click links in text for more info

Ronald L. Ellis

Ronald L. Ellis is a United States magistrate judge of the United States District Court for the Southern District of New York. Ellis was born in Louisiana, he received his Bachelor of Arts in chemical engineering from Manhattan College in 1972 and his J. D. from New York University School of Law in 1975. Ellis passed the patent bar and was a patent attorney, he worked for the NAACP Legal Defense and Educational Fund as a staffer specializing in fair employment class action litigation, as director of the Fund's Fair Employment Program, as director of its Poverty & Justice Program. He served as an adjunct professor at the New York University School of Law, teaching employment law for two years at the graduate position and racism and American law for ten years at the undergraduate position, he taught as an adjunct professor at New York Law School for three years, as an instructor in a course in blacks and law. While employed at the NAACP Fund, Ellis worked as a trial lawyer in six federal circuits in 12 states, dealing with voting rights, health care, housing and environmental justice cases in addition to equal employment cases.

He took part in eight appeals to the appellate courts in three of the circuits. He was the advocate for the respondents in oral argument before the U. S. Supreme Court in University of Tennessee v. Elliott. Ellis has written on issues including trial procedures, witness examination, statistical proof and has co-authored the chapter on "Achieving Race and Gender Fairness in the Courtroom" in The Judge's Book. Ellis was sworn in on November 16, 1993 as a magistrate judge for the United States District Court for the Southern District of New York, he gained national attention when he and Magistrate Judges Gabriel Gorenstein and Theodore Katz were assigned to the securities fraud case against Bernard Madoff case. On January 12, 2009, Ellis refused a request from federal prosecutors to revoke bail for Madoff, allowing him to remain confined to quarters and under guard in his $7 million penthouse apartment on the Upper East Side of Manhattan after Madoff was caught mailing an alleged valuable jewelry to relatives and friends.

Ellis is a member of the American Bar Association, the New York State Bar Association, the Federal Magistrate Judges Association, the Metropolitan Black Bar Association, the Federal Bar Council. On 10 September 2012 Judge Ellis refused to quash a subpoena from the United States government which demands the foreign media organisation BBC hand over out takes and portions of documentary, entitled Arafat Investigated to United States Authorities; this has prompted some in the media and UK public to question how the United States has jurisdiction over a foreign media organisation or media taped and stored outside the United States and funded by a foreign government. Judge Ellis took the controversial position, because the footage does not qualify as confidential without considering jurisdiction of the US Federal District Court. On February 19, 2013, Judge Ellis ruled against the city of New York in regards the Ken Burns documentary about the Central Park Five; the city asserted that, when Mr. Burns said publicly he hoped the film would help push the city to settle with the mistakenly convicted individuals, he had given up journalistic protection from sub poena.

The judge wrote in a footnote, "The manipulation of the quote in this manner is troubling." He said the city's comparisons of Burns to another documentary filmmaker, Joe Berlinger, were "misplaced". Berlinger had been forced to yield his outtakes for a film about Chevron operations in Ecuador because he had removed a scene at the request of his subjects. Office of Magistrate Judge Ronald L. Ellis A Profile of Ronald L. Ellis The United States District Court for the Southern District of New York: A Retrospective The New York County Lawyers’ Association Committee On The Federal Courts December 2002 Ronald L. Ellis Lecturer-in-Law at Columbia Law Federal Bar Council Second Circuit Redbook, 2003–2004, Vincent C. Allexander and Anne D. Alexander

Fox Volant of the Snowy Mountain

Fox Volant of the Snowy Mountain known as Flying Fox of Snowy Mountain, is a wuxia novel by Jin Yong. It was first serialised between 9 February and 18 June 1959 in the Hong Kong newspaper New Evening Post; the novel has a prequel, The Young Flying Fox, released in 1960. Flying Fox of Snowy Mountain is one of Jin Yong's shortest novels, with only 10 chapters; the chapters are labelled in numerical order, instead of Jin Yong's typical style of using a short phrase or duilian as a chapter's heading. Fox Volant of the Snowy Mountain is unique in structure among Jin Yong's novels because it employs a frame narrative as well as the literary devices of unreliable narrators and storytelling flashbacks; the actual time frame of the novel lasts only a day, but the stories encapsulated in it stretch back months and decades before. In the revised afterword to the novel, Jin Yong mentions that he did not draw inspiration from Akira Kurosawa's 1950 film Rashomon as many people had falsely assumed; the literary devices used in the novel have been used often in literature, such as in One Thousand and One Nights and Illustrious Words to Instruct the World.

