experience girls and paramedic Jez Andrews (Lloyd Everitt) grieving the death of a baby.

"One" pays homage to *Casualty* and the National Health Service (NHS); executive producer Oliver Kent stated that it recognises the efforts of the NHS, while actress Amanda Mealing said it showcases the challenges faced by the NHS. Producers began planning "One" in 2016, with an idea of producing a live episode. After this was ruled out due to technical difficulties, Unwin settled on an episode filmed in one take. Crew members questioned whether it would be possible, while there was a mixed response from cast members. Most of the cast were trained in theatre so relied on their training for filming, whereas the crew did not have this luxury and found the experience scary.

Filming took place in early April 2017. Cast rehearsed the script in twelve sections, before piecing the sections together and filming it twice every day. "One" was filmed in one take using one mobile camera, which covered 360-degree shots. 35 radio microphones and 6 booms were hidden into the set, while 26 actors wore body microphones. Multiple methods for capturing film and sound used in regular episodes had to be changed for "One". To capture the entirety of the serial's set, a camera operator was lifted down a 17 feet drop in a harness while recording a scene. The production team wore medical scrubs on-set in case they were caught on camera.

The episode was promoted through promotional trailers, a Twitter hashtag, and a countdown on social media. Within a 28-day period, 6.57 million viewers watched the episode. "One" received a mixed response from viewers and television critics alike. Some viewers criticised the camera movement in the episode, stating that they felt "disoriented" watching it. Alison Graham of the *Radio Times* called the episode a "bold piece of television" while Jessica Ransom of *What's on TV* felt the episode highlighted the disorderly nature of an ED. *The Daily Telegraph* critic Michael Hogan gave the episode a mixed review, opining that although the episode was directed and performed well, the script was poor and "needed some doctoring of its own".

## Plot

Paramedics Jez Andrews (Lloyd Everitt) and Iain Dean (Michael Stevenson) are called to a house fire. Jez is inside and searches for casualties in the house. He finds none and pulls Sun-Mi (Aewia Huillet) from the burning building. Iain and Jez take Sun-Mi to the ambulance. Sun-Mi pulls her oxygen mask from her face and tells Jez her baby is inside the house. Jez prepares to rush back in, but the house explodes before he can get in.

Jez and Iain drive to the emergency department; they encounter a male who has come off his motorbike after colliding with a car. They request another ambulance and continue to the ED. As the pair arrive, sister Lisa "Duffy" Duffin (Cathy Shipton) greets two schoolgirls: Diamond Whittaker (Georgia Sandle) and Chloe Robinson (Kassius Nelson). Duffy is tasked with acting as Diamond and Chloe's mentor.

Sun-Mi is taken into Resus to be treated by consultant Connie Beauchamp (Amanda Mealing) and nurses Charlie Fairhead (Derek Thompson) and Robyn Miller (Amanda Henderson). Duffy tells Diamond and Chloe to wait outside Resus, but Diamond ignores Duffy's instructions and walks in. When Duffy finds the pair in Resus, she gives them a warning but is then called over to treat Sun-Mi. Duffy hands Chloe and Diamond over to Charlie to look after them. As Jez is collecting a drink from the vending machine, he receives news from nurse Jacob Masters (Charles Venn) that Sun-Mi's baby was found and taken out of the house; Jez is ecstatic.

Consultants Dylan Keogh (William Beck) and Elle Gardner (Jaye Griffiths) work together to treat patient Dougie Cox (Sule Rimi) in Resus. Charlie asks a nurse to look after Diamond and Chloe, who are then passed onto Jacob and then passed over to Iain. In the staff room, Jacob reveals to Iain in front of Diamond and Chloe that Sun-Mi's baby died in the house fire. When Jez walks into the staff room, Diamond apologises to Jez, who is heartbroken upon learning Sun-Mi's baby died. Andrew Sully (Gordon Kennedy), Sun-Mi's husband, is devastated by his and his wife’s loss. He later learns that Dougie was behind the fire after throwing a petrol bomb through the window.

