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Colias hyale

Colias hyale, the pale clouded yellow, is a butterfly of the family Pieridae, (also known as the yellows and whites) which is found in most of Europe and large parts of the Palearctic. It is a rare migrant to the British Isles and Scandinavia. The adult wingspan is 52 - 62 mm.

Description
The upperside of the male is more or less light lemon yellow, with the black marginal and submarginal bands more or less complete on both wings; the black middle spot of the forewing large, in centre of hindwing an orange-yellow double spot; base of wings more or less dusted with black. The underside is bright yellow, being somewhat lighter on the forewing, with small marginal and larger submarginal red-brown spots; the middle spot of the forewing black with pale centre, the hindwing bearing a double spot which is mother-of-pearl colour, encircled by a double ring of red brown; fringes above and beneath, as well as head and antenna red brown. In the female the ground colour of the upperside and the proximal area of the underside of the forewing is white, being slightly yellowish.

The egg is bottle shaped, whitish, with yellowish-brown stripes. The larva is bluish green or grass green, velvety, there being on the back two rows of blackish dots which are traversed by two thin yellow longitudinal lines, above the legs a yellow or reddish longitudinal side line, head dark green; the autumnal larvae without black dorsal spots. Pupa green, with yellow lateral lines.

Biology
The larva feeds on several species and genera of Fabaceae, including Vicia, Coronilla, Medicago, Lotus, Cytisus and Trifolium.

Habitat
The species lives in flower meadows up to 2,000 metres above sea level.

Distribution
It is common throughout the Palaearctic Region. Recorded from Ireland only once, in 1868; in England it is found only in the south.

Subspecies

 * Colias hyale hyale Europe, Ukraine, S. Russia
 * Colias hyale alta Staudinger, 1886 a large form with a broad black marginal band provisionally accepted as a full species that flies only at high altitudes in Kyrgyzstan and Tajikistan "but it may only be a subspecies of C. hyale". by Grieshuber & Lamas, 2007
 * Colias hyale altaica Verity, 1911 Altaï
 * Colias hyale irkutskana Stauder, 1924
 * Colias hyale palidis Fruhstorfer, 1910 East Siberia
 * Colias hyale novasinensis Reissinger, 1989 Gansu

Similar species

 * Colias myrmidone
 * Colias alfacariensis
 * Colias crocea
 * Colias phicomone
 * Colias palaeno
 *  Colias chrysotheme
 * Colias erate

title: Colias hyale


text:
Talk:Phytolith

Wiki Education Foundation-supported course assignment
This article is or was the subject of a Wiki Education Foundation-supported course assignment. Further details are available on the course page. Student editor(s): Hyunsoo Lee. Peer reviewers: Sylerb, 65Eq.

Above undated message substituted from Template:Dashboard.wikiedu.org assignment by PrimeBOT (talk) 06:37, 17 January 2022 (UTC)

Article Name
1) I don't know if this should be called "phytolith" or "phytoliths." Some-body who knows the standards should change it if appropriate.
 * Generally, articles are at the singular; I've moved it.  - MPF 09:36, 14 July 2005 (UTC)

2) Phytoliths can be beautiful.  I hope some-bdy can put  some nice pics. onto here.

3) This is  just off the top of my head.  I hope some-body puts in some numbers and a better list of plants.  There should also be some strictly botanical discussion.  What's more, I only mention silicon phytoliths (since that's what interests us in archaeology).Kdammers 11:46, 13 July 2005 (UTC)
 * A very useful article start, thanks! - MPF 09:36, 14 July 2005 (UTC)

Numbers! I was wondering what size they tend to be. One micrograph seems to suggest a size of 100µm, ok. Can they be as big as 1mm? As small as ... I don't know. Can I see them with my amateur microscope? given the electron microscope scans, probably not. They often form rectangles?

That page from http://archaeobotany.dept.shef.ac.uk is pretty awesome, but so much detail! OsamaBinLogin (talk) 18:16, 21 June 2018 (UTC)

Discovered a long time ago
Someone want to provide something a bit more encyclopedic for that? Removed. skorpion 10:17, 25 May 2006 (UTC)

First / introductory paragraph poorly written
Hi-- someone needs to re-write the 1st paragraph to be more scholarly/encyclopedic. The 1st sentence is not good as an introduction. Thanks. SaturnCat (talk) 02:01, 2 January 2013 (UTC)

Bacteria? Virus?
Thanks User:Sarah-Milgrim for all your hard work in April.

One thing I noticed, you wrote:

"Contrastingly, plants affected with bacterial wilt disease resulted in much larger phytoliths but they were abnormally shaped. This could be due to the virus causing constriction of the hypodermal cells, causing an influx of silica deposits.[6]"

Am I right in thinking that both these sentences are about plants affected with bacterial wilt disease? In the second sentence where it says "due to the virus causing" - should that not be "due to the bacteria causing"?

JohnGH (talk) 21:17, 13 June 2020 (UTC)

Hi JohnGH Yes, Thank you for catching that. It should be "due to the bacteria causing". If you have not already fixed it I will do that now. Thanks! — Preceding unsigned comment added by Sarah-Milgrim (talk • contribs) 18:07, 21 June 2020 (UTC)

Standards
There are a phytolith organization and a set of standards; both should be incorporated: http://www.phytolithsociety.org/international-committee-on-.html and http://aob.oxfordjournals.org/content/96/2/253.full Jun 8, 2005 ... "Scope This paper presents the first International Code for Phytolith Nomenclature (ICPN), proposing an easy to follow, internationally accepted" Kdammers (talk) 13:05, 8 July 2015 (UTC)

Plan for contributing to this article
"At the moment, this is a draft written by a graduate student as an WikiEdu assignment, in a course about long-term environmental change. I am planning to keep adding contents, suggest possible improvements, and add references. Below are my plan for contributing to this article. If anyone can give me advice to my editing plan, such as relevance of the references, I would really appreciate it."
 * a) Add a section "Paleoenvironmental reconstructions".
 * At the moment, only few sentences (at Paleontology section) are written about the use of phytolith data for paleoenvironmental reconstructions.

 * b) Section "Archaeology"
 * Problems with phytolith analysis of remains - Add contents about the issue of over-/-under representation of certain plant types (Tsartsidou et al. 2007),

 * c) Section "Paleontology"
 * A sentence "Japanese and Korean archaeologists refer to grass and crop plant phytoliths as "plant opal" in archaeological literature." should be modified with more contents, and it is missing a reference, and should be moved to Archaeology section within the article.

 * d) Some sentences are emotional or subjective. For example, at the sentence "For extended examples of differentiating plants by their phytoliths, see the University of Sheffield's excellent Phytolith Interpretation page," the word 'excellent' can be replaced by "wide-ranging" or "comprehensive."

 * Relevant sources to add (for adding/improving contents; for adding references to existing contents)
 * a) Deep-time paleoenvironmental reconstructions

 * Carter, J. (2002). "Phytolith analysis and paleoenvironmental reconstruction from Lake Poukawa Core, Hawkes Bay, New Zealand". Global and Planetary Change, 33(3), 257-267.

 * Conley, D. (2002). "Terrestrial ecosystems and the global biogeochemical silica cycle". Global Biogeochemical Cycles, 16(4), 68-1-68-8.

 * Miller, L., Smith, S., Sheldon, N., Stromberg, C., & Stroemberg, L. (2012). "Eocene vegetation and ecosystem fluctuations inferred from a high-resolution phytolith record". Geological Society Of America Bulletin, 124(9-10), 1577-1589.

 * Strömberg, C. (2004). "Using phytolith assemblages to reconstruct the origin and spread of grass-dominated habitats in the great plains of North America during the late Eocene to early Miocene". Palaeogeography, Palaeoclimatology, Palaeoecology, 207(3), 239-275.

 * b) Archaeological reconstructions; Human-plant interactions

 * Ashley, Barboni, Dominguez-Rodrigo, Bunn, Mabulla, Diez-Martin, Barba, and Baquedano (2010) "Paleoenvironmental and Paleoecological Reconstruction of a Freshwater Oasis in Savannah Grassland at FLK North, Olduvai Gorge, Tanzania." Quaternary Research 74, no. 3: 333-43.

 * Tsartsidou, Lev-Yadun, Albert, Miller-Rosen, Efstratiou, & Weiner. (2007). "The phytolith archaeological record: Strengths and weaknesses evaluated based on a quantitative modern reference collection from Greece". Journal of Archaeological Science, 34(8), 1262-1275.

 * c) Discourses; Research directions; Phytolith C-14; Overall

 * Alexandre, Meunier, Lézine, Vincens, & Schwartz. (1997). "Phytoliths: Indicators of grassland dynamics during the late Holocene in intertropical Africa". Palaeogeography, Palaeoclimatology, Palaeoecology, 136(1), 213-229.

 * Hart, T. C. (2016). "Issues and directions in phytolith analysis". Journal of Archaeological Science, 68, 24–31. https://doi.org/10.1016/j.jas.2016.03.001

 * Piperno, D. R. (2016). "Phytolith radiocarbon dating in archaeological and paleoecological research: a case study of phytoliths from modern Neotropical plants and a review of the previous dating evidence". Journal of Archaeological Science, 68, 54–61. https://doi.org/10.1016/j.jas.2015.06.002 Hyunsoo Lee (talk) 08:06, 7 May 2017 (UTC)

"phytoliths may help to alleviate the damaging effects of toxic heavy metals, such as aluminum"
Aluminium is not a heavy metal. But I don't know how to correct this (unsourced) statement. Jacques de Selliers (talk) 16:02, 30 July 2023 (UTC)

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Talk:Phytolith


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Nordmann

Nordmann is the demonym of the Norwegian people in its native language (see: Norman).

It is also a surname. Notable people with the surname include:

 * Roger Nordmann (*1973), Swiss politician

 * Alexander von Nordmann (1803–1866), Finnish zoologist
 * Armand von Nordmann (1759–1809), Austrian general of the Napoleonic era
 * Bevo Nordmann (1939–2015), American basketball player
 * Charles Nordmann (1881–1940) French astronomer
 * Johann Nordmann (1820–1887), Austrian journalist and travel writer
 * Karl-Gottfried Nordmann (1915–1982), German World War II fighter pilot
 * Theodor Nordmann (1918–1945), German World War II pilot

title: Nordmann


text:
Tecmo World Cup Soccer

Tecmo World Cup Soccer is a video game for the Nintendo Entertainment System. Released in 1990 by Tecmo, as its name suggests it is a soccer game focusing on the World Cup. It is a port of Tehkan World Cup, released on arcades in 1985.

Although the two games appear virtually identical, Tecmo World Cup Soccer lacks some of the speed and fluidity of its arcade progenitor. While the gameplay is ostensibly unchanged, the lack of support for analog control in the NES version renders it a digital-control-only game that requires almost completely different tactics.

Tecmo World Cup Soccer is not to be confused with Nintendo World Cup (released the same year), nor Tecmo Cup Soccer Game (known as Captain Tsubasa in Japan).

