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Éomer is a fictional character in J. R. R. Tolkien's legendarium, he appears in The Two Towers and The Return of the King, the second and third volumes of Tolkien's fantasy novel The Lord of the Rings. The name Éomer, meaning "Horse-famous" in Anglo-Saxon, occurs in Beowulf, at line 1959, as that of a king descended from Offa, King of the Angles. Tolkien drew material from it in writing The Lord of the Rings. Éomer is the son of Éomund. After their parents' death Éomer and his sister Éowyn are adopted by their uncle Théoden, king of the Rohirrim, he first appears in The Two Towers as the leader of the forces of Rohan who attack and kill the Uruk-hai who have kidnapped the hobbits Meriadoc Brandybuck and Peregrin Took. He helps Aragorn and Legolas by providing them two horses and guiding them to the spot where the attack took place. On his return to Edoras, Éomer reports this meeting to Théoden, is imprisoned on the orders of Gríma Wormtongue, Théoden's sinister advisor. Aragorn and Legolas arrive in Edoras with the wizard Gandalf, who releases the king from Gríma's spell.

Éomer is restored to honour. He fights at the battle of the Hornburg, where the forces of Rohan drive Saruman's army of Orcs and Dunlendings from the walls of the Hornburg, buying valuable time for Gandalf's reinforcements to arrive. Éomer plays a major role in the Battle of the Pelennor Fields, the pivotal battle of The Return of the King. After fighting bravely for Rohan and Gondor, he is dismayed to find Théoden mortally wounded. Théoden appoints him King of Rohan with his dying breath. Seeing Éowyn dead on the battlefield, Éomer throws himself and the remaining Rohirrim at the enemy. Aragorn arrives unexpectedly from Pelargir, joins forces with Éomer, fulfilling his prediction that they would fight together again. Aragorn's arrival and reinforcements rout the Orcs, he and Éomer win the battle. Éomer accompanies Aragorn to the Gates of Mordor for the final stand against Sauron. This distracts Sauron long enough for the One Ring to be destroyed in Mount Doom, leading to his downfall. After Théoden's funeral, Éomer stays in Minas Tirith to help Aragorn rebuild his kingdom.

Éomer met Lothíriel during his stay in Gondor, they soon wed. She bares him a son named Elfwine who succeeded Éomer as King of the Mark. In the 1978 animated adaptation of The Lord of the Rings by Ralph Bakshi, Éomer is portrayed as a renegade, he does not have any lines and is not animated, but is still important to the plot. He appears in the 1980 Rankin/Bass animated version of The Return of the King, albeit without lines. In Peter Jackson's The Lord of the Rings film trilogy, Éomer was played by New Zealand actor Karl Urban, his role is somewhat diminished in comparison to the books. In The Lord of the Rings: The Two Towers, he is exiled by Gríma before meeting Aragorn; as an outcast, he leads a troop of riders loyal to Théoden northward out of Rohan rather than being imprisoned in Edoras. In both the Bakshi and Jackson versions, he arrives at the climax of the Battle of Helm's Deep, accompanied by Gandalf. In this sense, his character has been combined with the character of Erkenbrand, who, in the book, is the one with whom Gandalf returns to Helm's Deep.

Éomer's actions in Jackson's adaptation of The Return of the King did not depart from those in the book, save for a few scenes that were omitted for time. In Jackson's adaptation Éomer is responsible for the death of the leader of the Mûmak-riding Haradrim, while in the book it is Théoden who slays the Haradrim chieftain, on horseback. Éomer's speech after Théoden's death in the book is spoken instead by Théoden himself before the first charge in the movie. Neither is Éomer present at the death of Théoden in the film; the close friendship he shares with Aragorn in the books is not developed in the films, but during Aragorn's coronation in The Return of King he can be seen bowing honourably towards him. "Éomer". Tolkien Gateway. Éomer at The Thain's Book Éomer Éadig at the Encyclopedia of Arda

Flag Raising Ceremony (China)