Duffy finds Diamond and Chloe filing paperwork in Jacob’s office. Registrar Lily Chao (Crystal Yu) asks Duffy, Chloe, and Diamond for a selfie. Chloe reveals to Lily and Duffy she wants to be a nurse. Duffy takes Chloe and Diamond to the front of the ED, as she explains why she chose to become a nurse and make a difference in people's lives.

## Production

| External videos | |
| --- | --- |
| "One Shot"
A promotional trailer for the episode | |
| "Crisis"
A promotional trailer for the episode | |
| "One (Preview Clip)"
A clip of Chloe and Diamond arriving at the ED | |

### Conception and development

"One" was written by the show's co-creator Paul Unwin, who had not written regularly for the serial since its second series. Jon Sen directed the episode, while Erika Hossington served as the series producer and Oliver Kent acted as the executive producer for his final episode. Hossington and Simon Harper, Kent's successor as executive producer, were overjoyed by Unwin's return. Hossington enjoyed the episode's script. Unwin and Sen felt privileged to be involved in "One"; Sen called the episode a "once-in-a-lifetime opportunity" and "an amazing bit of film-making".

> "This very special episode will give the audience a unique insight into an hour in A&E. It will be an intense, emotional hour where staff and patients are faced with life-changing events. We want to reflect the front line in its unedited, rawest form, and this one-shot episode with a brilliant script from *Casualty* creator Paul Unwin, has given us the opportunity to do that."

—Series producer Erika Hossington on the episode. (2017)

"One" is a fly-on-the-wall episode exploring life at the emergency department (ED) of Holby City Hospital, the setting for *Casualty*. Specifically, the episode focuses on Sister Lisa "Duffy" Duffin (Cathy Shipton) mentoring two girls, Chloe (Kassius Nelson) and Diamond (Georgia Sandle), who are on work experience in the ED as they decide whether to pursue a career in medicine. Duncan Lindsay, writing for the *Metro*, reported that the events of the episode would challenge Duffy both "emotionally and professionally". The episode sees an increased focus on the ED's nursing staff, which Shipton described as "a lovely echo back to the show's origins". She liked the additional focus since the nurses "soak everything up in emergencies". Shipton felt "One" reflects original *Casualty* producer Geraint Morris' aim to portray nurses as being at the front of emergency departments.

At the beginning of the episode, Diamond is portrayed as a stuck-up young girl who wants to become a consultant, while Chloe is displayed as worried and agitated, struggling with her surroundings. Shipton stated that the characters' personalities change during the course of the episode: Diamond is taught to be more respectful, whereas Chloe's confidence grows and she decides to spend more time in the ED.

"One" was billed as "unique", "extraordinary", "pioneering" and "ambitious". Shipton called it "classic *Casualty*" and described it as "*Casualty* bumped into Mike Leigh bumped into a living art installation". A BBC Online reporter branded the episode the serial's "most challenging episode yet". Cast member Amanda Mealing (Connie Beauchamp) described "One" as "a love letter to the NHS". She added that since the complex format featured in "One" is not often used, the episode would be "exciting and new". Hossington similarly thought the episode is complex and alternative, adding that "One" would excite fans of the show because it is unattempted. Mealing's co-star Crystal Yu called the episode "different and magical" and branded it "an amazing experience". Unwin used "One" as an opportunity to pay homage to *Casualty* and the NHS. Kent believed that the episode recognises what "the heroes of the NHS really do", while Sen opined that "One" is the greatest way of the audience being able to witness the NHS. Mealing explained that "One" should symbolise the drama and outstanding efforts of the NHS. She believed that the episode demonstrates "the numerous pressures and obstacles" tackled by the NHS, as well as the efforts and dedication needed to run an emergency department. On the episode, Mealing commented, "It starts with a bang and the excitement and high drama continue right to the end." Sen said that "One" features emotional scenes when characters' personalities are challenged by emergency situations.