World Cup Teams
The national teams in Tecmo World Cup Soccer are as follows (in order, they are available to choose in game "Team Select" menu):

 * 🇧🇷 brazil
 * 🇮🇹 italy
 * 🇧🇪 belgium
 * 🇦🇷 argentina
 * 🇵🇱 poland
 * 🇦🇱 albania
 * 🏴 england
 * 🇻🇪 venezuela
 * 🇪🇸 spain
 * 🇨🇴 colombia
 * 🇷🇴 romania
 * 🇧🇴 bolivia
 * 🇮🇸 iceland
 * 🇵🇪 peru
 * 🇫🇷 france
 * 🇪🇨 ecuador
 * 🇮🇪 ireland
 * 🇸🇪 sweden
 * 🇨🇦 canada
 * 🇺🇸 united states
 * 🇲🇽 mexico
 * 🇯🇲 jamaica
 * 🇵🇦 panama
 * 🇰🇷 south korea
 * 🇮🇷 iran
 * 🇯🇵 japan
 * 🇦🇫 afghanistan
 * 🇹🇭 thailand
 * 🇧🇭 bahrain
 * 🇰🇵 north korea
 * 🇮🇶 iraq
 * 🇯🇴 jordan
 * 🇶🇦 qatar
 * 🇸🇾 syrian arab republic
 * 🇨🇳 china
 * 🇺🇿 uzbekistan
 * 🇨🇲 cameroon
 * 🇲🇦 morocco
 * 🇳🇬 nigeria
 * 🇱🇷 liberia
 * 🇬🇭 ghana
 * 🇰🇪 kenya
 * 🇨🇮 côte d'ivoire
 * 🇹🇳 tunisia
 * 🇲🇱 mali
 * 🇪🇬 egypt
 * 🇲🇼 malawi
 * 🇮🇶 iraq
 * 🇯🇴 jordan
 * 🇶🇦 qatar
 * 🇸🇾 syrian arab republic
 * 🇨🇳 china
 * 🇺🇿 uzbekistan
 * 🇨🇲 cameroon
 * 🇲🇦 morocco
 * 🇳🇬 nigeria
 * 🇱🇷 liberia
 * 🇬🇭 ghana
 * 🇰🇪 kenya
 * 🇨🇮 côte d'ivoire
 * 🇹🇳 tunisia
 * 🇲🇱 mali
 * 🇪🇬 egypt
 * 🇲🇼 malawi
 * 🇲🇱 mali
 * 🇪🇬 egypt
 * 🇲🇼 malawi
 * 🇪🇬 egypt
 * 🇲🇼 malawi

Similarities to Tehkan World Cup
Tecmo World Cup Soccer, released five years after its arcade ancestor, is a mostly faithful conversion of Tehkan World Cup squeezed with some concessions into the smaller NES hardware. These are the main similarities between both games:

 * The same musical score (albeit adapted to the NES sound hardware)
 * Nearly identical gameplay (although significantly hampered by the absence of analog control)
 * Almost identical graphics (partially simplified and slowed down)

Differences to Tehkan World Cup
As Tehkan World Cup utilized two processors for gameplay and four processors for sound, certain concessions were made to playability on the NES. While the gameplay and graphics remained largely unaltered, certain features were omitted. In recognition of its new home system format, some arcade elements such as the instant knockout, were abandoned in order to provide greater longevity. A partial list of differences includes:

 * A choice of teams is now available
 * Competition format
 * Game lengths
 * On-screen "scoreboard" (includes large font game clock and score) omitted
 * Field radar showing player positions omitted
 * The "grass" had a simpler, more unified texture
 * Players do not celebrate during the goal sequence
 * The goal net is shown to bulge upon receipt of the ball
 * Slide tackles can be initiated by the player
 * The ball could bounce after a high kick
 * The ball rebounds from the net and goalposts in a slightly different manner

title: Tecmo World Cup Soccer


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Colias alfacariensis

Colias alfacariensis, Berger's clouded yellow, is a butterfly of the family Pieridae. It was separated from the pale clouded yellow, C. hyale, in 1905. Berger's clouded yellow is a Palearctic species (South and Central Europe, South Russia, Russian Far East, Siberia Central Asia and temperate China also Asia Minor, Caucasus and Transcaucasia.

Description
The wings of the male have a yellow ground colour, the females have a greenish-white ground colour, only the underside of the hind wings is yellowish. The upper wing side of both sexes has a dusted dark brown to black marginal band, which is only narrow on the hind wings. In the cell of the forewings there is a black spot on the upper and lower sides. The males have on the upperside of the hind wings in the cell an orange spot with a red border, on the underside this spot is bright and clearly outlined in red. This spot may be divided into two by the red border, so that it resembles an eight  similar to  Colias hyale and other yellow members of the genus Colias. In the females, the orange spot on the top of the hind wings is not bordered. The caterpillars, on the other hand, clearly differ from the caterpillars of Colias hyale after the second moult. Both caterpillars are green, however, the caterpillar of Colias alfacariensis has four eye-catching yellow lines with black dots while the caterpillar of the Colias hyale has only two thin side lines.

Similar species
 * Colias hyale Colias alfacariensis  together with Colias hyale  forms a kind of complex. Since the butterflies of both species develop many variations, the two species cannot  be differentiated by morphology or on the basis of a genitalic examination . Information about the habitat and the geographical distribution provide only an indication of which of the two species may be involved. A safe distinction is possible only on the completely different caterpillars.
 * Colias crocea
 * Colias phicomone
 * Colias palaeno
 * Colias chrysotheme
 * Colias erate

Biology
The larval food plants are horseshoe vetch (Hippocrepis comosa) and crown vetch (Coronilla varia) on which the female lays the eggs. The butterfly is found on calcareous marshy and dry grasslands and in dry shrubbery or lightly forested areas. They avoid cool and rainy areas. They fly in two generations in May, June and August, September or in three generations from May to October feeding at flowers.

Migration
This species is a rare vagrant to south England, the North German plain and Denmark.

Subspecies

 * C. a. vihorlatensis Reissinger, 1989 – Carpathians
 * C. a. remota Reissinger, 1989 – S. Europe, Caucaus
 * C. a. fontainei Reissinger, 1989 – Armenia, Talysh,  Kopet-Dagh
 * C. a. saissanica Reissinger, 1989 – S. E. Kazakhstan

title: Colias alfacariensis


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Golmaal

Golmaal is the title of the following Indian films:

 * Gol Maal, 1979 Hindi comedy film directed by Hrishikesh Mukherjee starring Amol Palekar
 * Golmaal (1998 film), a Tamil film starring Selva
 * Golmaal (2008 film), a Bengali film starring Prosenjit Chatterjee
 * Gulumaal: The Escape, a 2009 Malayalam film
 * Golmaal (2017 film), a Bengali film starring Mithun Chakraborty
 * Golmaal (film series), a Hindi comedy film series directed by Rohit Shetty
 * Golmaal: Fun Unlimited, 2006 Hindi comedy film and the first installment of the Golmaal film series
 * Golmaal Returns, 2008 Hindi film sequel to Golmaal: Fun Unlimited
 * Golmaal 3, 2010 Hindi film sequel to Golmaal Returns
 * Golmaal Again, 2017 Hindi film sequel to Golmaal 3
 * Golmaal 5, 2023 Hindi film sequel to Golmaal
 * Golmaal, a Kannada film series, including
 * Golmaal Radhakrishna (1990)
 * Golmaal Part 2 (1991)
 * Samsaaradalli Golmaal (2012)

title: Golmaal


text:
Samuel Bochart

Samuel Bochart (30 May 1599 – 16 May 1667) was a French Protestant biblical scholar, a student of Thomas Erpenius and the teacher of Pierre Daniel Huet. His two-volume Geographia Sacra seu Phaleg et Canaan (Caen 1646) exerted a profound influence on seventeenth-century Biblical exegesis.

Bochart was one of the several generations of antiquaries who expanded upon the basis Renaissance humanists had laid down, complementing their revolutionary hermeneutics by setting classical texts more firmly within the cultural contexts of Greek and Roman societies, without understanding of which they could never be fully understood. Thus Bochart stands at the beginning of a discipline of the history of ideas that provides the modern context for all textual studies.

Life
Bochart was born in Rouen. He was for many years a pastor of a Protestant church at Caen, and also studied in Oxford, where he was tutor to Wentworth Dillon, later Earl of Roscommon.

Bochart's Hierozoicon sive bipartitum opus de animalibus sacrae scripturae (2 vols., London 1663), a zoological treatise on the animals of the Bible was more than a Christianized Pliny's Natural History nor just an expansion of Conrad Gesner's Historiae animalium. Bochart instanced the Arabic naturalists, like al-Damîrî and al-Qazwini, none of whose work had appeared in European print before. His etymologies follow the fanciful tradition inherited from Classical Antiquity and passed to medieval culture through Isidore of Seville.

In 1652 Christina of Sweden invited him to Stockholm, where he studied the Arabic manuscripts in the queen's possession. He was accompanied by Pierre Daniel Huet, afterwards Bishop of Avranches. On his return to Caen he was received into the academy of that city.

Bochart was a man of profound erudition; he possessed a thorough knowledge of the principal Oriental languages, including Hebrew, Syriac, and Arabic; and at an advanced age he wished to learn Ethiopic. Bochart's examples and quotations provided challenges to London typographers, who created typefaces to reproduce them. He was so absorbed in his favorite study, that he saw Phoenician origins even in Celtic words, and hence the number of chimerical etymologies which swarm in his works.

His correspondence on theological subjects, carried on with Cappellus, Salmasius and Vossius was included in his posthumous collected works, and so achieved a wide distribution.

He died of apoplexy, aged 67, in the academy of Caen during an impassioned debate with Huet on the translation of a passage of Origen related to transubstantiation.

His major works

 * a dictionary of Arabic
 * Geographia Sacra seu Phaleg et Canaan (Caen 1646)
 * De consiliandis in religionis negotio protestantibus, 1662
 * Hierozoïcon, (London 1663)

title: Samuel Bochart


text:
Category:Reliability engineering

fr:Catégorie:Fiabilité

title: Category:Reliability engineering


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Yvonne Rainer

Yvonne Rainer (born November 24, 1934) is an American dancer, choreographer, and filmmaker, whose work in these disciplines is regarded as challenging and experimental. Her work is sometimes classified as minimalist art. Rainer currently lives and works in New York.

Early life
Yvonne Rainer was born on November 24, 1934, in San Francisco, California. Her parents, Joseph and Jeanette, considered themselves radicals. Her mother, a stenographer, was born in Brooklyn to Jewish immigrants from Warsaw, and her father, a stonemason and house painter, was born in Vallanzengo, northern Italy, and emigrated to the United States at the age of 21.

Rainer grew up, along with an older brother, in the Sunset District of San Francisco, which she has described as "a neighborhood of white Protestant working class families". From the age of twelve, she was "exposed to the heady commingling of poets, painters, writers, and Italian anarchists."