The Flag Raising Ceremony is a traditional military ceremony of the People's Liberation Army of China, done publicly on Tiananmen Square in the capital of Beijing. The ceremony is conducted by the PLA's Beijing Garrison Honor Guard Battalion, part of the 1st Guard Division, Central Theater Command, it done on the first of every month, with notable ceremonies taking place on National Day of the People's Republic of China in October and New Year's Day in January. Upon marching out of the Tiananmen Gate and the Golden Water Bridge, the unit commander for the Beijing Garrison Honor Guard Battalion orders the unit to begin goosesteping in slow time, when it crosses the bridge, it returns to its normal pace and splits off to have two formations on each side of the flagpole while the color guard moves into position; the commander will give the command, "Salute to the flag", the order for the unit to present arms and raise the flag. Once this is done, the PLA Central Band plays March of the Volunteers, after which Ode to the Motherland is performed and dozens of birds are released past the flag as the color company forms up for the marchoff.

The first flag-raising ceremony on Tiananmen Square took place on 1 October 1949 during the Proclamation of the People's Republic of China. After that, the raising of the flag was done by electrical means for two decades, with" exceptions to this being done on 1 October. An official ceremony was inaugurated in May 1977 with the 3 PLA soldiers from Weifang raising the flag; this continued until 28 December 1982, when the newly formed People's Armed Police and its honour guard took over the ceremony which would last for 35 years. In December 1992, on the basis of the original flag guard, the National Color Guard was expanded into a battalion-sized unit of the PAP; the detachment was called the Tiananmen Guard Detachment. On New Year's Day in 2018, the People's Liberation Army took over command of the ceremony, with a 96-man composite national color guard company made up of guardsmen from the service branches; this followed the then-recent attachement of the Beijing Garrison Color Guard Company to the BGHGB which led to its reformation, this time, with PLA personnel.

According to the Xinhua News Agency, the changes marked a "new era" of national civil-military ceremonies. In Hong Kong, a daily flag raising ceremony at Golden Bauhinia Square near the Hong Kong Convention and Exhibition Centre, it is conducted by the Hong Kong Police Force ans is divided into three types of ceremonies, a daily one, enhanced ceremony and a special ceremony. It includes the playing of the national anthem by the Hong Kong Police Band followed by a 10-minute musical performance by the band. Posting the Colours Presentation of Colours

José Enrique Varela

José Enrique Varela Iglesias, 1st Marquis of San Fernando de Varela was a Spanish military officer noted for his role as a Nationalist commander in the Spanish Civil War. Varela started his military career as an enlisted man and fought in the colonial wars in the Rif for three years starting in 1909. Varela enlisted as a recruit in the same regiment his father served as sergeant, he rose to the rank of sergeant and enrolled at infantry school in Spain and graduated as a lieutenant. Returning to Morocco, he distinguished himself in action and King Alfonso XIII awarded him the Laureate Cross of Saint Ferdinand, Spain's highest military award, on two separate occasions, an unmatched honor for bravery in battle, he commanded native Moroccan troops of Regulares and rose to the rank of captain by merit and participated in several campaigns in the Morocco war, the principal one being the joint Franco-Spanish amphibious landing at Alhucemas in 1925. This landing hastened its end. Shortly thereafter he was promoted to colonel at the end of the war.

During the early 1930s, he was assigned as a member of a military mission that spent time in Germany, Switzerland and France to broaden their military knowledge. With the coming of the Republic, he participated in the abortive José Sanjurjo uprising in 1932 for which he was imprisoned, he was released and joined the Carlists and organized the militia or the paramilitary units of the Carlists, the Requetés, into the formidable military organization that it became in the Spanish Civil War. Disguised as a priest, Uncle Pepe, he traveled along the Pyrenean villages organizing the people and readying them for war, he participated in the planning for the rising that started the Spanish Civil War. In April, 1936, the government imprisoned him. In jail in Cadiz when the rising started, he was released on July 18, helped secure Cadiz for the insurrection, he participated in many of the campaigns of the War including, Seville, Córdoba, Extremadura, Tagus Valley, Alcázar, Jarama, Brunete and the Ebro. Ending the war with the rank of major general, he was appointed minister of war in Franco's August 1939 government and was considered a representative of the Carlist faction there.