Planning for "One" began in 2016, with show bosses keen to attempt something new. Shipton stated that an obvious suggestion is a live episode, but accepted that it was out of the show's capabilities. Hossington later explained that the show cannot transmit live because it goes through several post-production procedures which would not be possible if they transmitted live. She told Sophie Dainty of *Digital Spy* that the show would not appear or sound like the regular show. After discovering the 2015 film *Victoria*, Unwin considered an episode filmed in one take. In September 2016, Unwin informed Shipton of his plans to write a one-shot episode to conclude the thirty-first series. The idea was met with apprehension from Shipton, who believed it was a joke. However, Hossington thought Unwin's plans created a nice way to conclude the series as it varies to regular episodes. Lead sound recordist Tim Hunt was approached with the idea in June 2016, although he was apprehensive about it and spent the following summer questioning whether it could be achieved. Hunt understood that "One" would need to be filmed using a wide shot angle, which he believed would create problems as "you see everything". Plans for the episode started to circulate in the media in August 2016 when Hossington and Kent promised that *Casualty* would complete "\[their\] version of a live episode at some point". When rumours began circulating on-set, plans for the episode were confirmed to the cast. At the 22nd National Television Awards in January 2017, Hossington hinted to Shipton that she would feature prominently in the episode. The actress later found an unreleased script for the episode, which she stole to read. After reading the script, her confidence in the episode grew.

In August 2016, *Casualty* actor William Beck expressed an interest in filming a live episode, which left him in disagreement with his co-star Jaye Griffiths as she did not want to film a live episode. Griffiths later stated that she struggled to "grasp" the concept of the episode initially. Conversely, Yu was pleased to be involved in the episode and Shipton found the experience "exciting and nerve-wracking". Mealing admitted in an interview with Catrin Carrucan of *The Daily Express* that she was apprehensive about creating "One" because she believed the cast would have limited rehearsal time as they already work with a "really tight schedule". The majority of the cast were trained in theatre so were able to rely on their training for the episode. Shipton stated that the crew found the experience scary in comparison as they are usually able to "stop and start" production. The actress also mentioned that the cast could improvise if they botch their lines. Shipton previously performed in a one-woman show, which prepared her for the episode. This helped calm her nerves as she felt if she botched her lines, it would reflect real life. However, to help her concentrate, Shipton called her co-stars by their character names on and off set. Yu's character Lily Chao appears halfway through "One" so she hoped that she would not botch her lines, especially since she had much medical jargon to say.

### Filming

Show filming is located at Roath Lock Studios, Cardiff, where it has taken place since 2011. Production for the episode took place over two weeks, beginning on 3 April 2017 and ending on 13 April 2017. Guest actors were invited to visit the studios throughout the week before filming so that they could familiarise themselves with their surroundings. Cast began rehearsing in the first week of production. To help this process, the script for "One" was split into twelve sections for individual rehearsal. Across the first week, cast and crew began to compile sections together. Hossington said that after rehearsing the first half of the episode, there was a positive atmosphere on-set. During rehearsals, press and media were invited to observe and for a guided tour around the set while speaking to the crew. A recorded dress rehearsal took place on 8 April. Hossington and Sen thought it would be "a complete and utter shambles" but confessed it went well and felt it looked good to an audience. Filming commenced in the final week of production; it was recorded twice every day and the best take was selected at the conclusion of filming. Production for "One" took longer than for regular episodes as the cast had to "meticulously rehearse" their scenes. Filming also took longer because if any mistakes were made, they had to restart the take.

The pre-title sequence, which features a house explosion, was filmed separately to the rest of filming for practical reasons, although Shipton stated that everything after the opening sequence was "48 minutes of continuous filming". The explosion was also filmed in one take and at a similar time to studio filming. Julian Spencer, the episode's stunt coordinator, found the explosion sequence challenging due to the one-shot element, although he thought it went well and said that it was "raw". Neighbours to the house used for filming the explosion were warned about possible "disturbance" during filming beforehand and the two houses facing the stunt house had their windows covered to avoid debris from the explosion breaking them. Eyewitnesses to the explosion said that film-makers made the explosion appear "authentic". Sen labelled the stunt "a big explosive − in every sense of the word − beginning".