Throughout her childhood, her father took her to foreign films at the Palace of the Legion of Honor, while her mother took her to the ballet and opera. She attended Lowell High School, and after graduation she enrolled in San Francisco Junior College and dropped out after a year.

In her late teens, while earning her living as a clerk-typist at an insurance company, Rainer found herself hanging out at the Cellar, a jazz club in North Beach in San Francisco, where she would listen to poets accompanied by live cool jazz musicians. It was here that she met Al Held, a painter. He introduced her to various artists who were natives of New York. In August 1956, aged 21, she followed Held to New York and lived with him for the next three years.

Doris Casella, a musician and close friend, introduced Rainer around 1957 to the dance classes of Edith Stephen, a modern dancer. At her first class Stephen told her that she was not very "turned out." Rainer admits, "What she didn't say was something that I would gradually recognize in the next couple of years, that my lack of turn-out and limberness coupled with a long back and short legs would reduce my chances of performing with any established dance company." Beginning in 1959, she studied for a year at the Martha Graham School, where Graham notoriously told her, "When you accept yourself as a woman, you will have turn-out"; later she took ballet classes with Mia Slavenska followed by classes with James Waring, in whose company she danced briefly, and for eight years she studied with Merce Cunningham.

In the year in which Rainer studied at the Graham School – 1959-60 – Rainer met Simone Forti and Nancy Meehan, who had worked with Anna Halprin and Welland Lathrop in San Francisco.

In mid-1960, the three rented a New York studio and worked on movement improvisations. In August 1960, she traveled with Forti to Marin County, California to take Halprin's summer workshop, which was very important, in addition to Forti's influence, to Rainer's early solo dance work. In late 1960, both Forti and Rainer attended the choreography workshop that musician-composer Robert Dunn began to conduct in the Cunningham studio based on the theories of John Cage. Here, Rainer created and performed her earliest dances.

Dance and choreographic work
In 1962, Rainer, Steve Paxton, and Ruth Emerson approached the Reverend Al Carmines at the Judson Memorial Church to ask if they could begin performing there. The Church was already known for the Judson Poets' Theater and Judson Art Gallery, which had been showing the work of Claes Oldenburg, Allan Kaprow, Robert Whitman, Jim Dine, and Tom Wesselmann. It now became a focal point for vanguard dance activity and concerts of dance.

Rainer is noted for an approach to dance that treats "the body more as the source of an infinite variety of movements" than as the purveyor of plot or drama. Many of the elements she employed—such as repetition, tasks, and indeterminacy—later became standard features of contemporary dance. In 1965, when writing about a recent dance — Parts of Some Sextets — for the Tulane Drama Review, she ended the essay with what became her notorious No Manifesto, which she "reconsidered" in 2008. In 1969, her work was published in 0 to 9 magazine, an avant-garde publication which experimented with language and meaning-making.

Repetition and sound were employed in her first choreographed piece, Three Satie Spoons (1961), a solo in three parts performed by Rainer to the accompaniment of Eric Satie's Trois Gymnopedies. The last section contained a repeated "beep beep beep in a falsetto squeak" and the spoken line: "The grass is greener when the sun is yellower." Over time her work shifted to include more narrative and cohesive spoken words. Ordinary Dance (1962) was a combination of movement and narrative, and featured the repetition of simple movements while Rainer recited an autobiographical monologue containing the names of the streets on which she had lived while in San Francisco. One characteristic of Rainer's early choreography was her fascination with using untrained performers. We Shall Run (1963) had twelve performers, both dancers and non-dancers who, clad in street clothes, ran around the stage in various floor patterns for twelve minutes to the "Tuba Mirum" from Berlioz's ''Requiem.  Her first evening length choreography, for six dancers, called Terrain'', was performed at Judson Church in 1963.

One of Rainer's most famous pieces, Trio A (1966), was initially the first section of an evening-long work entitled The Mind Is a Muscle. Her decision in Trio A to execute movements with an even distribution of energy reflected a challenge to traditional attitudes to "phrasing," which can be defined as the way in which energy is distributed in the execution of a movement or series of movements. The innovation of Trio A lies in its attempt to erase the differences of energy investment within both a given phrase and the transition from one to another, resulting in an absence of the classical appearance of "attack" at the beginning of a phrase and recovery at the end with energy arrested somewhere in the middle, as in a grand jeté. Another characteristic of this five-minute dance is that the performer never makes eye contact with the spectators, and in the instance in which the movement requires the dancer to face the audience, the eyes are closed or the head is involved in movement. Although Rainer used repetition in earlier works as a device to make movement easier to read, she decided to not repeat any movements in the piece. Trio A is often referred to as a task-oriented performance due to this style of energy distribution, also for its emphasis on a neutral, or characterless, approach to movement execution and a lack of interaction with the audience. The first time the piece was performed it was entitled The Mind is a Muscle, Part 1, and was performed simultaneous, but not in unison, by Rainer, Steve Paxton, and David Gordon. Trio A has been widely taught and performed by other dancers.

Rainer has choreographed more than 40 concert works.

Select choreography

 * Three Seascapes (1961) a solo in three parts, with each section exploring a different type of relationship between movement and sound. In the first section, wearing a black overcoat, Rainer trots around the perimeter of the stage to the last three minutes of Rachmaninoff's Piano Concerto No. 2, occasionally lying down in a scrunched up position on her side. In the second segment, she moves slowly across the space, moving her body in undulating spasms. In the first performance in the Judson Church gym, La Monte Young and cohorts performed his "Poem for Tables, Chairs, and Benches" by scraping these objects over a concrete floor in the corridor outside the gymnasium. The finale, which was considered to be radical, featured Rainer screaming wildly and thrashing around with a black overcoat and twenty yards of white tulle.
 * Terrain (1962) was Rainer's first evening length work. It had a number of sections, including two "Talking Solos," with stories by Spencer Holst recited to an unrelated and simultaneous series of movements.
 * Continuous Project-Altered Daily (1970) was performed at the Whitney Museum, eventually morphing into the improvisational Grand Union, of which Rainer was a member for two years.
 * War (1970), an antiwar dance performed by thirty people at Douglass College protesting the Vietnam War.
 * Street Action (1970), an action in protest of the invasion of Cambodia by U.S. forces in 1970. It consisted of three columns of people wearing black armbands and swaying from side to side with bowed heads while moving through the streets of Lower Manhattan.
 * This is the story of a woman who ... (1973), a dance drama using projected narrative texts, a vacuum cleaner, and objects invested with strong meanings such as a mattress, a gun, and a suitcase.

Cinematic work
Rainer sometimes included filmed sequences in her dances, and in 1972 she began to turn her attention to directing feature-length films. The feminist tone of her films, characterized by an interest in how the female body was being viewed or objectified by male directors, resonated with the feminist film theory emerging at the time in seminal texts like Laura Mulvey's Visual Pleasure and Narrative Cinema. Her early films do not follow narrative conventions; instead, Rainer's films combine autobiography and fiction, sound and intertitles, to address social and political issues. Rainer directed several experimental films about dance and performance, including Lives of Performers (1972), Film About a Woman Who (1974), and Kristina Talking Pictures (1976). Her later films include Journeys from Berlin/1971 (1980), The Man Who Envied Women (1985), Privilege (1990), and MURDER and murder (1996). MURDER and murder, more conventional in its narrative structure, is a lesbian love story dealing with Rainer's own experience of breast cancer. In 2017, Lives of Performers was included in the annual selection of 25 motion pictures added to the National Film Registry of the Library of Congress being deemed "culturally, historically, or aesthetically significant" and recommended for preservation.

Filmography

 * Hand Movie (1966)
 * Volleyball (1967)
 * Trio Film (1968)
 * Rhode Island Red (1968)
 * Line (1969)
 * Five Easy Pieces (1966–69)
 * Lives of Performers (1972)
 * Film About A Woman Who... (1974)
 * Kristina Talking Pictures (1976)
 * Journeys From Berlin/1971 (1980)
 * The Man Who Envied Women (1985)
 * Privilege (1990)
 * Murder And Murder (1996)
 * After Many A Summer Dies The Swan: Hybrid (2002)

Return to dance
In 2000, Rainer returned to dance and choreography to create After Many a Summer Dies the Swan, for Mikhail Baryshnikov's White Oak Dance Project. In 2006, Rainer choreographed a work entitled AG Indexical, with a Little Help from H.M., which was a reinterpretation George Balanchine's Agon. Rainer continued to choreograph works based on classical pieces, including RoS Indexical (2007), inspired by Vaslav Nijinsky's The Rite of Spring. This work was commissioned for the Performa 07 biennial organized by performance art organization Performa, which has managed Rainer since then.

Subsequent works include Spiraling Down (2010), Assisted Living: Good Sports 2 (2010) and Assisted Living: Do You Have Any Money? (2013), two pieces in which Rainer explores the theatrical and historic motif of tableau vivants among political, philosophical and economic readings.

An exhibition at London's Raven Row Gallery was the first to feature live performances of her 1960's dances during an exhibition of photos and scores from her entire career, in addition to film screenings.

In 2015, she choreographed and presented The Concept of Dust, or How do you look when there's nothing left to move? (2015), commissioned by Performa and The Getty Research Institute, a performance containing choreographed work interspersed with a wide range of political, historical, and journalistic texts read intermittently by the dancers and Rainer herself. This work was presented at The Museum of Modern Art, and later toured European venues including La Fondazione Antonio Ratti in Como, Italy, Marseille Objectif Danse in France, and the Louvre. A latter version of this same dance, called The Concept of Dust: Continuous Project-Altered Annually was performed in 2016 at The Kitchen in New York, and in Marseilles, Porto, and Barcelona in 2017.

In 2019, commissioned by Performa, Rainer reconstructed her 1965 work Parts of Some Sextets. Supported by the Robert Rauschenberg Foundation and the Performa Commissioning Fund, Parts of Some Sextets, 1965/2019 was presented at the Gelsey Kirkland Arts Center as part of Performa 19.

Feminism
Reading feminist writing and theory allowed Rainer to examine her own experience as a woman, and she was able to think of herself as a participant in culture and society. Little did Rainer realize that her prior choreography was a direct challenge of the "traditional" dance and ultimately feminist in nature. Throughout the 1980s, Rainer was celibate, and she was determined "not to enter into any more ill-fated heterosexual adventures ..."

She began attending Gay Pride Parades and considered herself a "political lesbian." Rainer participated in a demonstration in New York and Washington D.C. to protest the challenges to Roe v. Wade during this same time period. At the age of 56, she overcame her fears of identifying as a lesbian by becoming intimate with Martha Gever. They are still together today.

Feminist Audre Lorde's famous statement posed, "You can't dismantle the master's house using the master's tools." Rainer rebutted her theory by stating: "You can, if you expose the tools."

Rainer was interviewed for the feminist film !Women Art Revolution.

Rainer is referenced in several places as example of artist, feminist, and lesbian in the second edition of Feminism Art Theory edited by Hilary Robinson.