The story begins in the Changbai mountains in northeastern China during the reign of the Qianlong Emperor in the Qing dynasty. It follows the classical unity of time, taking place on a single day, the 15th day of the third month in the Chinese calendar, in the 45th year in the reign of the Qianlong Emperor. A group of martial artists begin fighting for it; the reason for them doing so is deliberately kept from the reader at this point of time. Midway during their tussle, they are overpowered and coerced by a skilled monk, Baoshu, to travel to a manor at the top of Jade Brush Peak to help the manor's owner drive away an enemy, Hu Fei, nicknamed "Fox Volant of the Snowy Mountain", they start telling stories concerning the origin of a precious saber in the chest and their mysterious foe. In doing so, they reveal each other's personal secrets; the saber's story dates back over a century ago to the feuds of the four bodyguards under the warlord Li Zicheng, who led a rebellion that overthrew the Ming dynasty.

The four guards' family names were Hu, Miao and Fan. Owing to a massive misunderstanding, which lasted several generations, their descendants have been slaying each other in a vendetta that prevented any of them from uncovering the truth; the Hu family was opposed to those from the Miao and Fan families. The people gathered at the manor are either descendants of the four bodyguards or are otherwise embroiled in the feud. Hu Fei's father, Hu Yidao, met a descendant of the Miao family. Both were masterful martial artists without peer. Miao Renfeng, Hu Yidao and his wife developed an uncommon friendship and grew to admire each other, but Hu and Miao must fight unwilling duels to avenge their parents' deaths. Under the schemes of the villain Tian Guinong, Hu Yidao was unintentionally slain by Miao Renfeng when Tian secretly smeared his sword with poison. Hu Yidao's infant son, Hu Fei, was rescued and raised by a waiter, Ping A'si, whose life Hu Yidao once saved. Hu Fei grew up and became a powerful martial artist nicknamed "Fox Volant of the Snowy Mountain".

The various scheming martial artists are punished by their greed. Hu Fei makes an appearance midway in the story; the conflict reaches a climax when Miao Renfeng challenges Hu Fei to a duel thinking mistakenly that Hu has intentionally molested his daughter, Miao Ruolan. They neither emerges the victor, they are stranded on a cliff about to collapse under their weight. Hu Fei has an opportunity to attack Miao Renfeng and knock him off the cliff, but he hesitates because Miao might become his future father-in-law. However, if he does not attack, either they will fall to their deaths or Miao will kill him; the novel leaves the conclusion to the reader's imagination. Hu Fei, nicknamed "Fox Volant of the Snowy Mountain", is the protagonist of the novel. Hu Yidao is a legendary hero from Liaodong, he was respected by the ethnic minority tribes living there not only for his prowess in martial arts, but for his gregarious character. He befriends Miao Renfeng despite the past feuds of their ancestors, he was killed unintentionally by Miao Renfeng.

Miao Renfeng is a formidable martial artist nicknamed "Golden Faced Buddha". He forged a friendship with Hu Yidao despite the past feuds of their ancestors, he killed Hu Yidao has been feeling guilty about it. Miao Ruolan is Miao Renfeng's daughter, she is forbidden to learn martial arts by her father, who does so to remind himself of the guilt of accidentally killing Hu Yidao. She falls in love with Hu Fei. Tian Guinong is a descendant of one of the four bodyguards, he is a scheming and unscrupulous person who plots to kill Hu Yidao and Miao Renfeng in his plan to gain a higher social status. He indirectly caused the death of Hu Yidao. Ping A'si is a young man indebted to Hu Yidao, he raised him to repay Hu Yidao's kindness. He always feels inferior to others. Nan Lan is Miao Ruolan's mother, she was born in an aristocrat family so she is extravagant. After her marriage to Mia

Frankenstein: Day of the Beast

Frankenstein: Day of the Beast is a 2011 independent horror film directed by Ricardo Islas, based on the novel Frankenstein by Mary Shelley. It premiered with a limited theatrical release in the United States on November 27, 2011; the film takes place on an undisclosed island on a foggy, winter day. Victor Frankenstein and his bride, are set to be married by a priest, rowed in on a small raft, but all is not well on the day of these young lovers’ wedding: The ceremony is being conducted in secret, Victor and Elizabeth are under the protection of seven well-armed mercenaries. All parties soon find themselves being stalked by a supernatural enemy of great physical strength that dwells in the woods surrounding the small chapel...a monster who kills with swiftness and purpose. As the slaughter escalates and the characters begin to die one by one at the hands of this mysterious Creature, Victor is forced to confess the unholy crimes he committed that has placed himself and the others in this deadly predicament.

