title: Mega Man & Bass

abstract: Mega Man & Bass Mega Man & Bass is a 1998 action-platform game developed and published by Capcom. It is a spin-off game in the original Mega Man series and was originally released in Japan for the Super Famicom on April 24, 1998. It was later ported to the Game Boy Advance (GBA) handheld in 2002, and localized in English and released the following year. After defeating the evil Dr. Wily many times, the robotic hero Mega Man is called into action once again when a powerful being known as King steals the blueprints to the creations of Dr. Wily and Dr. Light in order to create an army for robotic dominance over humans. Having learned of the threat, Mega Man's rival Bass decides to take matters into his own hands. The game is an action-platformer where the player advances by defeating bosses and acquiring their signature weapons. Mega Man & Bass lets the player choose between either of its title characters, each of which plays differently from the other. Mega Man & Bass debuted on the aging 16-bit Super Famicom despite the series having already transitioned to the PlayStation and Sega Saturn with Mega Man 8. Producer Keiji Inafune claimed Mega Man & Bass was created with regard to younger players who didn't yet own one of the more advanced gaming systems. The game received positive remarks from critics for its graphics and use of a tried-and-true gameplay formula, though many found the difficulty to be too steep. Although Mega Man & Bass shares many traits with previous console games in the series, Mega Man 9 wouldn't be released up until 2008.

text:
# Mega Man & Bass

***Mega Man & Bass*** is a 1998 action-platform game developed and published by Capcom. It is a spin-off game in the original *Mega Man* series and was originally released in Japan for the Super Famicom on April 24, 1998. It was later ported to the Game Boy Advance (GBA) handheld in 2002, and localized in English and released the following year.

After defeating the evil Dr. Wily many times, the robotic hero Mega Man is called into action once again when a powerful being known as King steals the blueprints to the creations of Dr. Wily and Dr. Light in order to create an army for robotic dominance over humans. Having learned of the threat, Mega Man's rival Bass decides to take matters into his own hands. The game is an action-platformer where the player advances by defeating bosses and acquiring their signature weapons. *Mega Man & Bass* lets the player choose between either of its title characters, each of which plays differently from the other.

*Mega Man & Bass* debuted on the aging 16-bit Super Famicom despite the series having already transitioned to the PlayStation and Sega Saturn with *Mega Man 8*. Producer Keiji Inafune claimed *Mega Man & Bass* was created with regard to younger players who didn't yet own one of the more advanced gaming systems. The game received positive remarks from critics for its graphics and use of a tried-and-true gameplay formula, though many found the difficulty to be too steep. Although *Mega Man & Bass* shares many traits with previous console games in the series, *Mega Man 9* wouldn't be released up until 2008.

## Plot

The story of *Mega Man & Bass* varies extremely depending on which player character is chosen. It begins one year after the events of *Mega Man 8* when a robot villain named King breaks into Dr. Wily's laboratory and then the Robot Museum to collect the data blueprints for the creations of Dr. Light. Dr. Light alerts the hero Mega Man that he must go at once to the Robot Museum to confront this new enemy. Meanwhile, Bass (Mega Man's rival and Wily's greatest creation), being kicked out of Wily's laboratory due to the events, hears of the new criminal's appearance and decides to prove himself the stronger robot by defeating King. Proto Man is the first to arrive at the scene. King divulges his plan to him, he desires to create a utopia in which robots rule the world over humans. To accomplish this, King seeks to create an unstoppable army using the data and invites Proto Man to join him. Proto Man refuses and attempts to attack, but King counters and slices his body in half. Proto Man then teleports back to the lab for repairs while King escapes with the data, instructing his minions to handle the heroes. With their own motivations, Mega Man and Bass set out to put a stop to King's plans.

After vanquishing eight powerful robots under allegiance to King, the duo infiltrates his castle and engages him in combat. Proto Man interrupts the fight and again attempts to defeat their new nemesis. Putting all of his remaining energy into a blast, Proto Man manages to destroy King's shield and loses consciousness, allowing Mega Man and Bass to best King in battle afterwards. King questions why they fight so hard for humans when robots are the superior species. The pair explains that humans are the ones who created robots in the first place, which confuses King, who teleported Proto Man out of his castle after the battle. The villain reveals that his creator is Dr. Wily, who then appears on a video monitor. When King asks the evil inventor why robots fight each other for the sake of humans, Wily strengthens his "brainwashing level" and restores his power. Mega Man and Bass engage King in another battle and defeat him. The castle begins a self-destruct sequence and the protagonists escape without King.

Mega Man and Bass confront Dr. Wily in his newly regained laboratory. When Wily is beaten, Bass demands to know why he deceived him. Wily explains that he created King simply to test Bass' abilities. Wily shows him written plans for making a newer version of King to join with Bass in this venture, promising that the two would be invincible together. Proto Man appears and immediately destroys these plans. Wily then demands Bass to destroy Proto Man, but Bass is unsure. Proto Man tells Bass that although he is a strong robot of free will, he can never defeat his rival because he has nothing for which to fight. Bass doesn't care and forces Proto Man to leave, saying that he will still destroy Mega Man to prove his cause. Mega Man returns home where his sister Roll presents him a letter from King, who has somehow escaped the destruction of his castle. King wishes to atone for his own crimes against humans and hopes for them to be friends if they were to meet in the future.

## Gameplay

The gameplay in *Mega Man & Bass* is similar to earlier games in the series. The player is tasked with completing a series of action-platform stages while overcoming obstacles, solving minor puzzles, and battling enemies. Destroying the "Robot Master" boss at the end of a stage lets the player acquire its special weapon. In previous games, the player generally took on the role of the hero Mega Man. In this game, the player can choose to start the game as either Mega Man or Bass. However, whichever character is picked must be used for the rest of the game and cannot be changed. Mega Man is able to charge his shots to make them more powerful and has the ability to slide along the ground. Bass is able to rapidly fire his arm cannon in eight directions, though shots cannot be fired while moving or pass through walls unless a certain upgrade is obtained. Bass is also able to double-jump (jump a second time in mid-air) and dash along the ground (similar to  in *Mega Man X*). Performing both simultaneously lets him cross great distances by doing a dash-jump.

The stage structure is much different from other games in the series. After the introduction level, the player can only choose between three Robot Masters. Defeating Cold Man unlocks Burner Man and Pirate Man; defeating Astro Man unlocks Dynamo Man, Tengu Man, and Pirate Man, and defeating Ground Man unlocks Magic Man and Tengu Man. Clearing one of these unlocked stages opens the way to a security room where the player must destroy a series of crystals with obtained Robot Master weapons. Bypassing all eight crystals opens the way to the fortress stages. In a similar fashion to previous installments in the series, enemies often drop bolts after they are destroyed, and these can be exchanged for various restorative items and upgrades. However, unlike in *Mega Man 7* the security cavern offers a way to obtain large amounts of bolts without having to repeatedly visit stages. Some upgrades are unique to either character, such as Mega Man's ability to call on his dog Rush to search for items, or an adaptor for Bass to combine with his wolf Treble to temporarily fly. Also distributed throughout the introduction and Robot Master levels are a collection of 100 data CDs that contain information on many prominent characters in the series. Most of the CDs are hidden either behind obstacles that need to be destroyed with a special weapon or accessed with a character-specific ability, making it impossible to collect them all on a single playthrough. CDs collected in each playthrough are permanently placed in a database and remain unlocked after beating the game. Saved games are used in place of the series' traditional password system.

## Development

*Mega Man & Bass* was developed for the Super Famicom after the release of *Mega Man 8*, which preceded *Mega Man & Bass* on the two 32-bit consoles, the PlayStation and Sega Saturn. According to series producer Keiji Inafune, *Mega Man & Bass* was intended for younger players who still owned a Super Famicom and did not have the means to experience *Mega Man 8* on one of the newer systems. "Even though trying to bridge out a new title on the \[Super Famicom\] was a little backwards at the time, we didn't want to make a half-hearted attempt at it," Inafune explained. The design team included several new employees, as well as members of previous *Mega Man* games. Inafune required them to make the game "as hardcore as possible". Designer Hideki Ishikawa recalled the development of *Mega Man & Bass* as "one big party". The staff attempted to create an original game while avoiding the "same old, same old \[...\] pitfall" that so many long video game series suffer and "had a lot of fun doing it".

Graphically, *Mega Man & Bass* uses many of the same two-dimensional sprites and animations as *Mega Man 8*. Two of the eight Robot Master bosses in *Mega Man & Bass* (Tengu Man and Astro Man) are borrowed from *Mega Man 8*. The other six were newly created for the game by three character designers: Hitoshi Ariga (credited as "H. Ariga"), Yoshihiro Iwamoto (credited as "Y. Iwamoto") and Koji Izuki (credited as "K. Iduki") designed two characters each. The bosses were officially unveiled on a teaser page in the Kodansha magazine *Comic BonBon*. Each boss was given distinct characteristics so that they could be easily identified by players in both their aesthetics and personalities. Some of these characters had different names during their conceptual phase prior to the finalization of the game. "Blast Man" became Burner Man, "Freezer Man" became Cold Man, and "Coil Man" became Dynamo Man. Iwamoto originally denoted Ground Man as "Drill Man" despite there already being a Robot Master by that name in *Mega Man 4*. The musical score for *Mega Man & Bass* was composed by Akari Kaida (credited as "A. Kaida"), Naoshi Mizuta (credited as "N. Mizuta"), and "Kirikiri-chan" (Toshihiko Horiyama). Rather than create tracks together, each composer was responsible for their own songs.

Until its GBA re-release, it was one of the few *Mega Man* titles not localized for English-speaking countries. The company commemorated the 15th anniversary of the *Mega Man* franchise with the GBA version of the game.

## Reception and legacy

The GBA port has received generally positive critical reviews, currently holding an aggregate score of 79% on both GameRankings and Metacritic. Most critics found the game to be a solid yet conventional action-platformer that successfully adheres to the classic *Mega Man* formula. *Electronic Gaming Monthly* summarized that *Mega Man & Bass* is "one of the best action games on GBA" and "a great, if slightly derivative, platformer" with plenty of replay value due to the collectible CDs. *GamePro* was pleased with the game's fidelity to its predecessors when compared to the deviations made by the *Mega Man Battle Network* and *Mega Man Zero* series on the same system. GameSpy contrarily criticized its lack of innovation, declaring, "Anyone that hasn't tried a *Mega Man* game yet would be better advised to spend $15 on a new copy of *Mega Man 8* on the PSOne rather than paying $30 for an inferior retread of the same game".