Recognition
In 1990, Rainer was awarded with a MacArthur Fellows Program award (or "Genius Grant") for her contributions to dance. In 2015 she received the Foundation for Contemporary Arts's Merce Cunningham Award; in 2017 she received a USA Grant. She has also received two Guggenheim Fellowships (1969,1988).

title: Yvonne Rainer


text:
Beaumont Chase

Beaumont Chase is a civil parish in the county of Rutland in the East Midlands of England. It is to the west of Uppingham, north of Stoke Dry, and on a hillside overlooking Leicestershire. Formerly an extra-parochial area, it was created a separate parish in 1858.

The civil parish's name means 'Beautiful hill'. 'Chase' is a later addition which means a place for breeding and hunting wild animals.

There is only a single occupied building, a farmhouse. According to the 2001 census, Beaumont Chase had a population of zero.

title: Beaumont Chase


text:
Portal:Geography/WikiProjects

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What are WikiProjects?
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title: Portal:Geography/WikiProjects


text:
Los Olivos, California

Los Olivos (Spanish for "the olive trees") is an unincorporated community in the Santa Ynez Valley of Santa Barbara County, California, United States. Tourism is popular in this rural area which is an agricultural region with an emphasis on wine grapes. For statistical purposes, the United States Census Bureau has defined Los Olivos as a census-designated place (CDP). The population was 1,132 at the 2010 census. The ZIP Code is 93441, and the community is within the area code 805.

History
Sometime around 1880, on a bluff overlooking Alamo Pintado Creek, just north of the town of Ballard, a two-story house was built, with a wide, covered front porch and neatly symmetrical arched windows in the center gable, situated on prime farmland. It became the property of twenty-two-year-old Alden March Boyd, of Albany, New York, when he paid $8,000 for "157 acres, more or less, together with the dwelling house," in 1885. He planted five thousand olive trees, and called it Rancho De Los Olivos. The 1880s were a boom time for California. On November 16, 1887, the Pacific Coast Railway line extension from Los Alamos was completed. The developers of the narrow-gauge railway first named their town El Olivar, then El Olivos, and finally Los Olivos, after Boyd's nearby ranch.

Los Olivos was connected by the narrow gauge railroad to points north as far as San Luis Obispo until the train made its last run in 1934. The southern terminus of the railroad was in front of Mattei's Tavern, where a stagecoach line continued over San Marcos Pass into Santa Barbara.

Geography
Los Olivos is one of five communities (with Ballard, Buellton, Solvang, and Santa Ynez) that make up the Santa Ynez Valley. The census definition of the area was created by the Census Bureau for statistical purposes and may not precisely correspond to local understanding of the area with the same name. The town is near SR 154, a scenic road from Santa Barbara over San Marcos Pass, through the coastal Santa Ynez Mountains.

Climate
Under the Köppen Climate Classification, "dry-summer subtropical" climates are often referred to as "Mediterranean". Los Olivos has a mean yearly temperature of 61.6 °F (16.4 °C). The average high temperature in the summer months is 92 °F (33.3 °C), while the average low temperature in the winter months is 39.5 °F (4.2 °C). Summers are dry with little to no rain falling from June through September. Winters are mild and wet with the majority of the yearly precipitation (nearly 80%) falling from December through March.

Demographics
The 2010 United States Census reported that Los Olivos had a population of 1,132. The population density was 460.3 PD/sqmi. The racial makeup of Los Olivos was 1,049 (92.7%) White, 1 (0.1%) African American, 4 (0.4%) Native American, 12 (1.1%) Asian, 5 (0.4%) Pacific Islander, 40 (3.5%) from other races, and 21 (1.9%) from two or more races. Hispanic or Latino of any race were 125 persons (11.0%).

The Census reported that 1,132 people (100% of the population) lived in households, 0 (0%) lived in non-institutionalized group quarters, and 0 (0%) were institutionalized.

There were 460 households, out of which 141 (30.7%) had children under the age of 18 living in them, 276 (60.0%) were opposite-sex married couples living together, 36 (7.8%) had a female householder with no husband present, 15 (3.3%) had a male householder with no wife present. There were 16 (3.5%) unmarried opposite-sex partnerships, and 5 (1.1%) same-sex married couples or partnerships; 109 households (23.7%) were made up of individuals, and 35 (7.6%) had someone living alone who was 65 years of age or older. The average household size was 2.46. There were 327 families (71.1% of all households); the average family size was 2.90.

The population was spread out, with 247 people (21.8%) under the age of 18, 67 people (5.9%) aged 18 to 24, 203 people (17.9%) aged 25 to 44, 441 people (39.0%) aged 45 to 64, and 174 people (15.4%) who were 65 years of age or older. The median age was 48.0 years. For every 100 females, there were 97.9 males. For every 100 females age 18 and over, there were 92.0 males.

There were 509 housing units at an average density of 207.0 /sqmi, of which 315 (68.5%) were owner-occupied, and 145 (31.5%) were occupied by renters. The homeowner vacancy rate was 0.3%; the rental vacancy rate was 2.7%. 814 people (71.9% of the population) lived in owner-occupied housing units and 318 people (28.1%) lived in rental housing units.

Economy and tourism
Los Olivos is known for its wineries and tasting rooms. Starting in Los Olivos and stretching north is the Foxen Canyon Wine Trail.

There are a number of large thoroughbred horse ranches in the area. Mattei's Tavern, a former stagecoach stop, is a restaurant.

Education
The Los Olivos School District operates Los Olivos Elementary School.

There are two private college-prep schools, Dunn School and Midland School. Dunn School is located along SR 154 and has both boarding and day students. Midland School is located on Figueroa Mountain Road and has only boarding students.

In popular culture
In May 1986, Los Olivos was used as the location setting for the fictional town of "Mayberry" in the made-for-TV movie Return to Mayberry, based on the popular 1960s sitcom The Andy Griffith Show. Several locations in Los Olivos were featured in the 2004 movie Sideways highlighting Santa Barbara county's viticulture. The Los Olivos Grand Hotel, built in 1985, is now Fess Parker's Wine Country Inn, owned by the family of former Daniel Boone and Davy Crockett star Fess Parker (1924–2010). Parker and his wines were featured on the NBC daytime drama Santa Barbara (first episode of Season Two) of James May and Oz Clarke's Big Wine Adventure. Episodes of The Bachelor were filmed in Los Olivos.

Portions of the 1983 video for the song "Say Say Say", with Michael Jackson and Paul McCartney, were filmed at Sycamore Ranch, 5 mi from the town. According to La Toya Jackson, the McCartneys were staying at Sycamore Ranch during the filming. At the time, Jackson expressed interest in someday buying the property. In 1988, he would do so, renaming it Neverland Ranch.

Notable people
Various celebrities have called this area home, including Cheryl Ladd, Noah Wyle, David Crosby, Bo Derek, Kelly Le Brock, Val Bisoglio, Steven Seagal, John Forsythe, Ray Stark, Robert Cray, and David Hasselhoff. Former US President Ronald Reagan lived about 9 mi south at Rancho del Cielo ("Sky Ranch"). Musician Michael Jackson's property Neverland Ranch is located about 5 mi north.

title: Los Olivos, California


text: Category:Portuguese historians

title: Category:Portuguese historians


text:
Battle of Salado

Battle of Salado may refer to:
 * Battle of Río Salado or Battle of Tarifa (1340), a battle of the armies of King Afonso IV of Portugal and King Alfonso XI of Castile against those of sultan Abu al-Hasan 'Ali of Morocco and Yusuf I of Granada
 * Battle of Salado Creek (1842), a decisive engagement in 1842 that repulsed the final Mexican invasion of the Republic of Texas

title: Battle of Salado


text:
Sydney Olympic FC

Sydney Olympic Football Club is an Australian semi-professional soccer club, based in Belmore, Sydney, New South Wales, that plays in the National Premier Leagues NSW. The club was founded as Pan-Hellenic Soccer Club in 1957 by Greek immigrants. In 1977, the club changed its name to Sydney Olympic and became a founding member of the Phillips Soccer League, later named the National Soccer League (NSL), the inaugural national football league of Australia, remaining a member of the competition until its demise in 2004.

Sydney Olympic have won many trophies in Australian football, including two NSL Championships, two NSL Cups, the NSL Minor Premiership and three NSW Premier League Championships. The club has also won the Johnny Warren Cup, the Brett Emerton Cup, the National Youth League Championship, the National Youth League Minor Premiership and the NSW Premier League Club Championship.

Sydney Olympic has traditionally been one of the most well supported football teams in Australia, setting numerous domestic crowd attendances. A crowd of 18,985 attended Sydney Olympic's victory over Northern Spirit in 1998 at North Sydney Oval, a record crowd attendance between two clubs during the regular season of the NSL, defeating the previous record of 18,367 set when Newcastle KB United played Sydney Olympic in 1979 at Marathon Stadium. The greatest crowd attendance for a Grand Final was recorded during the 2001/02 season when 42,735 people were present at Subiaco Oval to see Sydney Olympic defeat Perth Glory.

1957: Pan-Hellenic – The Beginnings
Established in Sydney by Greek immigrants in 1957, Sydney Olympic Football Club has been and continues to be a major pillar and a leading contributor to football in Australia as well as a nursery to many of its finest talents.

In the late 1940s and 50s there were several small Greek teams for the purposes of socialising and giving a sense of home for the newly arrived migrants. These teams included; Taxiarchis, Atlas, Astro, Pansamiakos as well as several others. Many people wondered about uniting all of these smaller teams to establish 1 strong Greek team in order to participate in the NSW Soccer Federation. The founding date of the club is set as 28 November 1957, as this was the first meeting of Club Founder Christos Giannakoulias with several other influential protagonists at his home. It was decided there, that the newly formed team would be known as Pan-Hellenic, as it represented the shared journeys of Greeks from all over the world who migrated to Sydney and not just from Greece and Cyprus, but also from various other places like; Egypt, Romania, Albania, Yugoslavia, Bulgaria, Anatolia and Asia Minor

The club was established as Pan-Hellenic Soccer Club and its initial strip was blue and white vertical stripes.

1958–60: NSW 2nd Division
In its first season in 1958, Pan-Hellenic found itself in the NSW 2nd Division, which at the time was split into 2 groups – Western & Eastern – After topping its group, Pan-Hellenic faced off with Budapest, who had topped the other group in the Grand Final, which Pan-Hellenic won 3–1. This still was not good enough for promotion and Pan-Hellenic was forced to play a separate play-off with Budapest for promotion. The initial match ended 1–1 and a replay was ordered a few days later, which Budapest won 4–0.

For season 1959, the Federation did away with a Finals Series and promotion playoffs, instead awarding promotion to the club which topped the competition table after the 26 rounds. Pan-Hellenic would miss out again on promotion, as it finished runner-up to Neerlandia.

In 1960 and in what would become a tradition in Australian Football, the format was changed yet again. A Finals Series would be played this season, Pan-Hellenic reached the Grand Final again, but would go on and lose to Polonia 2–1. But this time, the team which would end up atop the competition ladder was crowned the Champions and would be promoted, fortunately for Pan-Hellenic, they finished top of the ladder 1 point ahead of Polonia, were crowned Champions and finally earned promotion to the NSW 1st Division for 1961.