Meanwhile, as each character faces certain death, the beast’s ultimate target reveals itself not to be Victor, but his bride. Michelle Shields as Elizabeth Frankenstein Adam Stephenson as Victor Frankenstein Tim Krueger as The Monster Paul Barile as Mr. Rowley Jay Disney as Henry Suzy Brack as Justine Wesley Saint Louis as Bartul John Vitiritti as Schiffer Production began in the Orland Park, Illinois area in January 2011 and was funded by indie fundraising website IndieGoGo. Principal photography ended in August of the same year; the official world premiere for the movie was held at The Portage Theater in Chicago on Sunday, November 27, 2011. It is seeking additional distribution. Responses from the premiere have been positive, with reviews praising the film for its homages to horror films produced by Hammer Studios. Patrick McDonald of awarded the film 3 stars out of 5: "It has all the familiar Frankenstein monster elements, but delivers a certain style and authority that allows it to make its own mark.

The acting, setting and dialogue screams drive-in movie fare, but the production gamely reaches out to retell the myth with a little sex, a lot of gore and an interesting take on the reanimation portion of the monster." John Collins of recommends the film for its nostalgic qualities, he adds, "This is the most viscous, evil Frankenstein’s monster I have encountered." Ain't It Cool News writes, "Its diversions from story made me look past the rough edges that go along with low budget and amateur acting.... I applaud the filmmaker’s derivations from the source material". Frankenstein Day Official website Frankenstein: Day of the Beast on IMDb WCIU interview with director Ricardo Islas: Interview with lead actress Michelle Shields about her character Elizabeth:

William Dixon manuscript

The William Dixon manuscript, written down between 1733 and 1738 in Northumberland, is the oldest known manuscript of pipe music from the British Isles, the most important source of music for the Border pipes. It is located in the A. K. Bell Library, Scotland. Little is known of William Dixon's biography, except what has been learned from this manuscript, from parish records in Northumberland; the only direct evidence for the author's identity comes from the manuscript itself, giving his name and two others and John, who may have been his sons. It gives dates from 1733 to 1738. Many of the tunes in the manuscript were, some remain, current in Northumberland, or are named after places in the region. Baptismal records for that county show that a William Dixson was christened in Stamfordham, Northumberland, in 1678, that Parsivall and John, sons of William Dixson, were baptised nearby at Fenwick, near Stamfordham, in 1708 and 1710. Julia Say has found that these belonged to a branch of the Dixon family living at Ingoe South Hall, near Fenwick, where some of the family lived until recently.

The tracing of this family is made easier by their tradition of using the names William and Parcival in many generations as Parcival is so rare. Many of the family were buried in Stamfordham church, it is recorded. However it is clear from these that the book is William's - for example one reads'William Dixon His Book May ye 10th 1733'. If this William Dixon was indeed the author of the manuscript, he would have been 55 when he started compiling it, 60 when he ceased. One son of colliery owner John Dixon, another William,founded an important iron business with five blast furnaces in central Scotland in the century, further developed by his son.'Dixon's Blazes' survived as a business in Glasgow until 1958, still has a placename there. Julia Say has conjectured. Nothing is known of the whereabouts of the manuscript in the 18th and 19th centuries. At the beginning of the 20th century, however, it was in the collection of the composer and cellist Charles Macintosh, of Inver, Perthshire, his grandfather had been a pupil of Niel Gow.