Many reviews also noted the game's high difficulty. Both Giancarlo Varanini of GameSpot and Craig Harris of IGN found that the game's bosses have very unpredictable attack patterns, thus making the battles extremely challenging. Harris additionally observed a heavy amount of trial-and-error for the levels themselves where the player must die several times before completing each one. He concluded, "\[...\] It's really the way *Mega Man* games have always been... and to be honest, with all of the annoying little deaths in the game, there's always that sensation after every failure that you've learned the challenge, and perseverance definitely prevails in this game".

According to *Famitsu*, *Mega Man & Bass* for the GBA sold 91,097 copies in Japan between its release date and the week of December 23, 2002. A related game exclusive to Japan titled *Rockman & Forte Mirai kara no Chōsensha* (ロックマン&フォルテ 未来からの挑戦者, lit. Rockman & Forte: Challenger from the Future) was released for the WonderSwan handheld in 1999. The plot consists of the titular duo's struggle against an adversary named "Rockman Shadow". As *Mega Man & Bass* was released directly after *Mega Man 8* and it shares plot and gameplay characteristics with the rest of the numbered titles in the series, many believed it to be the ninth main game in the series; however, the actual *Mega Man 9* would not be released until 2008. Inafune explained in an interview with the Brazilian magazine *Nintendo World* that the ninth installment follows the storyline of *Mega Man 8* and that the worlds for *Mega Man & Bass* and *Mega Man 9* are meant to coincide with one another, as evidenced by a schematic of Bass in the ending of the game. In 2010, Bass was made playable via downloadable content in *Mega Man 10*. As in *Mega Man & Bass*, he is able to dash, fire in seven directions with his buster, and fly by combining with Treble.

*Nintendo Power* listed *Mega Man & Bass* as the 14th best GBA game of all time in its 20th anniversary issue in 2008.

Notes Sources  1. Capcom, ed. (March 2003). *Mega Man & Bass* Instruction Booklet. Capcom Entertainment, Inc. pp. 2–19. AGB-A6ME-USA.
2. Capcom (March 11, 2003). *Mega Man & Bass* (Game Boy Advance). Capcom. **King:** I've downloaded all the data of the battle robots! Now I can create an invincible robot army!! Since you are a robot, you are qualified to join us if you want to! Huh?? It seems that your friend has arrived. I have no time to waste on you anymore!
3. Capcom (March 11, 2003). *Mega Man & Bass* (Game Boy Advance). Capcom. **King:** You won... Why do you fight so hard for these pitiful humans? Robots are superior to humans...! **Mega Man:** Superiority, is not the point.
4. Capcom (March 11, 2003). *Mega Man & Bass* (Game Boy Advance). Capcom. **Mega Man:** King... Let's evacuate together... Dr. Light can heal your wound... **King:** That isn't possible... I'll explode if anyone but Dr. Wily tries to operate on me.
5. Capcom (March 11, 2003). *Mega Man & Bass* (Game Boy Advance). Capcom. **Dr. Wily:** I've always believed that you are the strongest robot in the world. But you have not been able to defeat Mega Man... So I began to lose my faith in you. Then I had the idea that I could create a mightier robot. So, I created King... But since you defeated King, I now know the truth... You are the mightiest robot in the world!
6. Capcom (March 11, 2003). *Mega Man & Bass* (Game Boy Advance). Capcom. **Proto Man:** You are strong. That is true. But you can't defeat Mega Man. Do you know why? It is because you have nothing to fight for... What have you been fighting for, Bass? You don't have anything or anybody to fight for, do you?
7. Harris, Craig (March 27, 2003). "*Mega Man & Bass*". *IGN*. Archived from the original on January 3, 2013. Retrieved May 27, 2010.
8. Vreeland, Michael (April 11, 2003). "*Mega Man and Bass*". *GameSpy*. IGN. Archived from the original on December 2, 2010. Retrieved May 1, 2010.
9. Varanini, Giancarlo (April 3, 2003). "*Mega Man & Bass* Review for Game Boy Advance". *GameSpot*. CBS Interactive. Archived from the original on May 5, 2010. Retrieved May 1, 2010.
10. *Mega Man: Official Complete Works*. Udon Entertainment. January 6, 2010. pp. 60–3. ISBN 978-1-897376-79-9.
11. *Electronic Gaming Monthly* staff (April 2003). "*Mega Man & Bass* review". *Electronic Gaming Monthly*. No. 165. Ziff Davis. p. 132. ISSN 1058-918X.
12. *Mega Man: Official Complete Works*. Udon Entertainment. January 6, 2010. p. 195. ISBN 978-1-897376-79-9.
13. Jeriaska (December 2, 2008). "Interview: The Story Of The *Mega Man 9* Arrange Soundtrack". *Gamasutra*. UBM plc. Retrieved May 17, 2010.
14. Jeriaska (October 30, 2009). "Interview: Rockin' in the Bleep World - Musicians on Chiptuning *Mega Man*". *Gamasutra*. UBM plc. Retrieved March 2, 2010.
15. "*Mega Man & Bass* Releases on the GBA". GameZone. March 11, 2003. Retrieved May 16, 2010.
16. "*Mega Man & Bass* for Game Boy Advance". *GameRankings*. CBS Interactive. Retrieved May 16, 2010.
17. "Mega Man & Bass for Game Boy Advance". *Metacritic*. CBS Interactive. Retrieved August 14, 2011.
18. クロスレビュー \[Cross Review\]. *Weekly Famitsu* (in Japanese). No. 489. Enterbrain. May 5, 1998. pp. 29–34.
19. Kontul, Christian (July 31, 2002). "New *Famitsu* scores". GamesAreFun. Archived from the original on June 11, 2011. Retrieved May 1, 2010.
20. *Game Informer* staff (March 2003). "*Mega Man & Bass* review". *Game Informer*. Sunrise Publications. p. 91. ISSN 1067-6392.
21. Star Dingo (April 10, 2003). "*Mega Man & Bass*". *GamePro*. IDG. Archived from the original on 2011-06-07. Retrieved May 1, 2010.
22. *Nintendo Power* staff (April 2003). "Now Playing". *Nintendo Power*. No. 167. Nintendo of America. p. 80. ISSN 1041-9551.
23. *Play* staff (May 2003). "*Mega Man & Bass* review". *Play*. No. 17. Fusion Publishing. p. 60. ISSN 1940-0721.
24. Cordon, Ivan (August 1998). "Ação/Super NES Rockman & Forte". *Ação Games* (in Portuguese). No. 130. Brazil: Editora Abril. p. 22.
25. Bros, Marjorie (July 1998). "DETONADO SNES: Rockman & Forte". *Super GamePower* (in Portuguese). No. 52. Brazil: Nova Cultural. pp. 60–63.
26. "2003年テレビゲームソフト売り上げTOP300" \[2002 Video Game Software Sales Top 300\] (in Japanese). Geimin.net. Archived from the original on June 27, 2015. Retrieved June 23, 2010.
27. Williamson, Colin (April 18, 2000). "*Rockman & Forte* (Import)". *IGN*. Retrieved May 15, 2010.
28. Thomas, Lucas M. (February 16, 2010). "The 10 Steps to *Mega Man 10*". *IGN*. Retrieved April 11, 2010.
29. "Entrevista EXCLUSIVA com Keiji Inafune, pai da série *Mega Man*" \[Exclusive Interview with Keiji Inafune, the father of *Mega Man* series\]. *Nintendo World* (in Portuguese). Editora Tambor. Archived from the original on July 26, 2011. Retrieved May 17, 2010.
30. Spencer (March 3, 2010). "First Look At 8-Bit Bass And His 7-Way Shot In *Mega Man 10*". Siliconera. Retrieved May 17, 2010.
31. "Best of the Best". *Nintendo Power*. No. 231. Future US. August 2008. p. 71. ISSN 1041-9551.
Further reading

## InfoBox

| Mega Man & Bass | |
| --- | --- |
| North American Game Boy Advance cover art | |
| Developer(s) | Capcom |
| Publisher(s) | Capcom |
| Director(s) | * Hayato Tsuru * Manabu Takemura |
| Producer(s) | Keiji Inafune |
| Programmer(s) | * Masatsugu Shinohara * Nobuhito Shimizu * Tadashi Kuwana |
| Artist(s) | * Hitoshi Ariga * Yoshihiro Iwamoto * Koji Izuki |
| Composer(s) |  |
| Series | *Mega Man* |
| Platform(s) |  |
| Release | **Super Famicom*** JP: April 24, 1998 **Game Boy Advance*** JP: August 10, 2002 * NA: March 11, 2003 * PAL: March 21, 2003 |
| Genre(s) | Action, platform |
| Mode(s) | Single-player |


title: Weziwe Thusi

abstract: Weziwe Gcotyelwa Thusi is a South African politician who represented the African National Congress (ANC) in the KwaZulu-Natal Provincial Legislature and KwaZulu-Natal Executive Council until 2019. Most prominently, she was KwaZulu-Natal's Member of the Executive Council (MEC) for Social Development from 2011 to 2019. She later served as Speaker of the eThekweni Metropolitan Council from 2019 until 2021, when she resigned from politics.

text:
# Weziwe Thusi

**Weziwe Gcotyelwa Thusi** (born 1951 or 1952) is a South African politician who represented the African National Congress (ANC) in the KwaZulu-Natal Provincial Legislature and KwaZulu-Natal Executive Council until 2019. Most prominently, she was KwaZulu-Natal's Member of the Executive Council (MEC) for Social Development from 2011 to 2019. She later served as Speaker of the eThekweni Metropolitan Council from 2019 until 2021, when she resigned from politics.

## Political career

Thusi was born in 1951 or 1952. She represented the ANC in the KwaZulu-Natal Legislature and Executive Council prior to 2009, including as MEC for Arts, Culture and Tourism under Premier Sbu Ndebele. In the 2009 general election, she was re-elected to the provincial legislature and was appointed MEC for Arts, Culture, Sports and Recreation by newly elected Premier Zweli Mkhize. In November 2011, in a reshuffle by Mkhize, she was appointed MEC for Social Development. She retained the social development portfolio for the next eight years, through the rest of Mkhize's premiership and throughout the tenure of his successors, Senzo Mchunu and Willies Mchunu; she was re-elected to her legislative seat in the 2014 general election, ranked 12th on the ANC's provincial party list.