1960s: NSW 1st Division
In its first season in the NSW 1st Division in 1961, the club would finish in the top 4 finishing 4th, a fantastic achievement. In the Finals Series Pan-Hellenic lost its Semi-Final to Hakoah 1–0.

1962 saw Pan-Hellenic finish in 7th place, before rebounding in 1963 to once again make the top 4, finishing 4th once again and qualified for the Finals Series. South Coast United delivered a heavy blow in the Semi-Final, dishing out a 7–1 loss to Pan-Hellenic.

In 1964 Pan-Hellenic finished 6th. While in 1965 the club endured a difficult League campaign, coming within a whisker of being relegated, finishing 2nd last and having to endure the 3 relegation playoff ties. The first 2 ended in draws (0–0 and 1–1) against Polonia, the 3rd match was a 5–4 thriller to Pan-Hellenic. 11,000 turned up on a Wednesday night to see the match, a victory which preserved the club's 1st Division status. This was in total contrast with Pan-Hellenic's Cup form, which saw them go on a run all the way to the Final, only to lose 3–1 to Hakoah.

For season 1966, Pan-Hellenic finished in 5th spot. The club would return to Finals Football once again in 1967 finishing in 4th, but would once again fail to progress in the Finals Series. 1967 also saw Pan-Hellenic go on a great run in the inaugural National Club Knock-Out competition the – Australia Cup – falling one game short of the Final, as it lost to APIA Leichhardt 3–2 after extra-time in the Semi-Final.

The 1968 season though, was the highlight of the pre-National Soccer League era, 11 years after the club's foundation, Pan-Hellenic finished 2nd in the standings and reached the NSW First Division Grand Final for the first time. Pan-Hellenic would unfortunately lose 4–2 to bitter rivals Hakoah in front of a crowd of 22,111 at the Sydney Sports Ground. In 1969 Pan-Hellenic would have to settle for a mid-table 6th-placed finish. The club also experienced another great Cup run making it to the Final once again in 1969, a Final it would ultimately lose 3–2 to Prague.

1970s
After some lean seasons: 1970 (8th), 1971 (10th), 1972 (7th), 1973 (9th)

1974 saw a marked improvement in the team under Socceroos coach Rale Rasic. Pan-Hellenic just missed out on the top 4 to finish in 5th spot. 1975 did see Pan-Hellenic once again make the top 4, finishing in 3rd place. In the Finals Series Pan-Hellenic dispatched Auburn 2–1 in the Semi-Final to make it through to the Preliminary Final, which the club went on to lose 1–0 after extra-time to APIA Leichhardt, in a tight and tense affair.

In its final season in the NSW State League for the time being and its last season under the name Pan-Hellenic in 1976, the club just missed out on a Finals spot, ending up in 5th place.

1977: Sydney Olympic & the NSL
For 1977 the club became a pioneering founding member of the National Soccer League, and also changed its name to Sydney Olympic.

Sydney Olympic had a tough initiation into National League Football in 1977, finishing 3rd last. 1978 saw a vast improvement from Sydney Olympic as it finished in a much-improved and respectable mid-table position.

In 1979 Sydney Olympic endured another difficult campaign, finishing in 2nd last place. The Federation at the time, then made the decision to "cut back" on teams from NSW and being the last placed NSW team, beating only South Melbourne who had finished last, Sydney Olympic was controversially relegated.

1980s
The spell back in the NSW First Division competition for the club did not last long, with Sydney Olympic defeating the Parramatta Eagles 4–0 in the 1980 NSW Grand Final to win the NSW First Division. That victory secured Sydney Olympic a return to top-flight Australian football in 1981 where it remained until the NSL folded in 2004.

The 1980s for Sydney Olympic were characterized with great football, large and passionate support, fantastic players, unfathomable highs as well as a litany of failures.

Seasons 1981 and 1982 were a period of stabilisation for the club, as it settled back into the National Soccer League. Sydney Olympic finished both seasons in the safety of mid-table security. During this period many young players and future legends of the club would be given their opportunity to make their mark for Sydney Olympic.

The mid-1980s are generally referred to as a Golden Era for Sydney Olympic. It was exciting times and the club was on a high, huge crowds flocked and followed the club wherever they were playing, and on the park the team was playing magnificent football and in later years would be labelled as one of the best club sides in Australian football history.

Between 1983 and 1986 Sydney Olympic played in 4 consecutive National Finals. Beating Heidelberg United in the 1983 NSL Cup Final and beating Preston Lions in the 1985 NSL Cup Final. Sydney Olympic also made it to the NSL Grand Finals of 1984 and 1986, losing to South Melbourne FC and Adelaide City respectively.

After this period, there was an exodus of players at Sydney Olympic meaning the team almost had to be re-built, as only a few players would remain. It showed as the club dropped back to a mid-table finish for season 1987.

Sydney Olympic bounced back in season 1988 to finish 5th and qualify for the Finals Series once again. Though disappointingly, they would go on to lose that Semi-Final 3–1 to the Marconi Stallions.

1989 would prove to be a bitter-sweet end to the decade for Sydney Olympic. The club climbed the ladder and enjoyed a great season, finishing 3rd and once again qualifying for the Finals. A Semi-Final victory over Melbourne Knights was followed by a Preliminary Final victory over St George FC, meaning Sydney Olympic found themselves in their 3rd NSL Grand Final in 6 years. But it would not be 3rd time lucky for the Blues, as they succumbed to an injury-time winner in the Grand Final to lose 1–0 to Marconi in front of 23,387 fans at the Parramatta Stadium. 1989 also saw another great NSL Cup run for Sydney Olympic, reaching another Final. But the club could not make up for their Grand Final loss & lost the 1989 NSL Cup Final 2–0 to Adelaide City.

1990s
The 1990s began on the right foot for the club as it sneaked into that year's NSL Finals Series in 5th. After a historic Finals run, winning 3-straight sudden death Semi-Finals against Adelaide City, South Melbourne and Melbourne Knights and a year after Sydney Olympic's 1989 NSL Grand Final loss against Marconi, 1990 saw Sydney Olympic meet Marconi once again in the Grand Final. This time it would be Olympic's day as they exacted revenge by beating Marconi 2–0, before a then record NSL crowd of 26,353. Scorers that day were Alistair Edwards and Robert Ironside either side of half-time. 1990 also saw Sydney Olympic reach another NSL Cup Final, their 4th in 8 years, unfortunately going down to South Melbourne.

In defense of their title in season 1990/91, Sydney Olympic endured an inconsistent season, which came down to the last match of the regular season in what became a pre-Finals Series playoff against 6th placed Parramatta Melita. Sitting in 5th, a draw would have been enough for Olympic to finish in the top 5 and qualify for the Finals, but a late Parramatta goal ensured Olympic would succumb to a 1–0 loss and were leapfrogged into the top 5 by Parramatta FC.

Sydney Olympic surged once again in season 1991/92, missing out on the Minor Premiership by 1 point. Things were looking promising heading into that season's Finals Series, but it was not to be as Olympic were disappointingly bundled out of the Finals.

The next few seasons were inconsistent for Olympic. 1992/93 (9th), 1993/94 (6th), 1994/95 (9th).

For season 1995/96, Sydney Olympic formed a prosperous partnership with the University of Technology Sydney (UTS) and became known as UTS Sydney Olympic. During that time, the club's home ground was Leichhardt Oval, 1995/96 also saw Olympic finish 3rd on the ladder 1 point behind eventual Minor Premiers and old foes Marconi. Qualifying for the Finals Series again, Olympic were eventually eliminated by Adelaide City.

A change of home ground awaited the Blues going into season 1996/97. Belmore Sports Ground, in the more traditional heartland of Olympic, became the club's new home. In April 1997, Sydney Olympic enjoyed a record home attendance in the NSL at Belmore, of 16,724 against Marconi. Sydney Olympic missed out on Finals Football ending the season in 9th. Season 1997/98 also saw the club's worst ever defeat in January 1998, when the Canberra Cosmos inflicted an 8–1 loss on Sydney Olympic in the nation's capital. This season saw Olympic finish 9th.

During season 1998/99 Sydney Olympic was involved in a match which attracted the largest crowd for any regular NSL season match excluding finals. That game was against the Northern Spirit at North Sydney Oval in what was the Spirit's debut match in the NSL. That evening, 18,985 soccer-loving enthusiasts turned out to watch Sydney Olympic defeat new boys Northern Spirit 2–0. Olympic golden boys Chris Kalantzis and Pablo Cardozo were the goal scorers. The season saw Olympic finish 7th, missing the Finals

2000–2004
The 2000s saw Olympic's fortunes take an upturn. 1999/2000 saw their biggest ever NSL win, a 6–0 defeat of South Melbourne in January 2000 at Belmore Sports Ground. The club would again make the Finals that season, finishing in 5th place. During the Finals Series Sydney Olympic beat Adelaide City over 2 legs, but would go on to lose to Carlton SC in extra-time, for a spot in the Preliminary Final.

In season 2000/01, Sydney Olympic finished 4th on the competition ladder. In the Finals Series, Olympic eliminated Marconi and then Melbourne Knights to make it through to the Preliminary Final, a match they lost 2–0 to the Minor Premiers South Melbourne.

Season 2001/02 saw the club move base again, this time to the Sutherland Shire in Sydney's south, an area with no NSL representation, but a large base of registered junior players to potentially tap into. Olympic played out of Toyota Park. The move had also involved a change of name from Sydney Olympic to Olympic Sharks with the traditional blue and white colours of the club still in place. This season also saw Olympic capture their 2nd NSL Championship, a lone Ante Milicic goal early in the second-half, being enough to defeat Perth Glory at Subiaco Oval in front of 42,735 fans.

The 2002/03 season saw Sydney Olympic win its first ever Minor Premiership by finishing on top of the NSL ladder, which eventually led to Olympic's second consecutive appearance in the NSL Grand Final. This time however, it would be the Perth Glory who would take out the title, winning 2–0 in Perth, in front of 38,111 fans.

Despite the on field successes, the move to the Sutherland Shire was short-lived. Poor attendances took their toll on the venture and for season 2003/04 the club chose to revert to the widely preferred name of Sydney Olympic and moving to OKI Jubilee Stadium at Kogarah.

2004–2009: Back to the State Leagues
Following the demise of the NSL in 2004, Sydney Olympic participated in the 2004/05 NSW Premier League season and just missed out on the Finals Series. In 2006 Sydney Olympic returned to Belmore Sports Ground where the club had a mid-table finish of 6th.

2007 was a special year for Sydney Olympic as it celebrated the 50th anniversary of its founding, with the club's jersey reverting to the original blue and white vertical striped design. On the field it would turn out to be a forgettable year for the club, as it ended the season in 9th spot.