During his ministry the Spanish army was purged of a small number of officers and NCOs who were considered politically unreliable. Following the fall of France in 1940 and Hitler's subsequent overtures to Franco, Varela was anti-national socialist and a leading opponent of Spanish entry into the war on the Axis side, although he did endorse the Blue Division's participation on the Eastern Front fighting the Soviet Union; as tensions between Carlists and Falangists within the government rose during 1942, Varela suggested to Franco that Carlists were underrepresented and proposed several schemes for a reorganization of the cabinet. Violence between the factions broke out at the Basilica of Begoña on August 16, 1942, when Falangists attacked a Carlist crowd with grenades, causing many injuries and several deaths. Varela, inside the church at the time, took the initiative against the Falangists and portrayed the Begoña Bombing as an attack on the army and a possible assassination attempt in telegrams to officials throughout the country, displeasing Franco.

In the following cabinet reshuffle in September, Varela was replaced as army minister by General Carlos Asensio Cabanillas. In 1945 Franco appointed Varela as high commissioner of Spanish Morocco, he was made captain-general of Madrid. He died of leukemia in 1951. Franco subsequently granted Varela a posthumous marquisate title as Marquis of San Fernando de Varela. After his death he was granted the title of Captain General of the Army, passed from the deceased former dictator Miguel Primo de Rivera in 1951, he is the only Spanish soldier to have risen from the rank of private to Captain General, the highest rank in the Army. Guaita Martorell, Aurelio. "Capitanes y capitanías generales". Revista de Administración Pública. Madrid: Centro de Estudios Políticos y Constitucionales: 7–50. ISSN 0034-7639

Tudno (electoral ward)

Tudno is the name of one of the electoral wards in Llandudno, Conwy County Borough, Wales. It is the middle of the five town wards and covers the town east of the branch line to Llandudno railway station. Mostyn ward lies to the west and Craig-y-Don ward lies to the east, with Llandudno beach to the north. According to the 2011 UK Census the population of the ward was 5,008. Tudno ward elects four of the twenty councillors of Llandudno Town Council. In December 2017 a by-election was held for a vacant seat on the Town Council, following the death of Tudno councillor Billie Evans; the seat was won by Conservative Party candidate Brian Bertola, who had lost his seat at the May 2017 election. Tudno was an electoral ward to Gwynedd County Council, in the Borough of Aberconwy, between 1989 and 1996. Since 1995 the Tudno ward has elected two county councillors to Conwy County Borough Council and, at the May 2017 election, one seat was won by Ronnie Hughes for the Welsh Labour Party and the other by Independent candidate Philip Evans.

Cllr Hughes was deputy leader of the county council and narrowly survived a strong challenge from Llandudno mayor, Carol Marubbi

Mooliabeenee, Western Australia

Mooliabeenee is a locality in Western Australia, east of Gingin, within the Shire of Chittering. The nearby Mooliabeenie station lies on the Millendon Junction to Dongara section of the railway line now managed by Arc Infrastructure, it was built in 1894 as part of the Midland Railway. Nearby is a disused 1,500 m long airstrip, used by the United States Army Air Corps during World War II and associated with the Caversham Airfield at Middle Swan. Like the Caversham Airfield, the Mooliabeenee Airfield was used as a motor racing track. Local car clubs use the site for motorkhana events. Gazetteer of Australia

Salon des Cent

Salon des Cent was a commercial art exhibition in Paris, based at 31 Rue Bonaparte. The Salon sold color posters and reproductions of artwork to the general public at reasonable prices, it was established in February 1894 by Léon Deschamps, founder of La Plume an avant garde literary and artistic magazine. It became known for its exhibitions showcasing the works of contemporary graphical artists; the salon held exhibitions until 1900. Many of the posters advertising Salon des Cent exhibitions have themselves become collectors' items. La Plume was an artistic and literary journal founded by Léon Deschamps in 1889, at first located on 36 Boulevard Arago. Articles in La Plume covered a broad range of subjects ranging from realism and anarchism to Catholic mysticism and the aristocracy; the journal moved to 31 Rue Bonaparte in July 1891, where the spacious new offices gave room to mount art exhibitions. Before these began, La Plume displayed various objects in the "Salon de la Plume", with the visual arts taking second place to objects associated with literature and philosophy.