In the 2019 general election, Thusi was re-elected to the provincial legislature, ranked 26th on the ANC's party list, but newly elected Premier Sihle Zikalala appointed Nonhlanhla Khoza to succeed her in the Executive Council. Less than three months into the legislative term, the ANC announced that Thusi would leave the provincial legislature to join the eThekweni Metropolitan Municipality as a local councillor and the ANC's candidate for Speaker of the eThekweni council. She later said that she had intended to resign from politics in 2019 but had felt obliged to represent the ANC in eThekweni when asked by the party. She was elected as eThekweni Speaker in early September 2019, succeeding William Mapena. She left the council after the 2021 local elections, in which the ANC did not nominate her for re-election as a councillor.

## Personal life

Thusi was married to jazz musician Nhlanhla Brian Thusi, who died in July 2018.

## InfoBox

| Weziwe Thusi | |
| --- | --- |
|  | |
| Member of the KwaZulu-Natal Executive Council for Social Development | |
| **In office**
November 2011  May 2019 | |
| Premier |  |
| Preceded by | Meshack Radebe |
| Succeeded by | Nonhlanhla Khoza |
| Member of the KwaZulu-Natal Executive Council for Arts, Culture, Sports and Recreation | |
| **In office**
May 2009  November 2011 | |
| Premier | Zweli Mkhize |
| Preceded by | Herself (for Arts, Culture and Tourism) |
| Succeeded by | Ntombikayise Sibhidla-Saphetha |
|  | |
| Personal details | |
| Born | 1951 or 1952 (age 72–73) |
| Citizenship | South Africa |
| Political party | African National Congress |
| Spouse | Brian Thusi (died 2018) |
|  | |


title: Familiar Strangers

abstract: Familiar Strangers is a 2008 film about an American family going through the process of negotiating the changing relationships between parents and children, especially as those children grow into adulthood.

text:
# Familiar Strangers

***Familiar Strangers*** (formerly known as *Pretzels & Pills*) is a 2008 film about an American family going through the process of negotiating the changing relationships between parents and children, especially as those children grow into adulthood.

## Plot

The film follows the Worthington family through a four-day Thanksgiving family gathering. Brian, who has moved away and kept his distance for the past several years, is reluctantly returning for this family tradition carrying the baggage of conflict with his father, Frank.

Frank feels he has failed as a father, having lost the ability to connect with his maturing children. When the children grew to adulthood and created their own identities and lives, Frank replaced them with his pets, new children “who never have to grow up”.

The film is populated by Frank and Brian, mother Dottie who holds the reins on this family beneath the surface, brother Kenny who as a twenty-something has not yet found his path, sister Erin who is struggling to find herself after a painful divorce, and Erin’s young daughter Maddy, truly wise beyond her years.

Through this story and the conflict and communication that occur, the Worthington family recognizes the friendship and love that can exist between parents and their adult children.

## Cast

## Reception

Review aggregator Rotten Tomatoes reports that 40% of critics have given the film a positive review based on 5 reviews, with an average score of 5.0/10.

## InfoBox

| Familiar Strangers | |
| --- | --- |
| Film poster | |
| Directed by | Zack Adler |
| Written by | John Bell |
| Produced by | Barry R. Sisson and Marc Lieberman |
| Starring | Shawn Hatosy
DJ Qualls
Tom Bower
Nikki Reed
Ann Dowd
Cameron Richardson
Georgia Mae Lively |
| Release dates | * March 27, 2008 (2008-03-27) (Method Fest Independent Film Festival) * November 14, 2008 (2008-11-14) (United States) |
| Country | United States |
| Language | English |
| Box office | $34,068 |


title: Order of the Solomon Islands

abstract:
The Order of the Solomon Islands is the Order of Merit of the Solomon Islands. It was established under Royal Warrant in 1981 and amended on 5 October 1982. It is composed of three grades:
  - Star of Solomon Islands (SSI)
  - Cross of the Solomon Islands (CSI)
  - Solomon Islands Medal (SIM) This order is awarded to civilians or members of the armed forces, when a courageous act is involved.

text:
# Order of the Solomon Islands

The **Order of the Solomon Islands** is the Order of Merit of the Solomon Islands. It was established under Royal Warrant in 1981 and amended on 5 October 1982. It is composed of three grades:

This order is awarded to civilians or members of the armed forces, when a courageous act is involved.

## InfoBox

| Order of the Solomon Islands | |
| --- | --- |
| Type | Order |
| Awarded for | Contribution and dedication of time, energy and resources to advance the well being of the people of Solomon Islands |
| Country | Solomon Islands |
| Post-nominals | various according to grade |
| Established | 1981 |
| Precedence | |
| Next (higher) | None |


title: Great Lakes Life Magazine

abstract: Great Lakes Life Magazine was a regional magazine that was published in Westfield, New York. It was founded by editor-in-chief and publisher Rena Tran and began publication in February 2008 under the title Erie Life Magazine, but went out of production in 2011. The magazine was available in over 750 retail locations in Pennsylvania, Ohio, western New York, eastern Michigan, and southern Ontario and circulated to over 25,000 readers.

text:
# Great Lakes Life Magazine

*Great Lakes Life Magazine*
| Publisher | Rena Tran |
| --- | --- |
| Categories | City / Regional |
| Frequency | Monthly |
| First issue | February 2008 (2008-02) |
| Final issue | March 2010 (2010-03) |
| Company | Erie Life Magazine, LLC |
| Based in | Erie, Pennsylvania |
| OCLC | 212415983 |

***Great Lakes Life Magazine*** was a regional magazine that was published in Westfield, New York. It was founded by editor-in-chief and publisher Rena Tran and began publication in February 2008 under the title ***Erie Life Magazine***, but went out of production in 2011. The magazine was available in over 750 retail locations in Pennsylvania, Ohio, western New York, eastern Michigan, and southern Ontario and circulated to over 25,000 readers.

## Erie Life Magazine

Erie Life Magazine's first issue was published in February 2008 and featured a cover story on Erie Philharmonic conductor Daniel Meyer. While located in the Renaissance Centre in downtown Erie, *Erie Life Magazine* was the only magazine in the Erie area not affiliated with either local broadcasters or the *Erie Times-News*.

## Great Lakes Life Magazine

In its first two years, Erie Life Magazine saw an unprecedented growth, increasing distribution from only 25 small, independent retail locations to over 640 big box retail points in four states and southern Ontario including Barnes & Noble, Borders, Wegmans Food Markets, Walmart, Walgreens, Country Fair, Giant Eagle Grocery Stores, Chapters, and Indigo Books and Music. Today, Great Lakes Life's readership is close to 100,000 readers. Due to the expanded readership, the publication was rebranded Great Lakes Life Magazine, starting with the April 2010 issue. The new title reflects the magazine's expanded coverage as it no longer focuses solely on Erie, but also areas surrounding Buffalo, Cleveland, Pittsburgh, and Ontario. The rebranding also included moving the publication out of Erie, Pennsylvania, to its new home in Westfield, New York, to distance itself from being directly associated with any of the cities it covers.

## Awards and recognition

In 2010 Great Lakes Life Magazine won two first place awards at the Ohio Excellence in Journalism Awards. Sponsored by the Press Club of Cleveland, the awards recognize Ohio's top performers in various realms of journalism. Great Lakes Life won "General Photo: Multiple Images" for the "Women Who Beat the Odds" spread from the October 2009 issue and "Best Departments or Columns" for the recurring Aging Smart section that runs in each issue. The awards were given out on June 18, 2010.

Great Lakes Life Magazine has also been the subject of several articles from magazine industry giant Folio. Cutthroat Competition: Breaking into a Monopoly detailed the struggles Great Lakes Life endured going against a local media monopoly, while City and Regionals on the Mend referenced Great Lakes Life in regards to city and regional publications thriving in a time of recession. The articles were published in print and online editions of Folio in May 2010. That June, Great Lakes Life's Publisher and Vice President were invited to speak at a workshop regarding independent publishing at the national Folio Show 2010 in New York City.

## InfoBox

*Great Lakes Life Magazine*
| Publisher | Rena Tran |
| --- | --- |
| Frequency | Monthly |
| Circulation | City / Regional |
| First issue | April 2010 (2010-04) |
| Final issue | February 2011 (2011-02) |
| Company | Great Lakes Life Magazine, LLC |
| Country | United States |
| Based in | Westfield, New York |
| Language | English |
| OCLC | 603713519 |


title: Jean de Hautefeuille

abstract: Jean de Hautefeuille was a French abbé, physicist and inventor.

text:
# Jean de Hautefeuille

**Jean de Hautefeuille** (French pronunciation: \[ʒɑ̃  otfœj\], 20 March 1647 – 18 October 1724) was a French abbé, physicist and inventor.

## Biography

Hautefeuille was born in Orléans, France. While still young, his experimental activities came to the attention of Marie Anne Mancini, Duchesse de Bouillon, who became his patroness and brought him into her entourage. In this way, he was able to travel through Italy and England. Through the Duchess' patronage, he came to be ordained as a priest of the Roman Catholic Church. His passion, however, was for the sciences rather than religious matters, and he focused on the field of engineering design.

One of Hautefeuille's most important achievements was his proposal to use a spiral spring with a balance wheel in place of a pendulum to control a clock. In the 1670s, he was involved in a dispute with Christiaan Huygens, who along with Robert Hooke claimed priority. Huygens is today generally credited with the invention as he managed to perfect it and the first watch using one was made under his direction.

Hautefeuille also conducted investigations in acoustics, investigating the action of speaking trumpets, and wrote an essay on the cause of echoes which was awarded a prize by the Academy of Bordeaux in 1718. He also made improvements in lenses, and suggested a method of raising water using the explosive action of gunpowder. He was also interested in the phenomenon of the tides, and invented an instrument called a thalassometer to register them.

In 1678 Hautefeuille proposed an early form of internal combustion engine, which was to use gunpowder as a fuel, but it seems unlikely that any such machine was ever constructed by him. He was, however, the first person to propose the use of a piston in a heat engine. Huygens proposed a similar device two years later in 1680 based on de Hautefeuille's suggestion and appears to have constructed some form of prototype.

Though considered intelligent, Hautefeuille rarely perfected his inventions, and was inclined to prematurely publish ideas and then abandon them in favour of new pursuits. The Paris Academy of Sciences attested the value and usefulness of many of his discoveries, but it never conferred on him the honour of electing him as a member. He was however elected a Fellow of the Royal Society of London in 1687.

He was the author of a number of essays on a variety of subjects.