In the 2008 season under the stewardship of former player Milan Blagojevic, the club laid the platform for what would be a successful season by capturing the 2008 pre-season Johnny Warren Cup with a gutsy 2–1 win over the Sutherland Sharks. During the regular season, Sydney Olympic finished 3rd on the ladder, their best league finish since the 2002/03 NSL season. In the ensuing Finals Series Olympic were stopped 1 game short of that season's Grand Final losing in the Preliminary Final to Sutherland. The 2008 season also saw Olympic make the Waratah Cup Final, only to lose that Final.

In season 2009, Sydney Olympic dropped back down the ladder, ending the season in a disappointing 8th spot.

2010s
The new decade would start off in a miserable way. Season 2010 saw Sydney Olympic equal their worst ever league finish, ending the season in 2nd last spot.

In 2011, Sydney Olympic with a new coaching staff and many new players finished in 1st place, four points clear of Sydney rivals Sydney United FC to claim the Minor Premiership. In the Finals Series Olympic beat Sydney United 2–0 in the Semi-Final and beat them again by the same score-line in the Grand Final, in front of 10,000+ fans at Belmore Sports Ground and went on to become NSW Champions again.

2012 saw Sydney Olympic finish 2nd in the NSW Premier League, but were bundled out of the Finals Series in straight sets and in 2013 Sydney Olympic finished a disappointing 7th.

In 2014, former Greek international centre-back Sotirios Kyrgiakos signed for the club. Kyrgiakos stated in the press conference; "It's a beautiful thing for me to come to Sydney & play football in Australia. I wanted to have this experience and this opportunity was available for a handful of games, which was the proposal from the club. I will be thrilled to get to know Australian football and experience it and it's very significant that I'm coming to a very historic club with great Greek support". Sydney Olympic finished the regular season in 4th, before embarking on an amazing Finals run. Winning 3 sudden death matches in succession to make it to the NSW Grand Final, only to lose 2–1 to Blacktown City after extra-time. In 2014 Sydney Olympic also made it to the FFA Cup Round of 16 only to be defeated 2–1 by Bentleigh Greens after a compressed end of year schedule eventually took its toll on the team.

In 2015 Sydney Olympic finished 4th in the regular season again after a great end to the regular season, which saw the team win 5 straight matches. After a convincing 2–0 victory in the first week of the Finals against Wollongong Wolves, the team set up a Semi-Final showdown against old rivals APIA Leichhardt, who took a 1–0 lead via a deflection. Sydney Olympic couldn't capitalise on a string of great chances in the second half to equalise, seeing the team eliminated 1–0. In 2015 Sydney Olympic again made it to the Round of 16 stage of the FFA Cup, but were disappointingly eliminated following a 3–1 loss to Hume City FC.

For 2016, Sydney Olympic endured an up and down season where it finished the season in 6th spot. In 2017, Sydney Olympic reached the Finals again, but were knocked out by Manly United in the first week. The club was also knocked out of the Cup in the early rounds in both 2016 and 2017.

In 2018, Sydney Olympic returned to winning ways. First clinching the Minor Premiership in a nail-biting last day of the season by leap-frogging old rivals APIA Leichhardt to finish top. This was added to by winning the Grand Final 3–1 and being crowned Champions, also against APIA Leichhardt.

In 2019, Sydney Olympic experienced an up and down season trying to defend their title from the previous season. Finishing the season 6th, they missed the Finals. They were also knocked out of the Cup in the early rounds.

2020s
Due to the outbreak of the COVID-19 pandemic, the 2020 season was suspended in April after 3 Rounds. The competition only resumed after a 4 month hiatus and returned in August, as a shortened 11-round season, with the club finishing in 4th position. Both the State and National Cup competitions were cancelled.

2021 would also be a season affected by the ongoing COVID-19 pandemic. The State Cup was cancelled, as was the League season, which was officially announced by Football NSW on August 12, 2021, with Sydney Olympic sitting in 4th spot at the time. Meanwhile the 2021 FFA Cup season was rescheduled and took place, with Sydney Olympic making it to the Round of 32 stage, before being knocked out 4-2 by Sydney FC

2022 saw Sydney Olympic win the NSW NPL Minor Premiership, clinching it on the final day with victory over Blacktown City to leapfrog them to top spot. In the Finals Series, the club was disappointingly bundled out 1 game short of the Grand Final. Meanwhile in the Cup, the club was eliminated in the early rounds. While in 2023, the club finished a disappointing 9th in the League, as well as being knocked out of the Cup in the early rounds.

Player Records
Appearances

 * 1. – 412 – Gary Meier
 * 2. – 302 – Gary Phillips
 * 3. – 281 – David Barrett
 * 4. – 259 – Peter Raskopoulos
 * 5. – 258 – William Angel
 * 6. – 251 – Tony Spyridakos
 * 7. – 246 – Paul Henderson
 * 8. – 230 – Comino Omeros
 * 9. – 215 – Brian Smith
 * 10. – 210 – Elias Augerinos
 * 10. – 210 – Ante Juric
 * 12. – 204 – Graham Jennings

Goals

 * 1. – 75 – Brian Smith
 * 2. – 69 – Dave Harding
 * 3. – 68 – Pablo Cardozo
 * 4. – 60 – Marshall Soper
 * 4. – 60 – Norman Tome
 * 6. – 53 – Mark Koussas
 * 6. – 53 – Abbas Saad
 * 8. – 52 – John Karagiannis
 * 9. – 51 – Kostas Karanikolas
 * 10. – 51 – Sotiris Patrinos
 * 11. – 50 – Doug Logan
 * 12. – 50* – Roy O'Donovan

Notable Internationals
🇦🇺 Australia
 * Terry Antonis
 * Walter Ardone
 * Andy Bernal
 * Milan Blagojevic
 * Roy Blitz
 * Clint Bolton
 * Tim Cahill
 * Nick Carle
 * Pablo Cardozo
 * Jason Culina
 * John Doyle
 * Alistair Edwards
 * Brett Emerton
 * Rodolfo Gnavi

 * Troy Halpin
 * Dave Harding
 * Robert Hooker
 * Graham Jennings
 * Ante Juric
 * Chris Kalantzis
 * John Karaspyros
 * Peter Katholos
 * John Kosmina
 * Mark Koussas
 * Massimo Luongo
 * Garry Manuel
 * Ante Milicic
 * Dave Mitchell
 * Danny Moulis

 * Jade North
 * Scott Ollerenshaw
 * Jim Patikas
 * Dimitri Petratos
 * Jason Polak
 * Tom Pondeljak
 * Peter Raskopoulos
 * Abbas Saad
 * Marshall Soper
 * Tony Spyridakos
 * Kimon Taliadoros
 * Kris Trajanovski
 * Alan Westwater
 * Lindsay Wilson
 * Ned Zelic

Greece 🇳🇿 New Zealand
 * Sotirios Kyrgiakos
 * Takis Loukanidis
 * Kostas Davourlis
 * Vassilis Stravopodis
 * Andrew Durante
 * Clint Gosling
 * Kevin Hagan
 * Ricki Herbert
 * Robert Ironside
 * Michael McGarry
 * Glen Moss
 * Chris Zoricich

🇱🇧 Lebanon 🇱🇷 Liberia Philippines Scotland Uruguay 🏴 Wales 🇳🇱 Netherlands
 * Yahya El Hindi
 * Mass Sarr Jr.
 * Iain Ramsay
 * David Provan
 * Vicente Estavillo
 * Ian Rush
 * Wim van der Gaag

Club officials
Directors
 * President: Damon Hanlin
 * Directors: Damon Hanlin, Chris Gardiner, Lawrie McKinna

Management
 * CEO: Lawrie McKinna
 * Head coach: Labinot Haliti
 * Assistant coach: Roy O'Donovan
 * Under 20s Coach: Jim Patikas
 * Women's First Grade Coach: Alberto Di Sciascio
 * Women's Reserve Grade Coach: Arthur Beltsos

Former coaches

 * 🇦🇺 John Phillips
 * 🇭🇺 Julius Polgar
 * 🇦🇹 Walter Tamandl
 * 🏴 Frank Hearn
 * Bill Vrolyks
 * 🇭🇺 Joe Vlasits
 * George Yangou
 * Takis Loukanidis
 * John Kalogeras
 * 🇷🇸 Rale Rasic
 * 🇦🇷 Raul Blanco
 * 🏴 Bruce Stowell
 * 🇵🇱 Kaz Kulak
 * Tommy Anderson
 * 🇦🇺 Joe Marston
 * 🇨🇾 John Xipolitas
 * Jimmy Adam
 * Tommy Docherty
 * 🏴 Doug Collins
 * 🇩🇪 Manfred Schaefer
 * Eddie Thomson
 * 🏴 Mick Hickman
 * 🇦🇺 Peter Raskopoulos
 * 🇦🇺 Bertie Mariani
 * Vicente Estavillo
 * Tom Sermanni
 * 🇦🇺 David Ratcliffe
 * 🏴 Geoff Harcombe
 * Dave Mitchell
 * Branko Culina
 * 🇦🇺 Gary Phillips
 * 🇦🇺 Lee Sterrey
 * Peter Papanikitas
 * 🇩🇪 Les Scheinflug
 * 🇦🇺 Chris Kalantzis
 * 🇦🇺 Milan Blagojevic
 * 🇦🇺 Aytek Genc
 * 🇦🇺 Nick Theodorakopoulos
 * 🇦🇺 Manny Spanoudakis
 * 🇩🇪 André Gumprecht
 * 🇦🇺 Steve O'Connor
 * 🇦🇺 Peter Tsekenis
 * 🇦🇺 Grant Lee
 * Jaime Monroy
 * 🇪🇸 Gorka Etxeberria
 * 🇦🇺 Abbas Saad
 * 🇦🇺 Terry Palapanis
 * 🇦🇺 Ante Juric

Leagues

 * National Soccer League
 * Winners (2): 1989–90, 2001–02
 * Runners-up (4): 1984, 1986, 1989, 2002–03
 * National Soccer League Minor Premiership
 * Winners (1): 2002–03
 * Runners-up (3): 1984, 1986, 1991–92
 * National Youth League
 * Winners (1): 1987
 * Runners-up (1): 1991
 * NSW Premier League/NSW 1st Division
 * Winners (3): 1980, 2011, 2018
 * Runners-up (2): 1968, 2014
 * NSW Premier League/NSW 1st Division Minor Premiership
 * Winners (3): 2011, 2018, 2022
 * Runners-up (3): 1968, 1980, 2012
 * NSW Super League/NSW 2nd Division
 * Winners (2): 1958, 1960
 * Runners-up (1): 1959

Cups

 * Australia Cup/NSL Cup/FFA/Australia Cup
 * Winners (2): 1983, 1985
 * Runners-up (2): 1989, 1989–90
 * Semi-finalists (2): 1967, 1995
 * NSW State/Federation/Waratah Cup
 * Runners Up (3): 1965, 1994, 2008
 * Ampol Cup/Johnny Warren Cup
 * Winners (3): 1980, 2008, 2013
 * Runners-Up (1): 1969

Individual honours

 * NSL Player of the Year Award
 * 1982 – Peter Katholos

 * NSL Top Goalscorer Award
 * 1991/1992 – Tim Bredbury
 * 1998/1999 – Pablo Cardozo

 * NSL Under 21 Player of the Year Award
 * 1997/1998 – Brett Emerton

 * NSW NPL Goalkeeper of the Year Award
 * 2017 – Paul Henderson
 * 2018 – Paul Henderson

 * NSW NPL Top Goalscorer Award
 * 2022 – Roy O'Donovan

Hall of Fame
On 6 March 2018, Sydney Olympic announced their thirteenth Hall of Fame inductee.