> "Something kinda  \[*sic*\] went 'Actually, we are gonna do this'. We're very glad that we pushed in terms of taking people upstairs and pushing the envelope on kinda  \[*sic*\] what could be achieved within the one-shot."

—Director Jon Sen reflects on his decision to use the show's full set. (2017)

The show's production team wanted to capture all of the show's set, using it similarly to a stage and decided to include a scene where Duffy, Chloe, and Diamond walk upstairs to the pharmacy. To achieve this scene, camera operator Scott Milton was asked to walk backwards upstairs, before being attached to a harness and asked to "step out over a ledge 17 feet above the ground". Sen suggested the idea and despite his colleagues believing he was "insane", he included it at what he said was a "pivotal moment". Milton admitted that the adrenalin rush associated with the stunt made it "electric". Shipton described the situation as hazardous. Mealing explained that Sen did not want the episode to be "safe" and insisted on performing this scene. She commented, "The possible limits of doing a one-shot have not contained anyone's ambitions." Mealing stated that from a technical point of view, the episode contrasts to a regular episode. She explained that while the audience only sees her character Connie walking down a corridor, she was actually walking towards 40 members of the production team, including a camera operator, who are walking backward. Michael Stevenson, who portrays Iain Dean, said that "One" uses an alternative method as "everything is in the moment", which increased the pace of filming and therefore, the episode. On the quick-paced nature of the episode, cast member Derek Thompson quipped, "Characters come through the door, put on a pair of skates and then, they are danced off."

The show's production team were dressed in medical scrubs so that if they were caught on camera, they would look like a background character. One member of the sound department opted to wear a stethoscope so they could disguise themselves; Hossington praised their dedication, while Sen believed that it "added to the sanctification". Hossington explained that they were "very careful" to ensure that everyone was dressed accordingly, while Sen revealed that there was "a massive amount of excitement" about being able to dress in the scrubs. During the episode, Chloe is shown vomiting, which raised challenges for the production team. Sen explained that in a regular episode, a cut would be inserted where the actor would place fake vomit, often chicken soup disguised by the art department, in their mouth before 'vomitting' and cutting to another scene, where the fake vomit is consequently cleaned up. However, in this episode, they could not use any cuts and as Nelson is a vegan, they could not use chicken soup as fake vomit. Sen described these as "little challenges".

Shipton believed she would be exhausted, yet "exhilarated" after filming the episode, which would make her hysterical approximately three days after the end of filming. She later said that she was "in a state of numb disbelief and excitement" after filming the episode, stating that she was proud of the achievement. She added that she woke the following morning wanting to film the episode again. Yu also found the filming exhausting and spent most of the following weekend asleep. Stevenson enjoyed the filming of the episode, praising the show's production team for their work behind the scenes. He also thought the episode showcased the show's production team for being "the very tight company that we are". Shipton praised Sen's motivational techniques and the morale between the cast and crew. Mealing praised each person associated with "One" for their work, opining they did so with "great pride, belief and perspiration". She also specifically praised the crew, who she said "must be absolutely awesome" if they are able to create such an episode, while Hossington believed that the episode would not be completed to a greater standard if a different cast and crew created it. Unwin opined that the episode was a "fantastic achievement", created by a "remarkable" cast, crew, and production team. On the result of filming the episode, Mealing commented, "It brought cast and crew together in the best possible way. Everyone relished the opportunity to step up their game." Similarly, Hossington said that the episode positively impacted the cast and crew as they felt they "achieved something".