## InfoBox

| Abbé Jean de Hautefeuille | |
| --- | --- |
| Born | 20 March 1647
Orléans, France |
| Died | 18 October 1724 (1724-10-19) (aged 77)
Orléans, France |
| Nationality | French |
| Occupation | Engineer |
| **Engineering career** | |
| Discipline | Horology |
| Awards | Fellow of the Royal Society |
|  | |


title: My Life with Caroline

abstract: My Life with Caroline is a 1941 American comedy film directed by Lewis Milestone and starring Ronald Colman and Anna Lee, in her second Hollywood film and her first in a starring role. The supporting cast featured Charles Winninger, Reginald Gardiner and Gilbert Roland. The screenplay was written by John Van Druten and Arnold Belgard.

text:
# My Life with Caroline

***My Life with Caroline*** is a 1941 American comedy film directed by Lewis Milestone and starring Ronald Colman and Anna Lee, in her second Hollywood film and her first in a starring role. The supporting cast featured Charles Winninger, Reginald Gardiner and Gilbert Roland. The screenplay was written by John Van Druten and Arnold Belgard.

## Plot

Ditsy socialite Caroline, is married to wealthy publisher Anthony Mason.

While alone at a charity ball in Alpine Lodge, Idaho, Caroline flirts with Paco Del Valle, who wants to marry her. Paco asks her father Mr. Bliss for permission to marry his daughter. Bliss tells them that they need to ask her husband, and Caroline and Paco telegraph Anthony in New York.

As Caroline and Paco await an eastbound plane at the airport, Mason arrives. Seeing the two together, Mason recalls a nearly identical situation that occurred two years earlier when Caroline was enamored with sculptor Paul Martindale in Palm Beach, Florida.

## Cast

## Background

In 1940, William Hawks (brother of film director Howard Hawks), along with Ronald Colman, Charles Boyer, Irene Dunne, Lewis Milestone and Anatole Litvak, founded United Producers Corporation. The company intended to make 10 films for RKO, and *My Life with Caroline* was the first of five that were to star Colman.

The film's screenplay was written by John Van Druten and Arnold Belgard, adapted from Louis Verneuil's film *The Train for Venice*, which was based upon the play *The Train for Venice*, written by Verneuil and Georges Berr.

Milestone had tested actresses Miriam Hopkins, Paulette Goddard and Jean Arthur for the role of Caroline but decided on Anna Lee after seeing her in the British film *Young Man's Fancy*. *My Life With Caroline* was Lee's Hollywood debut in a starring role.

The film's sets were designed by the art director Nicolai Remisoff.

## Reception

In a contemporary review for *The New York Times*, critic Bosley Crowther wrote: "Mr. Colman locks with Mr. Gardiner in what is supposed to be a battle of wits, and thus until the end of the picture they merely pummel one another with flat gags. There must be some logical explanation why Lewis Milestone, who, after all, is no fool, should put his usually fine directorial hand to a story as vapid as this. There must be some further explanation why Mr. Colman, Mr. Gardiner and Miss Lee, who are all of them competent performers, should be wasted on such obvious frippery. But it's too much for our comprehension. Let's just call 'My Life With Caroline' time ill spent, and draw the curtain quietly thereon."

### Box office

The film recorded a loss of $32,000.

1. Richard Jewel, "RKO Film Grosses: 1931-1951", *Historical Journal of Film, Radio and Television*, Vol. 14 No. 1, 1994 p. 57
2. Boyd Magers; Michael G. Fitzgerald (2004). *Westerns Women: Interviews with 50 Leading Ladies of Movie and Television Westerns from the 1930s to the 1960s*. McFarland. p. 123. ISBN 0-7864-2028-6.
3. Tom Weaver (2006). *Science Fiction Stars and Horror Heroes: Interviews with Actors, Directors, Producers and Writers of the 1940s Through 1960s*. McFarland. p. 261. ISBN 0-7864-2857-0.
4. Crowther, Bosley (October 30, 1941). "The Screen". *The New York Times*. p. 27.
5. *Howard Hawks: The Grey Fox of Hollywood*. Grove Press. 2000. pp. 321–322. ISBN 0-8021-3740-7.
6. Anna Lee; Barbara Roisman Cooper; Maureen O'Hara (2007). *Anna Lee: Memoir of a Career on General Hospital and in Film*. McFarland. pp. 126–128. ISBN 978-0-7864-3161-8.

## InfoBox

| My Life with Caroline | |
| --- | --- |
| Theatrical poster | |
| Directed by | Lewis Milestone |
| Screenplay by | John Van Druten
Arnold Belgard |
| Based on | *The Train for Venice*
1935 play
by Louis Verneuil and Georges Berr |
| Produced by | Lewis Milestone
Ronald Colman
William Hawks |
| Starring | Ronald Colman
Anna Lee
Charles Winninger
Reginald Gardiner
Gilbert Roland |
| Cinematography | Victor Milner |
| Edited by | Henry Berman |
| Music by | Werner R. Heymann |
| Production
companies | United Producers Corp
RKO Radio Pictures |
| Distributed by | RKO Radio Pictures |
| Release date | * August 1, 1941 (1941-08-01) |
| Running time | 81 minutes |
| Country | United States |
| Language | English |
| Budget | $503,000 |
| Box office | $830,000 |


title: Psychiatric history

abstract: A psychiatric history is the result of a medical process where a clinician working in the field of mental health systematically records the content of an interview with a patient. This is then combined with the mental status examination to produce a "psychiatric formulation" of the person being examined. Psychologists take a similar history, often referred to as a psychological history. This article mainly covers the initial assessment history taking of a patient presenting for the first time with a new complaint.

text:
# Psychiatric history

A **psychiatric history** is the result of a medical process where a clinician working in the field of mental health (usually a psychiatrist) systematically records the content of an interview with a patient. This is then combined with the mental status examination to produce a "psychiatric formulation" of the person being examined.

Psychologists take a similar history, often referred to as a **psychological history**.

This article mainly covers the initial assessment history taking of a patient presenting for the first time with a new complaint.

## Background

In the field of medicine a patient history is an account of the significant events in the patient's life that have a relevance to the issue being addressed. The clinician taking the history guides the process in an attempt to achieve a succinct summary of these relevant details. Much of the history is obtained by asking questions. Some of these questions are quite specific, such as, "How old are you?" and others are more open, such as, "How have you been feeling lately?" Although the structure of the interview may appear disjointed, the result is usually under a set of headings which have a worldwide similarity.

## Patient identification

The basic details of who the patient is are collected. This includes their age, sex, educational status, religion, occupation, relationship status, address and contact details. This serves several purposes. Firstly, it is necessary information for administrative purposes and for this reason some of this is often taken by clerks. Secondly, the questions are largely non threatening and provide a gentle introduction into the meeting of patient and clinician. Thirdly, it provides a format for individual introduction suitable to the culture. Thus the clinician may start by introducing themselves and then move on to these questions. This initial structure can provide a sense of familiarity for the patient who is stressed about what is happening. It also helps the clinician understand the patient's social situation.

## Source and method of presentation

The next step is to determine why the patient is there. How did they get to be in the interview? Were they referred by someone (such as another clinician, a relative or friend, or by the police or the courts) or did they come looking for help? If they were referred by someone then what was that person's reason for the referral. Often such information is provided in a referral letter or by an earlier phone call.

## The main (chief) complaints

The clinician next tries to clarify what are the main problems that have brought the patient to be there. Some of this may have already been achieved in the previous section. The patient may have more than one problem and these may be related, such as posttraumatic stress disorder and alcohol abuse or seemingly unrelated, such as panic disorder and premature ejaculation. The patient is unlikely to present a diagnosis and is more likely to describe the nature of their problems in common language.

## History of the presenting complaints (present illness)

The clinician then attempts to obtain a clear description of these problems. When did they start? How did they start, suddenly, slowly or in fits and starts? Have they fluctuated over time? What does the patient describe as the essential features of the complaints? Having developed a hypothesis of what may be the diagnosis, the clinician next looks at symptoms that might confirm this hypothesis or lead them to consider another possibility. Much of the mental process for the clinician is involved in this process of hypothesis testing to arrive at a diagnostic formulation that will form the basis of a management plan. The severity of each complaint is assessed and this may include probing questions on sensitive issues such as suicidal thoughts or sexual difficulties.

## History

This is divided into the *psychiatric history*, which looks at any previous episodes of the presenting complaint as well as any other past or ongoing psychiatric problems. The *substance (drug) history* includes data about patterns of use (mode of administration, age of onset, frequency, amount, last use, medical or psychological complications, history of attempting to quit) for alcohol, tobacco, and illicit drugs. The *medical history* documents significant illnesses, both past and current, and significant medical events such as head injury, seizures, major surgeries, and major illnesses. A separate *sexual history* gathers data about sexual orientation and sexual activity. Finally a *history of abuse*, including physical, emotional, and sexual abuse is obtained from the patient and collateral sources (family members or close family friends) as trauma might not be directly remembered by the patient.

## Family history

Many psychiatric disorders have a genetic component and the biological family history is thus relevant. Clinical experience also suggests that a response to treatment may have a genetic component as well. Thus a patient who presents with clinical depression whose mother also suffered from the same disorder and responded well to fluoxetine would indicate that this drug would be more likely to help in the patient's disorder.

Apart from the genetic factors, research has shown that illnesses in the parents such as depression and alcohol abuse are associated with a higher rate of some conditions in the children growing up in that environment. Similar effects are seen with the death of a parent from a protracted illness.

## Developmental history

This documents the significant events in the patient's life. Ideally it starts with pre-natal factors such as maternal illnesses or complications with the pregnancy, then documents delivery and early childhood illnesses or problems. It then looks at significant events in the patient's life such as parental separation, abuse, education, psychosexual development, peer relationships, behavioural aspects and any legal complications. It flows then into adulthood with relationship and occupational histories. The aim is to get an overview of who the patient is and what they have experienced in life, both good and bad. Major stresses and transitions such as marriage, parenthood, retirement, death or loss of a partner, and financial success and failure are all important, as is how the patient has dealt with them. Sexual adjustment and problems can be relevant and are often questioned.

## Social history

If the information has not already been obtained, the clinician then documents the social circumstances of the patient looking at factors such as finances, housing, relationships, drug and alcohol use, and problems with the law or other authorities. This is also a time to document racial or cultural issues that are relevant to the presenting complaint.

## Review of Systems

A psychiatric review of systems may include screening questions directed at identifying or exploring co-morbid psychiatric illnesses or issues (e.g., SIGECAPS mnemonic or PHQ-9 for depression, Generalized Anxiety Disorder 7 for anxiety, DIGFAST mnemonic for mania, or specific questioning around psychoses or other psychiatric complaints. A full review of systems should attempt to identify and list all of the relevant STRESSORS that may be impacting a patient's function and overall health.