 * Mark Bosnich
 * Nick Carle
 * Pablo Cardozo
 * Graham Jennings
 * Ante Juric
 * Chris Kalantzis
 * Peter Katholos
 * Grant Lee
 * Gary Meier
 * Les Murray
 * Jim Patikas
 * Abbas Saad
 * Peter Raskopoulos

title: Sydney Olympic FC


text:
Greater Hamburg Act

[[File:Groß-Hamburg.svg|thumbnail|325px| Territorial expansion of Hamburg after the Greater Hamburg Act (1937):

]]

The Greater Hamburg Act (Groß-Hamburg-Gesetz), in full the Law Regarding Greater Hamburg and Other Territorial Readjustments (Gesetz über Groß-Hamburg und andere Gebietsbereinigungen), was passed by the government of Nazi Germany on 26 January 1937, and mandated the exchange of territories between Hamburg and the Free State of Prussia. It became effective on 1 April 1937

Greater Hamburg
Hamburg lost most of its exclaves, including Geesthacht and Cuxhaven. In return, Hamburg was enlarged by including formerly Prussian towns like Altona, Wandsbek, and Harburg-Wilhelmsburg as well as a number of villages. Altona and Wandsbek had been part of the Prussian province of Schleswig-Holstein, while Harburg-Wilhelmsburg had been a part of the Prussian province of Hanover. This represented the formal merger of what had previously been referred to as the "Four-City Region".

Lübeck
Besides the regulations for Hamburg, the law incorporated most of the Free City of Lübeck into the Prussian province of Schleswig-Holstein, though some smaller villages were included in the State of Mecklenburg. This constituted a victory for the Gauleiter (regional party leader) of Schleswig-Holstein, who had competed with the neighbouring Gauleiter of Mecklenburg for control of the city ever since 1933.

Until the Greater Hamburg Act, Lübeck had been a separate member state of the Reich. Two reasons for ending this status are cited: Adolf Hitler had a distaste for Lübeck ever since the city council prohibited him to campaign there in 1932, and Lübeck formed part of the compensation given to Prussia for its losses to Hamburg (besides Lübeck, Prussia also gained Hamburg's territories of Geesthacht, which was also incorporated into the province of Schleswig-Holstein, and Ritzebüttel (including Cuxhaven), which went to the Province of Hanover).

title: Greater Hamburg Act


text:
Tomás Muñiz

Tomás Domingo Muñiz Souffront (August 4, 1900 – September 9, 1963) was a well known Puerto Rican radio and television producer. He is sometimes respectfully called by the general public in Puerto Rico as Don Tomás Muñiz, to differentiate him from his namesake and son, Tommy Muñiz

As a young man, Tomás Muñiz worked as a real estate agent, and later as an advertising copy writer -and later executive- of the West Indies Advertising Company (WIAC). He later produced radio shows and administered the agency's radio station, WIAC-AM in San Juan. He was one of the first persons to give José Miguel Agrelot work. He also worked with a large number of other entertainers.

His son, Lucas Tomás Muñiz, or Tommy Jr., later on became owner of Teleluz, a major competitor of WAPA-TV and Canal 2.

Tomás Muñiz was the patriarch of a show business family: one of his seven children, Tommy, is a media legend in Puerto Rico, his grandson Rafo Muñiz, is also an actor and television producer and music promoter. Yet another grandson, Pedro Muñiz, starred as the father in the 1989 highly acclaimed television sitcom Maripili which he also produced (521 episodes), he is also a film producer. Son Tommy Muñiz Jr. also produced and starred in the only Puerto Rican film ever to be nominated for an Oscar, a 1989 film titled Lo que le Pasó a Santiago ("What happened to Santiago").

title: Tomás Muñiz


text:
Emily Lloyd

Emily Alice Lloyd-Pack (born 29 September 1970), known as Emily Lloyd, is a British actress. At the age of 16, she starred in her debut and breakthrough role in the 1987 film Wish You Were Here, for which she received critical acclaim and Best Actress awards from the National Society of Film Critics and the Evening Standard British Film Awards. She subsequently relocated to Manhattan at 17, received numerous film offers, and starred in the 1989 films Cookie and In Country.

Lloyd's mental health began to decline in her late teens, and she missed out on several prominent roles due to a combination of factors. She turned down the lead role in the 1990 film Pretty Woman as she had already agreed to star in Mermaids, from which she was later recast. She was fired from the 1992 film Husbands and Wives as her deteriorating health affected her ability to work, and was also replaced in the 1995 film Tank Girl. In 1997, a journalist said Lloyd was "in danger of becoming better known for the parts she has lost than those she has played". Though she continued to act in films during this time, she was mostly relegated to supporting roles.

Lloyd's mental health continued to deteriorate in later years. While she played the lead role in the 2002 independent film The Honeytrap to critical acclaim, and also performed in theatrical productions, she had difficulty finding work and was diagnosed with several mental health conditions. By 2013, Lloyd's health had stabilised. That same year she published an autobiography, Wish I Was There.

Early life
Lloyd was born in London, the daughter of Sheila Ball (née Mackie, later Lloyd-Pack), a theatrical agent who was a long-time secretary at Harold Pinter's stage agency, and actor Roger Lloyd-Pack. Her grandfather, Charles Lloyd-Pack, was also a stage and film actor. Lloyd's parents separated when she was 18 months old; her father moved out of the family home though Emily continued to live with her mother in Milner Square, Islington. Lloyd-Pack married telephone engineer Martin Ball and had a second daughter, Charlotte, when Lloyd was five; however the couple separated two months after her birth. Her father married Jehane Markham in 2000; they had three sons: Hartley, Louis and Spencer.

Film career
At the age of 15, Lloyd was taking acting lessons at the Italia Conti School in London. In 1986, director David Leland cast her as Lynda, the leading role in his film Wish You Were Here. The film was based loosely on the memoirs of Cynthia Payne. Lloyd's younger half-sister Charlotte played the 11-year-old Lynda in a flashback sequence. Wish You Were Here received an International Federation of Film Critics award at the 1987 Cannes Film Festival, and Lloyd received widespread acclaim for her performance. Roger Ebert said she was the key to the film's performance, calling it "one of the great debut roles for a young actress". Lloyd received the 'Best Actress' award from the National Society of Film Critics in 1987, and also at the 1987 Evening Standard British Film Awards. She was also nominated for the BAFTA Award for Best Actress in a Leading Role in 1988.

Following her success, Steven Spielberg warned her not to get involved in the film industry and to "be a kid and go to Disneyland". Lloyd, however, moved to Manhattan where she was living alone at 17. She received numerous film offers and reportedly beat over 5,000 actresses, including Jodie Foster, for the lead role in the 1989 film Cookie. Lloyd reported that her mental health deteriorated in Manhattan, and began developing a tic, had difficulty concentrating, and was hearing voices. She later said she was aware she needed help but did not know how to go about getting treatment. Her co-star in Cookie, Peter Falk, became so frustrated with her behaviour during filming that he slapped her, after which she slapped him back. Lloyd's performance in Cookie was praised by The New York Times.

Her next role was in the 1989 film In Country opposite Bruce Willis, though the two stars reportedly did not get along during filming. Rick Groen from The Globe and Mail praised Lloyd's performance as "letter perfect – her accent impeccable and her energy immense". Lloyd had to turn down an offer for the lead role in Pretty Woman; she had already been contracted to star in the 1990 film Mermaids. Lloyd was cast as the daughter of the character played by the film's star, Cher. Cher, however, thought that Lloyd did not look enough like her to portray her daughter and complained about her casting. The original director of the film, Lasse Hallström, was fired at Cher's insistence, and Lloyd was subsequently told she was no longer required. Her part was given to Winona Ryder. Lloyd sued Orion Pictures for breach of contract and received $175,000 in damages.

Her next role was in the 1990 film Chicago Joe and the Showgirl; Roger Ebert commented that Lloyd "shows again, in only her fourth role, what a remarkable new talent she is." Shortly thereafter she began dating musician Gavin Rossdale. According to Lloyd the relationship was troubled, and one night at his apartment alone, she attempted suicide by taking aspirin and slashing her wrists. She was found by one of Rossdale's friends and spent the next six weeks in hospital. She was cast in Woody Allen's 1992 film Husbands and Wives, but was fired by him after two weeks due to her ill health. Allen complained Lloyd was spending too much time in her trailer; Lloyd later stated that was because she was making herself vomit. Later in 1992, she had a supporting role in Robert Redford's A River Runs Through It. The Hollywood Reporter said that Lloyd provided "another memorable performance", while Malcolm Johnson from the Hartford Courant said she and co-star Brad Pitt brought "verve and charm" to the film. In 1995, she was initially cast as the eponymous lead character for the film Tank Girl. The film's director, Rachel Talalay, states she fired Lloyd for refusing to shave her head for the role. Lloyd, who had spent four months training for the film, disputes this. She offered to rescheduled her appointment with the film's hair stylist to the following day because the stylist had a dinner date. Talalay ostensibly fired her for "being difficult". Lloyd said she was actually fired due to their personality clashes. Lloyd states she "went to pieces" after Tank Girl, believing she was cursed.

In 1996, she appeared in the Sean Bean football film When Saturday Comes, then had a supporting role in the critically acclaimed film Welcome to Sarajevo. In 1997, Lloyd went to India where she took the anti-malaria drug mefloquine, which is contraindicated for people with mental disorders. Lloyd became sick on the trip and was also bitten by a stray dog. Lloyd attributes her subsequent mental breakdown to the combination of the drug and the attack. She lost 2 st on the two-week trip, and developed obsessive-compulsive disorder afterward. Despite this, she continued to work in film, appearing in Boogie Boy later that year. In 1998, she appeared in the film Brand New World, her last performance until she played the lead role in the independent thriller The Honeytrap in 2002, for which she received critical acclaim. The following year, she starred in the film Riverworld.

Theatre career
Lloyd made her début on the stage in 1996 as Bella Kooling in Max Klapper at the Electric Cinema. In 1997, she was cast as Eliza Doolittle in the Albery Theatre production of Pygmalion, produced by Bill Kenwright. It was to be her West End debut. Shortly after rehearsals began, the original director Giles Havergal walked out, with reports he found Lloyd impossible to work with. Lloyd later left the production herself, citing an issue with another member of the cast. A journalist from The Independent subsequently commented that Lloyd was "in danger of becoming better known for the parts she has lost than those she has played". In 2003, she appeared as Ophelia in Hamlet at the Shakespeare Festival in Leeds and Brighton. Lloyd spoke positively of her experience in the play, though, according to The Daily Telegraph, one reviewer said her performance left audiences "visibly cringing".