#### Camera and sound

The episode was filmed in one take using one mobile camera, which was required to be cable free and able to film inside a moving ambulance. The show's ambulance station set was transformed into a crew control room and 35 radio microphones and 6 booms were hidden and disguised into the set. The episode features 360-degree shots to cover a wider range of the scenes. Two booms were used in exterior scenes and Hunt explained that the second boom was used "to solve any shadows on a 360 shot". A normal episode features one production sound mixer, two boom operators, and an assistant; for "One", a second production sound mixer and two further boom operators were introduced. Brad Bower covered the roles of one of the two production sound mixer and the assistant, which required him to support the cast and crew during rehearsals, adjust gains, disguise on-set microphones, and supervise the recording machines during takes. Hunt wanted to "match the sound of conventional *Casualty* episodes", although he was unable to create this in the way it is achieved in a regular episode so was forced to use radio microphones instead. In addition to this, 26 actors wore a body microphone and one actor wore two body microphones and a transmitter, which Hunt said allowed the actor to "cover the dynamics of his performance". Sen explained that the strategy to sound was not the same as regular episodes because background actors are normally asked to mime to assist with the cuts, whereas in this episode there were no cuts. Kent said that from a technical aspect, "One" was "the most enormous challenge". Hossington said that the technical aspects of the episode were the focus of production.

The role of camera operator was shared between two people due to the weight of the camera and the "incredible act of concentration" needed for the position as it is easy to get tired. Sen wanted a shot going above the patient, which he found was a good opportunity to exchange the camera between the two operators. The camera was handed to Milton, the second cameraman, as it moves over the patient. The camera was later handed back to the original camera operator, who received the camera during a fight scene in the ED staff room. Sen praised the camera operators and opined that their work was "seamless". A heated viewfinder was purchased for the camera as the regular viewfinder became misty easily, preventing filming. Hossington explained that as a heated viewfinder had not been used on-set before, they were unsure how much battery capacity it would use. Sen worked with the show's cinematographers to achieve the best camera angles and perfect the scenes. Yu called this "exciting" and compared it to "watching a master-plan coming together".

Hossington thought that one challenge of the ambulance ride sequence was the positioning of the director of photography. The director was required to control the iris of the camera by "opening and closing" it using a control, which is unable to communicate with the iris through metal. Hossington said that it was easier to navigate the director and the iris controls during the pre-titles stunt and the majority of the episode, which is set in the hospital, than in the ambulance because there was not enough space for the director to be in the ambulance as well as to several other members of the production team. Hossington believed that the demanding nature of the ambulance journey would be astounding to the audience as it appeared to be "seamless". A fake wall was created in the ambulance surrounding the passenger seat so that a member of the production team could position themselves while not being seen on camera. Sen explained that he was determined not to allow "the technical stuff dictate how we were doing it".

For his role, guest actor Harry Lovell-Jones had to repeatedly drum against a chair using drumsticks. Hossington and Sen found this difficult to achieve with sound as they were concerned it may be "interfering" or "obscured" and questioned "whether there was too much, \[or\] too little" drumming. So that a constant drumming could be heard during scenes in the reception area, microphones were hidden in the ceiling panels and underneath Lovell-Jones' seat. Hossington believed that she and Sen had spent the equivalent of a day discussing the sound of the drumsticks. Hossington also revealed that the drumsticks were originally rubber to avoid creating masses of noise, but were instead swapped for sticks made from balsa wood so that they could be snapped. She also expressed worry with the snapping of the drumsticks, so was thankful that nothing went wrong.

### Promotion and broadcast

At the time of the episode's announcement, the episode was scheduled for Summer 2017. Sarah Ellis of *Inside Soap* later revealed "One" would air in July, and the episode broadcast in the United Kingdom on 29 July 2017 on BBC One. A trailer for "One" was released on 15 July 2017, two weeks before its premiere. Another trailer for the "One" was released on 26 July 2017 featuring short clips from the episode to the pace of a heartbeat. The show's social media team created the Twitter hashtag "#CasualtyOne" for the episode to increase the episode's media profile, and in the buildup to the episode airing, they created a countdown to the episode's broadcast.