## Summary

Having collected this information the clinician usually then considers any other factors that might be relevant to the particular patient and enquires about them. Although the gathering of the information may follow the flow of the patient's thoughts rather than those of the clinician, it is not uncommon for the clinician to record the psychiatric history under headings, such as those above, to make it easier for others who will later read it.

Subsequent history taking on reviews concentrates on changes in the levels of symptoms and responses to treatment, including possible side-effects.


title: McKenzie method

abstract: The McKenzie method is a technique primarily used in physical therapy. It was developed in the late 1950s by New Zealand physiotherapist Robin McKenzie. In 1981 he launched the concept which he called "Mechanical Diagnosis and Therapy (MDT)" – a system encompassing assessment, diagnosis and treatment for the spine and extremities. MDT categorises patients' complaints not on an anatomical basis, but subgroups them by the clinical presentation of patients. McKenzie exercises involve spinal extension exercises, as opposed to Williams flexion exercises, which involve lumbar flexion exercises.

text:
# McKenzie method

The **McKenzie method** is a technique primarily used in physical therapy. It was developed in the late 1950s by New Zealand physiotherapist Robin McKenzie. In 1981 he launched the concept which he called "Mechanical Diagnosis and Therapy (MDT)" – a system encompassing assessment, diagnosis and treatment for the spine and extremities. MDT categorises patients' complaints not on an anatomical basis, but subgroups them by the clinical presentation of patients.

McKenzie exercises involve spinal extension exercises, as opposed to Williams flexion exercises, which involve lumbar flexion exercises.

## Effectiveness

There is only weak evidence for the effectiveness of the method's use for treating lower back pain. A 2019 systematic review found that there was evidence that it could reduce chronic lower back pain in the short term, and enhance function in the longer term, but that most studies of the treatment had methodological flaws, such as small sample sizes and a lack of blinding.

Compared to other treatments, the McKenzie method is not better at treating acute pain and disability for people with lower back pain. It may be better than some other approaches for chronic lower back pain, but this evidence for this is insufficient to recommend the method.

Exercises targeting midline strengthening, as used in the McKenzie method, are no more helpful for lower back pain than conventional flexion and extension exercises.

More recently in patients with chronic LBP, there is moderate-to high-quality evidence that MDT is superior to other rehabilitation interventions for reducing pain and disability; however, this depends on the type of intervention being compared to MDT. In patients with chronic lower back pain, pain measures showed that the McKenzie method is a successful treatment to decrease pain in the short term, while the disability measures determined that the McKenzie method is better in enhancing function in the long term. However, in acute LBP, this method has not shown a significant reduction of symptoms nor disability.

## History

In 1956, McKenzie was treating a patient experiencing pain. The patient lay down on McKenzie's treatment table, and after bending backward for five minutes, reported an improvement in their symptoms. This led McKenzie to experiment with specific movement patterns to treat chronic lower back pain and bring about the movement of pain towards the spine, which he called "centralisation". He later developed a classification system to categorise spinal pain problems, and published books on the topic, including *Treat Your Own Back* (1980).

The McKenzie method was commonly used worldwide in the late 2000s in diagnosis and treatment of low back pain, and peripheral joint complaints. The International MDT Research Foundation, based in the United States, funds research to demonstrate the effectiveness and scope of action of the McKenzie method.

### Centralisation

The McKenzie method employs the principle that exercises that encourage disc centralization should be promoted, and exercises that encourage disc peripheralization should be avoided. Centralisation occurs when pain symptoms centered away from the mid-line of the spine migrate towards it. This migration of pain symptoms to the centre of the lower back is considered a sign of progress in the McKenzie method. Extension exercises are sometimes referred to as McKenzie exercises for this reason. According to the McKenzie method, movements and exercises that produce centralisation are beneficial, whereas movements that move pain away from the spinal mid-line are detrimental.

## InfoBox

| McKenzie method | |
| --- | --- |
| Robin Anthony McKenzie | |
| Specialty | Physical therapy |


title: Regina's Closet

abstract: Regina's Closet, or Regina's Closet: Finding My Grandmother's Secret Journal, is a memoir and biography written by author Diana Raab. It is best known for winning the 2008 National Indie Excellence Award for memoir.

text:
# Regina's Closet

***Regina's Closet***, or ***Regina's Closet: Finding My Grandmother's Secret Journal***, is a memoir and biography written by author Diana Raab. It is best known for winning the 2008 National Indie Excellence Award for memoir.

## Summary

Raab's grandmother, Regina, inexplicably ends her own life. At that time, ten-year-old Diana was devastated by the loss and haunted by questions she never got to ask her grandmother. Three decades later, Diana discovers her grandmother's journal, which gives her a window into the unknown events of Regina's tumultuous life, including surviving World War I, the heartbreak of being orphaned, and the pandemonium of events during her immigrations from Poland to Austria to France and finally to the United States. Diana draws strength from her grandmother's example, which sustains her when she receives some of her own shattering news. To share her personal story, Diana must first tell Regina's. The end result is a unique braided narrative, with excerpts of Regina's diary interwoven with Diana's own life experiences, creating a portrait between granddaughter and grandmother, their past and present, loves and losses, and the discovery of their shared legacy.

## Awards

* 2008 National Indie Excellence Award (NIEA) for Memoir
* Allbooks Review Editor's Choice Award
* 2008 National Best Books Award sponsored by USA Book News for Memoir/Autobiography - Finalist
* 2007 Foreword Magazine Book of the Year for Memoir - Finalist
* 2008-2009 Next Generation Indie Book Award for Memoir - Finalist
* Sophie Brody Award - Nominee
* 2008 New York Book Festival - Honorable Mention
* 2004 Florida Freelance Writer's Association Writing Competition Award - Winner (non-published, nonfiction excerpt)

## Bibliography

Raab, Diana (2007). *Regina's Closet: Finding My Grandmother's Secret Journal*. Beaufort Books. pp. 192. ISBN 082-5-3057-5-6.

## InfoBox

*Regina's Closet*
| Cover | |
| --- | --- |
| Author | Diana Raab |
| Language | English |
| Genre | Memoir |
| Publisher | Beaufort Books |
| Publication date | 1 September 2007 |
| Publication place | United States |
| Pages | 192 |
| ISBN | 082-5-3057-5-6 |


title: Medea Dome

abstract: Medea Dome is a snow dome, 350 metres (1,150 ft) high, marking the eastern end of Philippi Rise on the east coast of Graham Land, Antarctica. It was surveyed by the Falkland Islands Dependencies Survey in 1953, and was named in 1956 by the UK Antarctic Place-Names Committee in association with Jason Peninsula; in Greek mythology Medea helped Jason to obtain the Golden Fleece and later became his wife.

text:
# Medea Dome

**Medea Dome** (66°11′S 62°3′W / 66.183°S 62.050°W / -66.183; -62.050) is a snow dome, 350 metres (1,150 ft) high, marking the eastern end of Philippi Rise on the east coast of Graham Land, Antarctica. It was surveyed by the Falkland Islands Dependencies Survey in 1953, and was named in 1956 by the UK Antarctic Place-Names Committee in association with Jason Peninsula; in Greek mythology Medea helped Jason to obtain the Golden Fleece and later became his wife.

This article incorporates public domain material from "Medea Dome". *Geographic Names Information System*. United States Geological Survey.


title: Missouri Information Analysis Center

abstract: The Missouri Information Analysis Center, or MIAC is a "fusion center," combining resources from the federal Department of Homeland Security and other agencies, in particular local agencies. It collects intelligence from both the local agencies and the Department of Homeland Security and uses these combined sources to analyze threats and better combat terrorism and other criminal activity. The center opened in 2005 and is located in Jefferson City, Missouri.

text:
# Missouri Information Analysis Center

The **Missouri Information Analysis Center**, or **MIAC** is a "fusion center," combining resources from the federal Department of Homeland Security and other agencies, in particular local agencies. It collects intelligence from both the local agencies and the Department of Homeland Security and uses these combined sources to analyze threats and better combat terrorism and other criminal activity. The center opened in 2005 and is located in Jefferson City, Missouri.

1. "'Fusion center' data draws fire over assertions". March 14, 2009. Archived from the original on March 18, 2009. Retrieved March 19, 2009.


title: Familiar stranger

abstract: A familiar stranger is a stranger who is nonetheless recognized by another from regularly sharing a common physical space such as a street or bus stop, but with whom one does not interact. First identified by Stanley Milgram in the 1972 paper The Familiar Stranger: An Aspect of Urban Anonymity, it has become an increasingly popular topic in research about social networks and technologically mediated communication. Milgram specified that for a person to become a familiar stranger, they must be observed repeatedly over a certain amount of time but never interact with each other. Familiar strangers are more than complete strangers but do not rise to the level of an acquaintance. But if such individuals meet in a different setting, for example a different city or off the street, they are more likely to introduce themselves than would be perfect strangers, as they have a background of shared experiences. Early experiments on familiar strangers by Milgram involved researchers visiting train stations and university campuses to survey people about who they recognized. They found that 89.5% of people knew at least one familiar stranger. These experiments have been repeated at least once with similar results. One aspect of research on familiar strangers that hampered research was lack of available data about these relationships. With the advent of widespread social media and urban analytics, researchers have used new datasets to understand familiar strangers, including public-transportation usage and web blog networks.

text:
# Familiar stranger

A **familiar stranger** is a stranger who is nonetheless recognized by another from regularly sharing a common physical space such as a street or bus stop, but with whom one does not interact. First identified by Stanley Milgram in the 1972 paper *The Familiar Stranger: An Aspect of Urban Anonymity*, it has become an increasingly popular topic in research about social networks and technologically mediated communication.

Milgram specified that for a person to become a familiar stranger, they must be observed repeatedly over a certain amount of time but never interact with each other. Familiar strangers are more than complete strangers but do not rise to the level of an acquaintance. But if such individuals meet in a different setting, for example a different city or off the street, they are more likely to introduce themselves than would be perfect strangers, as they have a background of shared experiences.

Early experiments on familiar strangers by Milgram involved researchers visiting train stations and university campuses to survey people about who they recognized. They found that 89.5% of people knew at least one familiar stranger. These experiments have been repeated at least once with similar results. One aspect of research on familiar strangers that hampered research was lack of available data about these relationships. With the advent of widespread social media and urban analytics, researchers have used new datasets to understand familiar strangers, including public-transportation usage and web blog networks.