Advances in color lithography in the 1890s made it practical to make large posters for use as advertisements, for art collectors. A poster craze developed, with huge demand for Art Nouveau lithographs in America; the growing focus of La Plume on contemporary graphical art was established by the publication of an issue of La Plume in November 1893 dedicated to the history of the poster. At times the magazine would devote a special issue to one artist; these included Pierre Puvis de Chavannes, James Ensor, Alexandre Falguière, André des Gachons, Eugène Grasset, Henry de Groux, Alphonse Mucha and Auguste Rodin. In theory Le Salon des Cent was a group of one hundred artists, hence the name, but there was never a precise list and participation varied; some artists were invited to become members, including Puvis de Chavannes, Jules Chéret and Marcellin Desboutin. Others were artists, asked to participate in exhibitions; the salon had no jury and no prizes, the artists could choose what they wanted to exhibit, being constrained only by the available space.

The Salon des Cent publicized itself as a permanent changing exhibition of its members' works. It exerted considerable influence on development of the Art Nouveau poster. Le Salon des Cent exhibited in a set of rooms within the magazine premises. An exhibition of the Salon des Cent was announced in October 1891, again in February 1892, but in fact the first exhibition at 31 Rue Bonaparte was not until 1 February 1894. In addition to the sales catalogs for the works of various artists, the many special editions of La Plume served as catalogs for specific exhibitions; the Salon commissioned special posters for its exhibitions. The Salon built up a huge collection of original posters from many countries, acted as both wholesaler and retailer of these works; the collection included all of Mucha's posters and paintings, many by Henri de Toulouse-Lautrec, Berthon, de Feure and the Glasgow Four as well as American artists. Eugène Grasset was active in the Salon des Cent, he first tackled the Art Nouveau poster style in his posters for the 1894 Salon des Cents.

The second exhibition, which opened on 3 April 1894, was devoted to his works. A special edition of La Plume of 15 May 1894 was dedicated to Grasset; the poster by Grasset for the fifth Salon des Cent announced the themes that would dominate painting in the following years, has been reproduced. In many ways it copies the poster for the second Salon, it reflects Grasset's interest in medieval times. The poster, filling the frame with a bold composition, shows a simply-dressed young woman gazing thoughtfully at an umbel of angelica. In January 1895 Mucha's Art Nouveau poster for Sarah Bernhardt as Gismonda was displayed across Paris; the next year Mucha created the poster for the 20th Salon exhibition, which opened on 22 April 1896. When Léon Deschamps saw the draft he told Mucha, "Execute this design just as it is, you will have created the masterpiece of the illustrated decorative poster." In June 1897 the Salon put on an exhibition dedicated to Mucha. Some of the posters by Mucha and Grasset were printed in limited editions on silk satin.

Georges de Feure exhibited for the first time at the fourth Salon des Cent, which took place at the Boulogne-sur-Mer Casino for the whole month of August 1894. The fifth exhibition, at 31 rue Bonaparte from 5–30 October 1894, exhibited the same works. Georges de Feure was to exhibit at the Salon for several years. Léon Deschamps and La Plume played a major role in the artistic development of his posters. Toulouse-Lautrec exhibited several times at the Salon des Cent between 1895 and 1898. Lautrec's La Passagere du 54 – Promenade en Yacht was used as the poster for the 1896 opening of the International Poster Exhibition at the Salons des Cent, his series Elles was exhibited as a whole for the first time in 1896 at the 20th Salon exhibition. James Ensor exhibited some of his etchings at the Salon in 1898, using an 1888 drawing called Demons teasing me as a poster for the exhibit. La Plume published a special edition to accompany the show that included several articles praising his work; this was Ensor's first one-man exhibition outside Belgium.

Other posters included classic Art Nouveau images by Paul Berthon, Fernand Fau, Arsène Herbinier and Firmin Bouisset. Notable artists who showcased at the Salon des Cent included Albert André, Pierre Bonnard, Frédéric-Auguste Cazals, Edgar Degas, Henri Evenepoel, Henri-Gabriel Ibels, Gustave-Henri Jossot, René Lalique, Henri Matisse, Gustave Moreau and Louis Valtat. Citations Sources Helen Bieri Thomson, Les affiches du Salon des Cent, Bonna