In 1909, he offered it to the music collector, Dorothea Ruggles-Brise saying "I have an old torn book upstairs. She replied "This is a curiosity, I would rather not rob you. Will you let me buy it?". Offended, he answered "In that case, I will put it in the fire." She pulled it out. She recognised the music as "a collection of pipe jigs of the border country"; this book, the other music books in her personal collection, known as the Atholl Collection, were bequeathed to Perth Public Library on her death in 1938. The manuscript was more definitively identified as pipe music from south of the border by the piper and fiddler Matt Seattle in 1995, he was able to publish a transcription that same year, as The Master Piper. It was transposed up a tone from the source, to suit modern Border pipes, which are notated in A; the importance of the manuscript as a musical source, apart from its antiquity, is the unique nature of the music. All of the 40 pieces in the manuscript are long variation sets on dance tunes – one, running to 14 strains.

Much of the figuration is similar to early Northumbrian smallpipe music, but the compass of many of the tunes is 9 notes, from F to g, with no sharps or flats, rather than the single octave of the unkeyed Northumbrian smallpipes of the time. It thus seems that the music was written either for smallpipes with an open ended chanter, like Scottish smallpipes, or else for what are now known as Border pipes. Both of those instruments had died out by the mid-19th century, their repertoire had survived only in fragments in adaptations for other instruments, such as fiddle, Northumbrian Smallpipes, or lute. In this manuscript was found a large body of music, of considerable sophistication playable on either Scottish Smallpipes or Border Pipes; the musical style is different from Highland pipe music, despite the many common features of the instruments. In particular, there is no explicitly prescribed ornamentation anywhere, only an occasional direction to ornament certain notes. In contrast, Highland pipe music specifies complex patterns of grace notes in detail.

Further, the Dixon music tends to avoid repeated notes, to move predominantly stepwise or in thirds rather than in wider intervals. The tunes form a substantial and varied repertoire; some of them are known in other versions in the Northumbrian and the Lowland Scottish traditions – but some of the tunes are not known elsewhere, all the Dixon versions are distinct from their known parallels. Besides one short minuet, one song-tune with a pair of variations, there is a selection of dance-music in different rhythms; these include 13 reels, rants or common-time hornpipes, in 4/4 or 2/2, 10 jigs, in 6/4, 6 triple time hornpipes, in 3/2, 9 tunes in compound triple time,'slip jigs', in 9/4. The time signatures are not given explicitly, but can be deduced from the melodic patterns and bar-lengths. In the manuscript most of the triple-time hornpipes and some slip-jigs are misnotated, with bar lengths of respectivel

The Poker Players Championship

The Poker Players Championship is a $50,000 buy-in event at the World Series of Poker. Added in the 2010, it replaced the former $50,000 H. O. R. S. E. World Championship as the highest-stakes mixed-games event, it is considered among the most prestigious events offer at the WSOP. In 2006, the inaugural event was called the $50,000 H. O. R. S. E. World Championship and was the largest buy-in tournament at the World Series of Poker until the introduction of the $1,000,000 Big One for One Drop in 2012. Chip Reese defeated Andy Bloch heads-up the in the 2006 H. O. R. S. E. World Championship to win the event's first title. In 2007, professional poker player Freddy Deeb defeated Bruno Fitoussi after 17 hours of final table play to win $2,276,832 and his second bracelet. Chip Reese died in December 2007. Scotty Nguyen received the trophy. Controversy ensued when Nguyen, intoxicated during the final table of the tournament, began berating other players, notably Michael DeMichele, without receiving any penalty. In 2010, $50,000 H.

O. R. S. E. World Championship changed to the Poker Player's Championship and became the first 8-game mix version of the event. In 2015, the Poker Players Championship changed to a 10-game mix format. Unlike the previous five-game rotation of H. O. R. S. E. and the eight-game rotation that followed, the 10-game mix consisted of limit 2–7 triple draw lowball, limit Texas hold'em, limit Omaha/8B, limit razz, limit seven-card stud, limit seven card stud/8B, no-limit Texas hold'em with antes, pot-limit Omaha, 2–7 no-limit draw lowball. The final table was played out in no-limit Texas hold'em in 2010 and 2011 to appeal to television viewers; the event has not televised since and has been played out in a mixed-game format for its entire duration. Michael Mizrachi became the first two time champion after winning the event in 2010 and 2012, earning him $1,559,046 and $1,451,527 respectively. Brian Rast became the second two time champion after winning the event in 2011 and 2016, earning him $1,720,328 and $1,296,097 respectively.

At the 2018 WSOP, Mizrachi won the event for a record third time, defeating 2014 champion John Hennigan heads up and winning $1,239,126