## Foundational studies

### Before Milgram

German sociologist Georg Simmel wrote\[in 1950\] an article discussing the stranger in society. He states that the phenomenon of the “stranger” is the unity of liberation and the fixation of space; physical conditions are the condition and the symbol for human relationships. He wanted to talk about the stranger from the perspective of them being someone who comes today and stays tomorrow rather than a person who comes today and is gone tomorrow. In the organization of the human relations Simmel says that the unison of nearness and remoteness is an important factor. It all comes down to distance, someone who is close to you is really far away and someone who is far from you is actually close by. Simmel("*as of*" **1950**) feels that the stranger is close to us to an extent; we share a connection with each other. Our human nature brings us together so to say, it holds similar national social and occupational features.

### Milgram's 1972 experiment

In 1972, Milgram and his students conducted an experiment to test how widespread the phenomena of familiar strangers was. His students took photographs of people waiting at commuter railway stations during a morning commute. One week later, they returned to the same platform, distributed the photos, and asked recipients to label anyone they either recognized or to whom they had spoken. 89% of the people recognized at least one of the individuals shown in the photos. The average commuter claimed to recognize 4.0 individuals who they had never spoken to, compared to 1.5 individuals they had conversed with. In addition, the experiment observed "socio-metric stars" who were recognized by a large portion of commuters. In qualitative interviews, commuters noted that they imagined what kinds of lives familiar strangers led and what kinds of jobs they held. Milgram described this as a "fantasy relationship that may never eventuate in action."

From this study, Milgram made a number of observations about how familiar stranger relationships are maintained. He noted that the further removed familiar strangers were from their routine encounters, the more likely they would be to engage in interaction and break the familiar stranger relationship. But he also observed the opposite: that in routine settings, a person would be more likely to interact with a complete stranger than a familiar stranger as the complete stranger had no pre-existing interpersonal barriers to overcome. Finally, he noted that breaks in routines, such as health emergencies or natural disasters would cause familiar strangers to interact with each other.

Milgram attributed the phenomena of familiar strangers to urban information overload. He noted that perceptual processing of others is much less cognitively taxing than socially processing them. Thus people perceptually recognize the familiar stranger but cut off any further interaction.

The 1972 paper was based on two independent research projects conducted in 1971, one at City University of New York and the other at a train station. *Psychology Today* published a second paper on the subject by Milgram, "Frozen world of the familiar stranger: a conversation with Stanley Milgram", in 1974.

### Milgram revisited

In 2004, researchers at the Berkeley Intel Research Laboratory revisited Milgram's study. Their goal was to observe changes in familiar stranger relationships since the initial study and to see how familiarity can affect an individual's comfort in a public place. Recreating Milgram's original experiment, they found similar but slightly lower levels of the phenomena. They found 77.8% of people recognized at least one familiar stranger with an average of 3.1 strangers recognized. They too found evidence of "socio-metric stars" who stood out to many people due to unique visual characteristics like a wheelchair, flowers, or dirty long hair.

Familiar strangers were also found to affect how comfortable people feel in a public location. Four dimensions determined how familiar strangers affected comfort in a public place: the number of familiar strangers, the level of their familiarity, the history of the familiar people in the location, and whether the familiar strangers are found in other contexts.

### Later studies

There have been a number of studies that have further characterized the relationship between familiar strangers using automatically generated sets of data from urban systems. Using bus usage data, it was found that a person's set of familiar strangers is highly based on routine and daily behavior. Familiar strangers come into contact typically during a particular time each day and in a particular location. Unlike other social networks that have densely connected neighborhoods, the network of familiar strangers is more diffuse and evenly distributed. This indicates that person's familiar stranger network can quickly stretch an entire metropolitan area. Wi-Fi usage data for university campuses have provided additional datasets for analyzing familiar strangers. These datasets have yielded similar results as the bus usage data, but the researchers divided relationships based on regularity of interaction and closeness of relationship.

## Characteristics

Familiar stranger relationships develop in a predictable manner. They depend on regularity, on-going contact, and public spaces. The concept of *invisible tie* was proposed to qualify such relationships that involve only limited interaction (if any) and are therefore hardly observable and often overlooked as a relevant type of ties. Familiar strangers nevertheless support people's sense of familiarity and belonging.

## Online familiar strangers

Online social networks are ubiquitous today. But in these digital contexts, it is unclear what defines a familiar stranger relationship. An initial definition put forward has been a behavioral one. Familiar strangers are those users that a person is not explicitly connected to but share similar behavioral patterns or interests. But finding these digital familiar strangers is not straightforward or easy.

1. Milgram, Stanley. 1972. "The Familiar Stranger: An Aspect of Urban Anonymity". in *The Division 8 Newsletter*, *Division of Personality and Social Psychology*. Washington: American Psychological Association
2. Paulos, Eric, and Elizabeth Goodman. "The Familiar Stranger: Anxiety, Comfort, and Play in Public Places." *Proceedings of SIGCHI Conference on Human Factors in Computing Systems*. New York, NY: ACM, 2004. 223-30
3. Sun, Lijun; Axhausen, Kay W.; Lee, Der-Horng; Huang, Xianfeng (2013-08-20). "Understanding metropolitan patterns of daily encounters". *Proceedings of the National Academy of Sciences*. **110** (34): 13774–13779. arXiv:1301.5979. Bibcode:2013PNAS..11013774S. doi:10.1073/pnas.1306440110. ISSN 0027-8424. PMC 3752247. PMID 23918373.
4. Nitin Agarwal & others (2007) "Searching for Familiar Strangers on Blogosphere: Problems and Challenges" NSF Symposium on Next-Generation Data Mining and Cyber-enabled Discovery and Innovation (NGDM). 2007.
5. see: Simmel Georg. "The Stranger". \[in\] The Sociology of Georg Simmel. By Kurt Wolff, New York: Free Press, 1950, pp 402 - 408
6. Liang, Di; Li, Xiang; Zhang, Yi-Qing (2016-01-01). "Identifying familiar strangers in human encounter networks". *EPL*. **116** (1): 18006. Bibcode:2016EL....11618006L. doi:10.1209/0295-5075/116/18006. ISSN 0295-5075.
7. Felder, Maxime (2020). "Strong, Weak and Invisible Ties: A Relational Perspective on Urban Coexistence". *Sociology*. **54** (4): 675–692. doi:10.1177/0038038519895938. S2CID 213368620.
8. Blokland, Talja; Nast, Julia (July 2014). "From Public Familiarity to Comfort Zone: The Relevance of Absent Ties for Belonging in Berlin's Mixed Neighbourhoods". *International Journal of Urban and Regional Research*. **38** (4): 1142–11 59. doi:10.1111/1468-2427.12126.
9. Agarwal, Nitin, et al. (2009) "A Social Identity Approach to Identify Familiar Strangers in a Social Network" ICWSM

## General references


title: Oral medicine

abstract: An oral medicine or stomatology doctor/dentist has received additional specialized training and experience in the diagnosis and management of oral mucosal abnormalities including oral cancer, salivary gland disorders, temporomandibular disorders and facial pain, taste and smell disorders; and recognition of the oral manifestations of systemic and infectious diseases. It lies at the interface between medicine and dentistry. An oral medicine doctor is trained to diagnose and manage patients with disorders of the orofacial region.

text:
# Oral medicine

An **oral medicine** or **stomatology** doctor/dentist (or stomatologist) has received additional specialized training and experience in the diagnosis and management of oral mucosal abnormalities (growths, ulcers, infection, allergies, immune-mediated and autoimmune disorders) including oral cancer, salivary gland disorders, temporomandibular disorders (e.g.: problems with the TMJ) and facial pain (due to musculoskeletal or neurologic conditions), taste and smell disorders; and recognition of the oral manifestations of systemic and infectious diseases. It lies at the interface between medicine and dentistry. An oral medicine doctor is trained to diagnose and manage patients with disorders of the orofacial region.

## History

The importance of the mouth in medicine has been recognized since the earliest known medical writings. For example, Hippocrates, Galen and others considered the tongue to be a "barometer" of health, and emphasized the diagnostic and prognostic importance of the tongue. However, oral medicine as a specialization is a relatively new subject area. It used to be termed "stomatology" (-*stomato-* \+ *-ology*).

In some institutions, it is termed "oral medicine and oral diagnosis". American physician and dentist, Thomas E Bond authored the first book on oral and maxillofacial pathology in 1848, entitled "A Practical Treatise on Dental Medicine". The term "oral medicine" was not used again until 1868. Jonathan Hutchinson is also considered the father of oral medicine by some.

Oral medicine grew from a group of New York dentists (primarily periodontists), who were interested in the interactions between medicine and dentistry in the 1940s. Before becoming its own specialty in the United States, oral medicine was historically once a subset of the specialty of periodontics, with many periodontists achieving board certification in oral medicine as well as periodontics.

## Scope

Oral medicine is concerned with clinical diagnosis and non-surgical management of non-dental pathologies affecting the orofacial region (the mouth and the lower face).

Many systemic diseases have signs or symptoms that manifest in the orofacial region. Pathologically, the mouth may be affected by many cutaneous and gastrointestinal conditions. There is also the unique situation of hard tissues penetrating the epithelial continuity (hair and nails are intra-epithelial tissues). The biofilm that covers teeth therefore causes unique pathologic entities known as plaque-induced diseases.

Example conditions that oral medicine is concerned with are lichen planus, Behçet's disease and pemphigus vulgaris. Moreover, it involves the diagnosis and follow-up of pre-malignant lesions of the oral cavity, such as leukoplakias or erythroplakias and of chronic and acute pain conditions such as paroxysmal neuralgias, continuous neuralgias, myofascial pain, atypical facial pain, autonomic cephalalgias, headaches and migraines. Another aspect of the field is managing the dental and oral condition of medically compromised patients such as cancer patients with related oral mucositis, bisphosphonate-related osteonecrosis of the jaws or oral pathology related to radiation therapy. Additionally, it is involved in the diagnosis and management of dry mouth conditions (such as Sjögren's syndrome) and non-dental chronic orofacial pain, such as burning mouth syndrome, trigeminal neuralgia and temporomandibular joint disorder.