## Reception

### Ratings

"One" received an overnight rating of 5.2 million viewers, which was the highest-rated episode of 29 July 2017 and the serial's highest rating since 2015. After seven days, the ratings rose to 6.27 million viewers. This was a rise of 790,000 viewers from the previous episode. After 28 days, the ratings rose to 6.57 million viewers, an overall increase of 900,000 viewers from the previous episode. "One" was the second most-watched programme on BBC One in the week of broadcast and the eighth most-watched programme on BBC One in July 2017.

### Critical analysis

> "The bold project was cleverly choreographed by director Jon Sen and wholeheartedly performed by the cast. Yet it was let down by a clunking script that needed some doctoring of its own."

*The Daily Telegraph* critic Michael Hogan on the episode. (2017)

Reilly (*What's on TV*) called the episode "mesmerising", while Catrin Carrucan (*The Daily Express*) described the episode as "dramatic". Joseph Gamp of *Metro* labelled the episode "daring" and "ambitious". Charles Venn, who portrays Jacob Masters, praised cast members' "sublime" performance in "One". Many viewers complained on Twitter about the camera movements, which they claimed made them "queasy", "disoriented" and "dizzy", as well as some sound complications. Other viewers praised the episode, with viewers' comments including, "Excellent episode. Realistically creating the often frenetic and stressful situations in an ED" and "Blimey. Casualty is a work of art tonight." While some viewers expressed their enjoyment about the house explosion at the beginning of the episode, comparing it to "stock footage" from *Game of Thrones*, and others criticised the decision to film the whole episode in one-shot. *Metro* polled its readers on their reaction to the episode: 45% of readers enjoyed "One", but preferred the regular format; 33% of readers found the episode "great"; and 22% of readers did not like the episode and agreed that it was "really disorientating and dull".

Alison Graham, writing for the *Radio Times*, described "One" as a "bold piece of television" and praised the show for "shaking things up a bit" for the series finale and for displaying "the chaos of a front-line service". She also called the off-screen death of the child "tragic". Graham also opined that the "frenetic" atmosphere in the episode made her feel "seasick" as the camera followed a character before "swiftly changing paths to latch on to another". Helen McWilliams of *Break A Leg* enjoyed the episode, which she branded "a gamble that paid off" and a "history making episode". She believed "One" had an alternative "feel, ambience and atmosphere" to other episodes. She praised the performances of Shipton and Everitt and said that Everitt "knocked his performance out of the park in extreme circumstances", while Shipton created "one of the performances of her career". McWilliams believed that the absence of regular character Noel Garcia (Tony Marshall) reminded the audience that all ED staff are "integral cogs" within the department. The reviewer also called Chloe and Diamond "a fantastic addition to the chaos" and believed their clashing personalities were realistic, hoping for the characters to return in the future.

Michael Hogan of *The Daily Telegraph* awarded "One" a score of 3 out of 5, calling the episode a "bold project" and the house explosion "spectacular". He said that the death of the baby provided "One" with an "emotional heart", while the fly-on-the-wall theme created "intensity and realism" within the episode. He praised the decision to have Shipton and Thompson lead the episode. The reviewer also opined that some speeches from the characters "didn’t quite work" and found the explanations during the episode "jarring". Sue Haasler, writing for the blog *Pauseliveaction*, liked "One" and stated that she forgot it was filmed in one take, which was a "testament" to the cast. She enjoyed the "seamless" approach and the decision for the crew to wear medical scrubs. Haasler said that the choreography was "nothing short of incredible" and believed that Unwin and Sen "brilliantly thought out" the episode and injected "dynamics and pace" into it. By the end of the episode, Haasler was "emotional" and glad that the episode was created as "a love letter to the NHS". Jessica Ransom of *What's on TV* praised the episode and found it "impressive" that there were no mistakes. She said the episode highlighted the "ever chaotic trauma" and a "particularly explosive day" in the ED. Ransom also opined that Chloe and Diamond were "meddlesome".