Later life
By 2003, Lloyd was struggling to find acting work. Cassandra Jardine from The Daily Telegraph stated that during an interview Lloyd frequently lost track of her sentences, stared into the distance and made sudden exclamations for no apparent reason. Lloyd attributed her mental state to the mefloquine exacerbating her existing anxiety and depression issues, and attributed her lack of regular acting work to these conditions and the stigma surrounding mental illness. By this time, Lloyd had lost contact with her Hollywood connections, and had had to sell the London apartment which she had bought with her film earnings. In 2005, she was diagnosed with attention deficit disorder, and told Suzanne Kerrins from the Sunday Mirror that while she did receive film offers, she was focusing on getting better. She sometimes wished she had never been given the role in Wish You Were Here; it had been "both a blessing and a curse". Lloyd said she did not want anybody's sympathy, rather she just wanted "to feel well again".

In April 2013, Lloyd stated that she had been calm and stable for the past few years. She said she had no regrets regarding her life, though wished "that on a few occasions [she'd] been able to enjoy the experiences fully". In May 2013, Lloyd published an autobiography, Wish I Was There. Following the birth of her daughter in 2014, Lloyd stated she was happy and that her mental illness had "faded into the background".

Personal life
Until 2005, Lloyd's only public long-term relationship was with Danny Huston. The couple began dating in 1993 and split in late 1994. In 2013, Lloyd said she had been sexually abused by a family friend when she was five years old, which was a major cause of her anxiety and depression. In October 2014, Lloyd had a daughter, Arrabelle, with her partner, vocalist Christian Jupp.

title: Emily Lloyd


text:
Talk:Gwenn ha du (Breton paramilitary group)

"Célestin Lainé made a bomb in his bedroom, consisting of a condensed milk carton filled with nitroglycerine. In the early hours of August 7, he set the bomb behind the head of the King of France's statue in the facade opposite the mayor's office."

Not according to the wikipedia page about Célestin Lainé - can someone verify one or other version of events?


text:
Garry David

Garry Ian Patrick David (20 November 1954 – 11 July 1993) (also known as Garry Webb), was an Australian criminal.

Early life
David's father Rupert David, was a habitual criminal and pedophile, who served time in prison and psychiatric hospitals, his mother Betty David was an alcoholic David and his siblings were placed in an orphanage when he was four. From that time until 1972, when he escaped from legal custody, he spent his life in a number of orphanages, boys' homes and youth training centres.

At the age of 11 David began committing various offences including larceny, making threats and offences of dishonesty. When he was 13, he was first diagnosed as having a personality disorder with psychopathic traits. David was subsequently admitted to psychiatric facilities on eight separate occasions between 1976 and 1984, and was diagnosed with antisocial personality disorder. It was during this time that he began self-mutilating to an extreme degree. Among other things, he swallowed razor blades, cut off parts of his ears and his left nipple, injured his genitals, hammered nails into his feet and swallowed corrosive liquids.

Imprisonment
In 1982 David was sentenced to 14 years imprisonment for the attempted murder of three people, during a robbery-gone-wrong at a pizza restaurant in Rye, Victoria. The robbery appeared to be an attempt to draw police into a shootout. The pizza shop owner and one of the responding police officers were severely wounded in the incident, while David was wounded in the legs by police. A news crew spotted David fleeing the scene and he was arrested.

Whilst imprisoned, David wrote many manuscripts, one titled Blueprint for Urban Warfare, which spoke of committing massacres upon his release from prison. The "Blueprint" listed 49 "combat situations", ranging from horror movie clichés (cigarette machines dispensing severed fingers, drink machines dispensing blood) to far more disturbing scenarios, such as the bombing of bridges and public buildings, the assassination of prominent politicians, the poisoning of water supplies and indiscriminate shooting in public places. David later claimed that he had been instructed to write his more graphic fantasies down as a form of therapy. He also manifested a great deal of hostility to the police force and prison system, resorting to violence and self-mutilation whenever his requests or demands were not met. In January 1990, David was declared mentally ill by government health department officials. The Mental Health Act 1986 entitled David the right to appeal, which he did in February and March 1990. In May 1990 the board found David was not mentally ill and recommended he be discharged as an involuntary patient. This was a consequence of the Board's assertion that a personality disorder is not a mental illness as per the Mental Health Act.

Community Protection Act
The Victorian Government faced the dilemma of respecting David's right to freedom and the protection of the community upon his release from prison. The government sought to keep David imprisoned indefinitely by introducing the Community Protection Act 1990. That legislation gave Victorian Supreme Court judges the power to hold David in "preventative detention" for twelve months if the judge was convinced by evidence before them that David was still a risk to the community and likely to commit further offences if released from prison.

David was an intelligent man, with significant literary, analytical and computer skills. But as he had a long history of responding to the most minor frustrations with violence, damage to property and self-harm, and refused on principle to co-operate with attempts to reduce such behaviours prior to his re-entry to society, the Supreme Court repeatedly applied the legislation to continue his confinement.

Suicide
David, then aged 38, committed suicide by ingesting razor blades that led to peritonitis; he died on 11 June 1993. At the time of his death aged 38, David was still a prisoner and had spent a total of 33 years in various institutions.

Afterword
A similar act was passed by the Parliament of New South Wales in an attempt to enforce similar preventative detention against a named individual. This act was challenged in Kable v Director of Public Prosecutions (NSW) and overturned as unconstitutional.

The song, “He's On The Run” by Gene Bradley Fisk was written about David.

title: Garry David


text:
Killer (Alice Cooper album)

Killer is the fourth studio album by American rock band Alice Cooper, released in November 1971 by Warner Bros. Records. The album peaked at No. 21 on the Billboard 200 album chart, and the two singles "Under My Wheels" and "Be My Lover" made the Billboard Hot 100 chart.

Songs
Cooper said in the liner notes of A Fistful of Alice (1997) and In the Studio with Redbeard, which spotlighted the Killer and Love It to Death (1971) albums, that the song "Desperado" was written about his friend Jim Morrison, who died the year this album was released. According to an NPR radio interview with Alice Cooper, "Desperado" was written about Robert Vaughn's character from the movie The Magnificent Seven (1960). "Halo of Flies" was, according to Cooper's liner notes in the compilation The Definitive Alice Cooper (2001), an attempt by the band to prove that they could perform King Crimson-like progressive rock suites, and was supposedly about a SMERSH-like organisation. "Desperado", along with "Under My Wheels" and "Be My Lover" have appeared on different compilation albums by Cooper. The song "Dead Babies" stirred up some controversy following the album's release, despite the fact that its lyrics conveyed an "anti-child abuse" message.

Critical reception
Rolling Stone's Lester Bangs gave it a favorable review. He explained that "it brings all the elements of the band's approach to sound and texture to a totally integrated pinnacle that fulfills all the promise of their erratic first two albums" and that "each song on [the] album finds him in a different role in the endless movie he is projecting on them." He concluded by calling Alice Cooper "a strong band, a vital band, and they are going to be around for a long, long time." Robert Christgau rated the album a B−, stating that "a taste for the base usages of hard rock rarely comes with a hit attached these days, much less 'surreal', 'theatrical', and let us not forget 'transvestite' trappings". However, he said that "[the album] falters after 'Under My Wheels' and 'Be My Lover', neither of them an 'I'm Eighteen' in the human outreach department." AllMusic's Tim Sendra rated "Killer" five out of five stars. He stated that "it offers moments of sweaty rock & roll brilliance, oddball horror ballads, and garage rock freak outs, all wrapped up in a glammy, sleazy package" and that "Each and every track is handled with the same kind of unbridled glee that lets the listener know the band is having a blast; it's hard not to be swept along for the ride." He concluded by claiming that "Killer is the moment where they put all the pieces together and began to soar"

Charts
The album reached on the Billboard album chart and two singles made the Hot 100 chart. "Be My Lover" reached on the Billboard chart and "Under My Wheels" reached.

Live performances
Killer is the third-most-represented album in Alice Cooper's concert setlists behind Welcome to My Nightmare (1975) and Billion Dollar Babies (1973), accounting for 13.3 percent of the songs he has played live. Alongside Welcome to My Nightmare, it is one of only two Alice Cooper albums where every song has been played live, although "Yeah, Yeah, Yeah" has never been played since the end of the supporting Killer Tour, while "You Drive Me Nervous" was not played subsequent to the Killer Tour until 1999, and has never been performed since 2006. "Desperado" was performed only once prior to the Trash Tour in 1989, but has been frequently played live since.

Influence
John Lydon of the Sex Pistols and Public Image Ltd called Killer the greatest rock album of all time. Punk icons Jello Biafra and the Melvins covered the song "Halo of Flies" on their 2005 release Sieg Howdy!. Minneapolis rock band Halo of Flies took their name from this song as well. Rockabilly musicians Mojo Nixon and Skid Roper covered the song "Be My Lover" on their 1986 release Frenzy. Heavy metal band Iced Earth covered the song "Dead Babies" for their 2002 release Tribute to the Gods. Guns N' Roses (featuring Alice Cooper) covered the song "Under My Wheels" on the soundtrack of The Decline of Western Civilization Part II: The Metal Years (1988).

Personnel
Credits are adapted from the Killer liner notes.

Alice Cooper with:
 * Alice Cooper – vocals; harmonica
 * Glen Buxton – lead guitar
 * Michael Bruce – rhythm guitar; keyboards; backing vocals
 * Dennis Dunaway – bass guitar; backing vocals
 * Neal Smith – drums; backing vocals
 * Bob Ezrin – keyboards
 * Rick Derringer – additional guitar, "Under My Wheels" and "Yeah, Yeah, Yeah"

title: Killer (Alice Cooper album)


text:
City Mission

The City Mission movement started in Glasgow in January 1826 when David Nasmith founded the Glasgow City Mission (Scotland). It was an interdenominational agency working alongside churches and other Christian agencies to provide for the spiritual and material welfare of those in need.

Agencies in the movement are variously called "City" or "Gospel" or "Rescue" Missions.

History
Nasmith visited the United States and Canada in 1830, setting up 31 missions supported by various benevolent institutions. He founded missions in France, as well as the London City Mission, the London Female Mission, the Dublin Christian Mission, and a number of other ministries.

The first World Conference of City Missions was sponsored by the Sydney City Mission (now Mission Australia) and held in Sydney, Australia in 1988.

Subsequent conferences were held in:
 * Birmingham, England, 1991 - this formed the City Mission World Association (CMWA)
 * Washington DC, USA, 1994
 * Helsinki, Finland, 1997
 * Glasgow, Scotland, 2000
 * Sydney, Australia, 2003
 * Kansas City MO, USA, 2006

National bodies

 * Australia - Mission Australia (formed 1996, after city missions had been created across the country since 1854)
 * USA - Association of Gospel Rescue Missions (founded 1913)
 * UK and Ireland - City Mission Movement UK (formerly British Association of City Missions)

title: City Mission