## Lumps and swellings of the mouth

### Types of lumps and swelling

It is not uncommon for an individual to experience a lump/swelling in the oral environment. The overall presentation is highly variable and the progression of these lesions can also differ, for example: development of a lesion into a bulla or a malignant neoplasm. Lumps and swellings can occur due to a variety of conditions, both benign and malignant such as:

So as seen above the list is extensive and by no means is this a complete and comprehensive representation of all the possible lumps/swellings that can occur in the mouth as to the means of acquiring a swelling in the mouth. When considering what a lump might be caused by the site of which it has appeared can be of significance. Below are some examples of swellings/lumps which usually are present as specific locations in the oral cavity:

* Gingiva
    + Congenital hyperplasia
    + Abscesses
    + Pyogenic granuloma
    + Neoplastic
    + Pregnancy epulis
    + Drug-induced hyperplasia
    + Angioedema
    + Papilloma/warts
* Palate
    + Torus palatinus
    + Abscesses
    + Unerupted teeth
    + Pleomorphic adenomas/salivary neoplasms
    + Invasive carcinoma from maxillary sinus
    + Kaposi's sarcoma
    + Developmental swellings associated with Paget's disease
* FOM
    + Most commonly salivary calculi and denture-induced hyperplasia
    + Mucocele
    + Ranula
    + Mandibular tori
* Tongue and buccal mucosa

### Diagnosis of the cause of a lump or swelling

If there is any suspect or unknown reason as to why a lump has arisen in an individual's mouth it is important to establish when this first was noticed and the accompanied symptoms if any. On examination ensure that there is not an obvious cause to the swelling/lump via a thorough: medical, social, dental and family history, followed by an oral examination. Whilst examining the suspected lesion there are some diagnostic aids to note which can be used to formulate a provisional diagnosis. There are many factors taken into consideration in this diagnosis, such as:

* The anatomical position & symmetry
    + Midline associated lesions tend to be of a developmental origin (e.g. torus palatinus)
    + Bilateral lesions tend to be benign (e.g. sialosis, diabetes etc.)
    + Consider associations with surrounding anatomical structures
    + Malignant lesions are usually unilateral
* Size and shape
    + Diagrams or photographs are usually recorded alongside the actual measurement of the lesion
* Colour
    + Brown and black pigmentation may occur from a variety of aetiologies s such as: tattoo, naeuvus, melanoma
    + Purple or red pigmentation may occur due to conditions such as: haemangioma, kaposi's sarcoma or a giant cell lesion
* Temperature
    + If the lesion is warm it is thought an inflammatory cause is most likely (e.g. abscess or haemangioma)
* Tenderness
    + If a lesion is significantly tender on palpation the origin is usually thought to be inflammatory
* Discharge
    + Are there any secretions associated with the lesion upon palpation or spontaneously occurring
* Movement
    + The lesion should be tested to determine whether it is attached to adjacent structures or the overlying mucosa
* Consistency
    + Carcinoma is usually suggested by a hard/indurated consistency
    + If a lesion is palpated and a crackling, ‘egg shell’ sound occurs this tends to be a swelling overlying a bony cyst
* Surface texture
    + Abnormal vascular changes suggests neoplasm
    + Malignant lesions tend to be nodular and may ulcerate
    + Papillomas are usually comparative to a wart-like appearance
* Ulceration
    + Squamous cell carcinoma is an example of a malignancy which can present with superficial ulceration
* Margin
    + Malignant lesions tend to have an ill-defined margin
    + Benign lesions tend to have a clearly defined margin
* Number of lesions
    + Multiple lesions might suggest an infective or developmental aetiology

### Investigations

Once the surrounding tissues and the immediate management of any lumps/swellings are taken care of, an image of the full extent of the lesion is needed. This is done to establish what the lump/swelling is associated with and to ensure that any damaging probability is kept to a minimum. There are a variety of imaging technique options which are chosen based on the lesion: size, location, growth pattern etc. Some examples of images used are: DPT, Scintigraphy, Sialography, Computed Tomography, Magnetic Resonance Imaging and Ultrasound.

As described some lumps or swellings can be in close relation to anatomical structures. Commonly, Teeth are associated in a lesion which brings about the question – “are they still vital?” In order to clarify, any tooth that is associated with a lump or swelling is vitality tested, examined for any pathology or restorative deficiencies in order to determine the long term prognosis of this tooth and how this might affect treatment of the lump/swelling at hand.

Alongside any radiographs which may be justified, Blood tests may be needed in order to obtain a definitive diagnosis if there is a suspicion of potential blood dyscrasias or any endocrinopathy involvement.

Finally, a particularly vital means of diagnosis is a biopsy. These tend to be regularly done in the cases of singular, chronic lesions and are carried out in an urgent manner as lesions of this category have a significant malignant potential. The indications to carry out a biopsy include:

* Lesions that have neoplastic or premalignant features or are enlarging
* Persistent lesions that are of uncertain aetiology
* Persistent lesions that are failing to respond to treatment

Once a small piece of tissue is removed for the biopsy, it is then microscopically histopathologically examined.

## Training and practice

### Australia

Australian programs are accredited by the Australian Dental Council (ADC). They are three years in length and culminate with either a master's degree (MDS) or a Doctor of Clinical Dentistry degree (DClinDent). Fellowship can then be obtained with the Royal Australasian College of Dental Surgeons, FRACDS (Oral Med) and or the Royal College of Pathologists of Australasia, RCPA.

### Canada

Canadian programs are accredited by the Canadian Commission on Dental Accreditation (CDAC). They are a minimum of three years in length and usually culminate with a master's (MSc) degree. Currently, only the University of Toronto, McGill University, the University of Alberta, and the University of British Columbia offer programs leading to the specialty. Most residents combine oral medicine programs with oral and maxillofacial pathology programs leading to a dual specialty. Graduates are then eligible to sit for the Fellowship exams with the Royal College of Dentists of Canada (FRCD(C)).

### India

Indian programs are accredited by the Dental Council of India (DCI).Oral Medicine is in conjunction with oral radiology in India and it is taught in both graduate and post graduate levels as Oral Medicine and Radiology. They are three years in length and culminate with a master's degree (MDS) in Oral Medicine and Radiology.

### New Zealand

New Zealand has traditionally followed the UK system of dual training (dentistry and medicine) as a requisite for specialty practice; the University of Otago Faculty of Dentistry currently offers a 5-year intercalated clinical doctorate/medical degree (DClinDent/MBChB) program. On 9 July 2013, the dental council of New Zealand proposed that the prescribed qualifications for oral medicine be changed to include the new DClinDent in addition to a medical degree, with no requirement for a standard dental degree.

### United Kingdom

In the UK, oral medicine is one of the 13 specialties of dentistry recognized by the General Dental Council (GDC). The GDC defines oral medicine as: "\[concerned with\] oral health care of patients with chronic recurrent and medically related disorders of the mouth and with their diagnosis and non-surgical management." Unlike many other countries, oral medicine physicians in the UK do not usually partake in the dental management of their patients. Some UK oral medicine specialists have dual qualification with both medical and dental degrees. However, in 2010 the GDC approved a new curriculum for oral medicine, and a medical degree is no longer a prerequisite for entry into specialist training. Specialist training is normally 5 years, although this may be reduced to a minimum of 3 years in recognition of previous training, such as a medical degree. In the UK, oral medicine is one of the smallest dental specialties. According to the GDC, as of December 2014 there were 69 clinicians registered as specialists in oral medicine. As of 2012, there were 16 oral medicine units across the UK, mostly based in dental teaching hospitals, and around 40 practising consultants. The British & Irish Society for Oral Medicine has suggested that there are not enough oral medicine specialists, and that there should be one consultant per million population. Competition for the few training posts is keen, although new posts are being created and the number of trainees increased.

### United States

The American Dental Association (CODA) accredited programs are a minimum of two years in length. Oral medicine, is an American Dental Association recognized speciality, and many oral medicine specialists fulfil a very important role by teaching at dental schools and graduate programs to ensure dentists and other dental specialists receive excellent training in medical topics pertinent to the dental practice. The ADA has recently started a dental practice parameters for world-class quality services. Archived 2014-05-07 at the Wayback Machine


title: Growing Pears

abstract: "Growing Pears", also variously translated as "Planting a Pear Tree", "Sowing Pears", and "The Wonderful Pear Tree", is a short story by Pu Songling, first published in Strange Tales from a Chinese Studio. Set in ancient China, the story revolves around a miserly pear seller and a Taoist priest.

text:
# Growing Pears

"**Growing Pears**" (simplified Chinese: 种梨; traditional Chinese: 種梨; pinyin: *Zhǒng Lí*), also variously translated as "**Planting a Pear Tree**", "**Sowing Pears**", and "**The Wonderful Pear Tree**", is a short story by Pu Songling, first published in *Strange Tales from a Chinese Studio*. Set in ancient China, the story revolves around a miserly pear seller and a Taoist priest.

## Plot

In an unspecified Chinese village, a dishevelled Taoist priest unsuccessfully begs a pear seller for a single pear. However, an altruistic passer-by offers to buy the old man a pear, which he gladly accepts. The Taoist then offers to reciprocate by giving free pears to the crowd; he buries the pip of the pear in the ground and waters the soil with boiling water, shortly after which a mature pear tree sprouts. After handing out all of the tree's fruits to the passers-by, the Taoist cuts the tree down and heads off. The miserly pear seller, who had been caught up by the spectacle, only just realises that all his pears have gone missing – and his fruit cart has been sawn into pieces. Realising that the Taoist had employed sorcery against him, the fruit seller rushes to confront him, but he has disappeared without a trace. In his postscript, Pu Songling warns against being stingy, noting that "individuals (like the pear seller) are too numerous to list separately, so the example of such a foolish villager is anything but a surprise."

## Publication history

Originally titled "Zhongli" (種梨), the story was first published in Pu Songling's anthology of close to five hundred short stories, *Strange Tales from a Chinese Studio* or *Liaozhai zhiyi*. English translations of individual *Liaozhai* tales already existed prior to 1880; the earliest translation of "Zhongli" in particular is found in the 1842 textbook *Easy Lessons in Chinese* by American missionary Samuel W. Williams, who later reproduced "Planting the Pear Tree" in his 1848 ethnographic survey *The Middle Kingdom*.

However, Herbert A. Giles' *Strange Stories from a Chinese Studio* (1880), which contains translations of 164 *Liaozhai* entries, is considered the first substantial mainstream *Liaozhai* translation insofar as it was circulated more extensively than its predecessors. The story is titled "Planting a Pear-tree" in Giles' 1880 publication; Giles later retitled it "The Wonderful Pear Tree" in his 1911 anthology *Chinese Fairy Tales* which features eight *Liaozhai* stories including "The Painted Skin" and "Stealing Peaches". Subsequent translators have titled the story "Growing Pears" and "Sowing Pears". "Zhongli" was also one of the *Liaozhai* stories translated into French by Pierre Daudin in 1938 with the assistance of "two Chinese scholars and a Vietnamese collator"; it was collected in a 1940 Saigon publication titled *Cinquante contes chinois extraits du Leao-tchai Tche-yi*.