## InfoBox

| "**One**" | |
| --- | --- |
| *Casualty* episode | |
| Episode no. | Series 31
Episode 45 |
| Directed by | Jon Sen |
| Written by | Paul Unwin |
| Cinematography by | Simon Butcher |
| Original air date | 29 July 2017 (2017-07-29) |
| Running time | 53 minutes |
| Guest appearances | |
| * Georgia Sandle as Diamond Whittaker * Kassius Nelson as Chloe Robinson * Sule Rimi as Dougie Cox * Gordon Kennedy as Andrew Sully * Dajay Brown as Chrissie Cox * Aewia Huillet as Sun-Mi * Trevor Cooper as Jerry Kennedy * Jenna Boyd as Candice-Marie Kennedy * Jenny Platt as Di Hawkins * Pameli Benham as Rose Thomas * Harry Lovell-Jones as Anthony Cleaver | |
|
|


title: One (Dirty Vegas album)

abstract: One is the second album by British house music trio Dirty Vegas, released 18 October 2004 in the UK.

text:
# One (Dirty Vegas album)

***One*** is the second album by British house music trio Dirty Vegas, released 18 October 2004 in the UK (see 2004 in British music).

## Release & promotion

On August 6, band member Steve Smith delivered an acoustic performance of several of the songs from the upcoming album.

The album was released by Capitol Records and Parlophone in Europe on 18 October 2004. A limited number of promotional two-record vinyl copies were also available. The album was later released in the United States, on 30 November 2004.

Ahead of the album's release in the States, a club and theater tour was announced. The tour included sixteen dates, starting in Washington, DC on 26 October.

## Critical reception

Professional ratings
| Aggregate scores | |
| --- | --- |
| Source | Rating |
| Metacritic | 35/100 |
| Review scores | |
| Source | Rating |
| AllMusic |  |
| *Blender* |  |
| *The Guardian* |  |
| *Paste* |  |
| *PopMatters* | 6/10 |
| *Rolling Stone* |  |

*One* garnered generally negative reviews from music critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album received an average score of 35, based on 8 reviews, making it the worst-reviewed album of 2004.

Steve Lowe of *Blender* heavily criticized the group's AOR tracks filled with earnest lyrics and Richard Marx-like production, concluding that "If this exhaustingly awful album repeats its predecessor’s success, the world will seem more confusing than ever." *The Guardian*'s Dorian Lynskey also panned the overall work of the album, "At best, it suggests Duran Duran indulging their U2 fantasies. At worst, the brain scrabbles for comparisons. The post-millennial Bruce Hornsby? Mike & The Mechanics go to Ibiza? Frontman Steve Smith delivers lyrics that he presumably made up on the spot in the voice of a man who rolls up the sleeves of his sports jacket. *One*'s sole redeeming feature is that its title helpfully informs reviewers how many stars to give it."

AllMusic's David Jeffries said of the group in this album that "They're still dreamy and maudlin, and still not lyricists who will threaten Dylan, but the production is slick and hides the band's shortcomings." David Dierksen of *PopMatters* said that despite sounding like the group's self-titled debut, he praised the album's production for capturing their live performances and instilling a lot of energy and enthusiasm in the tracks, saying that "What Dirty Vegas has really accomplished with this release is a completely unpretentious piece of work designed to move folks who want nothing more than something fun and catchy to listen to. And bless ‘em for pulling it off because even the simplest pop can be botched." Brian Howe of *Paste* praised the group for its mixture of acoustics, electronica and orchestral music to craft tracks that contain multi-layered intricacies in their structures, concluding that "When so much music is so bleak, a little unlikely optimism might be a crucial palliative measure, rather than Pollyanna-ish head-burying, and it’s sanguinity that Dirty Vegas delivers in spades."

## Track listing

All lyrics are written by Dirty Vegas, except where noted

| No. | Title | Length |
| --- | --- | --- |
| 1. | "Roses" | 4:07 |
| 2. | "Home Again" | 4:46 |
| 3. | "Human Love" | 5:19 |
| 4. | "Walk Into the Sun" | 5:20 |
| 5. | "Closer" | 3:30 |
| 6. | "A Million Ways" | 5:09 |
| 7. | "Don't Throw It Away" | 4:18 |
| 8. | "In This Life" | 5:02 |
| 9. | "Given You Everything" | 6:31 |
| 10. | "Save Me Now" (Dirty Vegas, Terry Ronald) | 5:01 |

## Release details

The album was released in various countries in October and November 2004.

| Country | Date | Label | Format | Catalog |
| --- | --- | --- | --- | --- |
| United Kingdom | 18 October 2004 | Parlophone | LP | 868 8461 / 7243 8 66846 1 5 |
| | | | CD | 868 8462 / 7243 8 66846 2 2 |
| Australia | 25 October 2004 | Capitol Records | CD | 874 9552 |
| Japan | 3 November 2004 | Toshiba-EMI | CD | TOCP-66332 |
| United States | 30 November 2004 | Capitol Records | LP | CDP 7243 8 66846 5 |
| | | | CD | CDP 7243 8 63743 5 |
|

## Charts

| Chart (2004) | Peak
position |
| --- | --- |
| US Dance/Electronic Albums | 7 |

## InfoBox

| One | |
| --- | --- |
|  | |
| Studio album by Dirty Vegas | |
| Released | 18 October 2004 |
| Recorded | 2004 |
| Genre | House, electronic |
| Length | 43:03 |
| Label | Parlophone |
| Producer | Dirty Vegas |
| Dirty Vegas chronology | |
| *Dirty Vegas*
(2002) ***One***
(2004) *Electric Love*
(2011) | |
|  | |
| Singles from  *One* | |
| 1. "Walk Into the Sun"
Released: 11 October 2004 | |
|  | |


title: One Boy, One Girl

abstract: "One Boy, One Girl" is a song written by Mark Alan Springer and Shaye Smith, and recorded by American country music singer Collin Raye. It was released in July 1995 as the first single from his album, I Think About You. It peaked at #2 in the United States and #4 in Canada. It also peaked at #87 on the Billboard Hot 100.

text:
# One Boy, One Girl

"**One Boy, One Girl**" is a song written by Mark Alan Springer and Shaye Smith, and recorded by American country music singer Collin Raye. It was released in July 1995 as the first single from his album, *I Think About You*. It peaked at #2 in the United States and #4 in Canada. It also peaked at #87 on the *Billboard* Hot 100.

## Content

The song's narrator talks about the virtues of one boy, and one girl...from their meeting and courtship, then their marriage, then their birth of their twins (which just so happen to be one boy and one girl). The video shows Raye at a campfire with the parents and their twins and a few others. The song was also used prominently in the Owen Hart documentary “The Life & Death of Owen Hart”.

## Music video

The music video for the song consisted of Collin Raye singing the song to a group of people around the campfire at night.

## Chart positions

| Chart (1995) | Peak
position |
| --- | --- |
| Canada Country Tracks (*RPM*) | 4 |
| US *Billboard* Hot 100 | 87 |
| US Hot Country Songs (*Billboard*) | 2 |

### Year-end charts

| Chart (1995) | Position |
| --- | --- |
| Canada Country Tracks (*RPM*) | 95 |
| US Country Songs (*Billboard*) | 16 |

## InfoBox

| "One Boy, One Girl" | |
| --- | --- |
|  | |
| Single by Collin Raye | |
| from the album  *I Think About You* | |
| B-side | "I Love Being Wrong" |
| Released | July 25, 1995 |
| Recorded | 1995 |
| Genre | Country |
| Length | 4:03 |
| Label | Epic |
| Songwriter(s) | Mark Alan Springer
Shaye Smith |
| Producer(s) | John Hobbs
Ed Seay
Paul Worley |
| Collin Raye singles chronology | |
| "If I Were You"
(1995) "**One Boy, One Girl**"
(1995) "Not That Different"
(1995) | |