## Literary significance and reception

"Growing Pears" has been cited as an early description of the so-called mango trick – "one of the most venerable feats of Indian conjuring" – and like other Chinese texts of its time, it substitutes the mango with "indigenous flora", namely pears, while crediting Taoist magic. For instance, the Eastern Jin historian Gan Bao writes about a sage named Xu Guang who dupes a melon seller in *Anecdotes about Spirits and Immortals*.

The story is also significant for its "too many parallels" with the opening segment of the Indian rope trick popularly described in the *Chicago Tribune* in 1890. Whereas *Tribune* writer John Wilkie writes of an Indian juggler who "grew a two-feet tall mango tree from a seed within a few minutes", Pu's Taoist monk is able to accomplish a similar feat with a pear seed instead. Shengyu Wang suggests that, prior to writing his hoax article, Wilkie had read Giles' translation of "Planting a Pear Tree" as well as "Stealing Peaches".

## Adaptations

Pu's story was adapted for the third volume of fairy tale anthology *The Bookshelf for Boys and Girls* first published in New York City in 1909; at a September 2003 symposium in Shandong dedicated to discussing the literary rights of Pu Songling, local author Qiu Xun noted that the contributor for *The Bookshelf* (who went by the alias "Frances Carpenter") failed to properly credit Pu and also committed a number of translation errors. The children's book *The Beggars Magic* (1997), co-authored by Margaret Scrogin Chang and David Chang and illustrated by David Johnson, is predominantly based on "Growing Pears"; set in a Chinese village, it follows Fu Nan and his friends as they witness the miraculous feats of a "mysterious elderly stranger".

### Citations

### Bibliography

## InfoBox

| "Growing Pears" | |
| --- | --- |
| Short story by Pu Songling | |
| 19th-century illustration from *Xiangzhu liaozhai zhiyi tuyong* (*Liaozhai Zhiyi* with commentary and illustrations; 1886) | |
| Original title | *種梨 (Zhongli)* |
| Translator | Herbert Giles (1880) |
| Country | China |
| Language | Chinese |
| Genre(s) |  |
| Publication | |
| Published in | *Strange Tales from a Chinese Studio* |
| Media type | Print (Book) |
| Publication date | 1740 |
| Chronology | |
|
Stealing Peaches (偷桃)
The Beggar Immortal (丐仙) | |


title: Jean de Heinzelin de Braucourt

abstract:
Jean de Heinzelin de Braucourt was a Belgian geologist who worked mainly in Africa. He worked at the universities of Ghent and Brussels. He gained international fame in 1950 when he discovered the Ishango Bone "Jean de Heinzelin was a geologist.
A kind of a modern adventurer, Jean de Heinzelin was a field worker and a remarkable observer. Africa was his main area of work, but he also took part in various expeditions in Europe, the United States and the Middle East. From 1946 onward, he was associated with the Royal Belgian Institute for Natural Sciences. At the Universities of Ghent and Brussels, he imparted his knowledge enthusiastically to students. A chance in his career - the Ishango Bone discovery - brought him international fame." A consistent voice of empiricism and reason in African paleoecology, Dr. Heinzelin made many contributions to the understanding of how geology can inform about the history and prehistory of tropical landscapes. Many of his original conclusions are still valid, especially his interpretation of the humid tropical fluvial origin of sand and gravel sediments in Central Africa that are still wrongly attributed to desert processes.<Des déserts et des forêts, histoire du paysage et du climat de l'Afrique Centrale au Quaternaire Supérieur. Geo-Eco-Trop 31: 1-18/>.

text:
# Jean de Heinzelin de Braucourt

**Jean de Heinzelin de Braucourt** (6 August 1920  4 November 1998) was a Belgian geologist who worked mainly in Africa. He worked at the universities of Ghent and Brussels. He gained international fame in 1950 when he discovered the Ishango Bone

"Jean de Heinzelin was a geologist. A kind of a modern adventurer, Jean de Heinzelin was a field worker and a remarkable observer.

Africa was his main area of work, but he also took part in various expeditions in Europe, the United States and the Middle East.

From 1946 onward, he was associated with the Royal Belgian Institute for Natural Sciences. At the Universities of Ghent and Brussels, he imparted his knowledge enthusiastically to students.

A chance in his career - the Ishango Bone discovery - brought him international fame."

A consistent voice of empiricism and reason in African paleoecology, Dr. Heinzelin made many contributions to the understanding of how geology can inform about the history and prehistory of tropical landscapes. Many of his original conclusions are still valid, especially his interpretation of the humid tropical fluvial origin of sand and gravel sediments in Central Africa that are still wrongly attributed to desert processes (e.g., J. Runge 2007).\<Des déserts et des forêts, histoire du paysage et du climat de l'Afrique Centrale au Quaternaire Supérieur. Geo-Eco-Trop 31: 1-18/\>.

* Biography at the Royal Belgian Institute of Natural Sciences Accessed January 2007


title: My Life with Jacqueline Kennedy

abstract: My Life with Jacqueline Kennedy is a 1969 memoir by Mary Barelli Gallagher, ghostwritten by Frances Spatz Leighton. Gallagher worked as a secretary for John F. Kennedy during his first term as Senator for Massachusetts, for Janet Norton Lee Auchincloss, and for First Lady of the United States Jacqueline Kennedy Onassis before and during the Presidency of John F. Kennedy. The memoir was generally negatively critically received.

text:
# My Life with Jacqueline Kennedy

***My Life with Jacqueline Kennedy*** is a 1969 memoir by **Mary Barelli Gallagher** (1927 – 2022), ghostwritten by Frances Spatz Leighton. Gallagher worked as a secretary for John F. Kennedy during his first term as Senator for Massachusetts, for Janet Norton Lee Auchincloss, and for First Lady of the United States Jacqueline Kennedy Onassis before and during the Presidency of John F. Kennedy. The memoir was generally negatively critically received.

## Memoir

Mary Barelli Gallagher served as Jacqueline Kennedy's secretary from 1957 to 1964. She wrote *My Life with Jacqueline Kennedy* about her time working for Kennedy and it was published in 1969 by the David McKay Company. Frances Spatz Leighton worked with Gallagher for six months to condense her 700-page memoir into a 396-page book. *The New York Times* called the book "a worm's-eye view of history commercially packaged by a backstairs ghost." The reviewer continued to note that Gallagher provided "the venom" and "details" to Leighton, who "blended them together with the precision of a hack." They concluded that the book offered no "fresh insights" and attempted to engage in character assassination and was made "to make a buck and settle scores."

A reviewer for *The St. Louis Post-Dispatch* called the book "depressing" and wrote that it had "colorless" style with "a few moving scenes." In a review titled "Hell hath no fury like a secretary", James Brady gave the book a very negative review, beginning by writing that "no gentleman could have written such a book and no lady would have," and concluding that "\[t\]here's a good book to be written about Jacqueline Bouvier Kennedy Onassis. But this isn't it."

## InfoBox

My Life with Jacqueline Kennedy
| Author | Frances Spatz Leighton, Mary Barelli Gallagher |
| --- | --- |
| Language | English |
| Genre | Memoir |
| Publication date | 1969 |
| Publication place | United States |


title: Pulau Aie railway station

abstract: Pulau Aie Station (PLA), also spelled by its old name Puluaer Station or in Malay as Pulau Air Station, is a class-I railway station located in Pasa Gadang, Padang Selatan, Padang, West Sumatra, Indonesia. It is the first railway station built in the city, situated quite close to the historic old town of Padang. Located at the altitude of +2 m, it is operated by the Regional Division II West Sumatra of Kereta Api Indonesia as a part of railway line reactivation throughout West Sumatra. It has two railway tracks with original line continues southwest to the old port of Muaro, but the line is not reactivated. Since 2007, the government of Padang City officially designated the station as a cultural property. The station was opened in 1891, closed in the 1980s, and reopened in 2021. Currently it serves as the terminal station of Minangkabau Express for Minangkabau International Airport.

text:
# Pulau Aie railway station

**Pulau Aie Station** (**PLA**), also spelled by its old name **Puluaer Station** or in Malay as **Pulau Air Station**, is a class-I railway station located in Pasa Gadang, Padang Selatan, Padang, West Sumatra, Indonesia. It is the first railway station built in the city, situated quite close to the historic old town of Padang. Located at the altitude of +2 m, it is operated by the Regional Division II West Sumatra of Kereta Api Indonesia as a part of railway line reactivation throughout West Sumatra. It has two railway tracks with original line continues southwest to the old port of Muaro, but the line is not reactivated. Since 2007, the government of Padang City officially designated the station as a cultural property.

The station was opened in 1891, closed in the 1980s, and reopened in 2021. Currently it serves as the terminal station of Minangkabau Express for Minangkabau International Airport.

## Services

## InfoBox

| Pulau Aie Station
*Stasiun Pulau Aie* | |
| --- | --- |
| Pulau Aie Station platform in 2022 | |
| General information | |
| Other names | Puluaer Station, Pulau Air Station |
| Location | Jalan Pulau Air, Pasa Gadang, Padang Selatan, Padang
West Sumatra
Indonesia |
| Coordinates | 0°57′39″S 100°21′58″E / 0.960701°S 100.366013°E / -0.960701; 100.366013 |
| Elevation | +2 m (6.6 ft) |
| Owned by | Kereta Api Indonesia |
| Operated by | Kereta Api Indonesia |
| Line(s) | Pulau Aie–Padang Panjang |
| Platforms | 1 side platform |
| Tracks | 2 |
| Construction | |
| Structure type | Ground |
| Parking | Available |
| Accessible | Available |
| Other information | |
| Station code | PLA |
| Classification | Class I |
| History | |
| Opened | 1 July 1891
10 February 2021 (reopened) |
| Closed | 1980s |
| Previous names | Station Poeloe-Ajer |
|  | |
| Services | |
| Preceding station  Kereta Api Indonesia Following station  *Terminus*  Pulau Aie–Padang Panjang  Tarandamtowards Padang Panjang  Minangkabau Airport Rail Link  Tarandamtowards Minangkabau International Airport | |
|  | |
|  | |
|  | |
| Location  Pulau Aie StationLocation in southern Sumatra | |