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Dorking is a market town in Surrey, south east England, 21 miles south of London. The main axis of the town runs east-west along the northern face of an outcrop of Lower Greensand and parallel to the course of the Pipp Brook; the town is between Ranmore Common on the North Leith Hill in the Greensand Ridge. In the Georgian and Victorian periods six prominent sites in the former parish or on its boundaries became grand country estates: Leith Hill Place, Norbury Park, Polesden Lacey, Wotton House and Deepdene. Dorking is a commuter and retirement settlement with three railway stations and a few large offices of multinational companies. Malden in 1911, noted the place was "almost residential and agricultural, with some lime works on the chalk, though not so extensive as those in neighbouring parishes, a little brick-making, water-mills at Pixham Mill, timber and saw-mills". Fine sand in veins of pink colour, used for mortar and in glassmaking was dug in the 19th century — the Dorking Caves were accordingly excavated under southern parts of the town centre itself.

Dorking chickens with short five-toed legs are a major local breed. The town has a local government headquarters and hosts repeating loops of the FIA-ranked London-Surrey cycle classic elite category event every year; the origins and meaning of the place-name are uncertain, a subject of scholarly debate. Early spellings include Dorchinges, Doreking', other variants. Both principal elements in the name are disputed; the first element may be from a personal name, Deorc, or some variant, which might arguably be of either Brittonic or Old English origin. The second element, if plural, might mean " followers of...", but if singular might mean "place", "stream", "wood" or "clump". The issue remains unresolved. Dorking began to become more than an agricultural village as a small staging post on Stane Street, the Roman road between London and Chichester on the English Channel. Dorking appears in Domesday Book of 1086 as the Manor of Dorchinges, it was held by William the Conqueror. Its Domesday assets were: one church, three mills worth 15s 4d, 16 ploughs, 3 acres of meadow and herbage for 88 hogs.

It rendered £18 per year to its feudal system overlords. Subsequent Lords of the Manor included the Dukes of Norfolk, who lived in Dorking until they moved to Arundel. One of them is buried in Dorking churchyard. In the medieval period, Dorking was a prosperous agricultural and market town with businesses, including milling and brewing, capitalising on its position on the junction of a number of long distance roads and local tracks. In 1750, the construction of a turnpike road made Dorking a staging post on the route to Brighton and the coast; the Bull's Head in South Street had a famous coachman, William Broad, whose portrait hangs in Dorking Museum in West Street. An inn in the centre of Dorking, the White Horse, was developed in the 18th century. Dorking held a big wheat and cattle market in the High Street; the poultry market was held in the corner of round Butter Hill. Here the famous Dorking fowl were sold; this breed, which has five claws instead of the normal four, was a favourite for 19th century tables, including that of Queen Victoria.

Dorking lost its stagecoaches when the railways arrived, but attracted wealthy residents who built large houses in and around the town, such as Denbies House and Pippbrook House. Surrounding land and beauty spots such as Cotmandene and Box Hill were donated by landowners for public use, protected by the Metropolitan Green Belt and the AONB designation of the North Downs and Greensand Ridge. Cotmandene is a 4.78 ha area of common land to the east of the town centre. Cricket matches were played on the heath during the 18th century and are recorded in Edward Beavan's 1777 poem Box Hill. A painting entitled A Cricket Match on Cotmandene, Dorking by the artist James Canter, dating to around 1770, is now held by the Marylebone Cricket Club. A game resembling rugby was once played here; the two sides were unlimited in number, representing the west of the town. The goals were the two bridges on the Pipp Brook; the Town Crier stopped play at 6 pm. The game was "rioted" up and down the High Street, it ceased in 1897 after complaints by tradesmen and it was stopped under section 72 of the Highway Act 1835.

In the 1880s there was a proposal to supply seawater to the town from a conduit between Lancing and London. Dorking was an urban district from 1894 to 1974. In 1911 it was described in the Victoria County History, compiled for the county that year and the next, as "almost residential and agricultural, with some lime works on the chalk, though not so extensive as those in neighbouring parishes, a little brick-making, water-mills at Pixham Mill, timber and saw-mills." The town is in the west of the area between hill ranges in southern England known as Holmesdale which has headwaters of several rivers. The town's geography is undulating.

The Circle (British TV series)

The Circle is a British reality television series, produced by Studio Lambert and Motion Content Group which launched its first series on Channel 4 on 18 September 2018. The series bills itself as a game based around social media, with the concept that "anyone can be anyone in The Circle". Throughout the series, contestants are never allowed to meet; the series is narrated by Sophie Willan, whilst the first and last episode of the first series were hosted by Maya Jama and Alice Levine replaced by Emma Willis for the second series. The series has been compared to Big Brother and Catfish in format, as well as Black Mirror episode "Nosedive" with the concept of ratings; the first series was won by 26-year-old Internet comedian Alex Hobern, who had played the game claiming to be a 25-year-old woman called Kate, using photos of his real-life girlfriend Millie. Hobern won the "viewers champion" for an additional £25,000, claiming £75,000 in total; the second series was won with Tim Wilson winning the "viewers champion" vote.

The show's contestants, or "players", all move into a refurbished block of flats in Salford. However, the contestants will never meet face-to-face during the course of the competition, as they will each live in their own individual flat, they will communicate using their profiles on a specially-designed app, giving them the ability to portray themselves in any way they choose. Throughout the game the players rate one another. In season 1, the players rated each other from 1 to 5 stars. In future seasons, players had to rank their fellow players from most to least Favourite. At the end of the ratings, their average scores are revealed; the two highest rated players become "influencers", while the remaining players will be at risk of being "blocked" by the influencers. However there may be a twist to the blocking process - varying from the lowest rating players being blocked, the identy of the influencers being a secret, or multiple players being blocked at one time. Blocked players are eliminated from the game, but are given the opportunity to meet one player still in the game.

During the final, the contestants rate each other one final time, where the highest rated player wins the series and receives a £50,000 cash prize. The viewers get to choose their "viewers champion" out of the finalists, with the winner of this receiving £25,000. On 9 October 2018, it was announced that three localised versions have been commissioned by Netflix for three countries. In October 2019, it was announced that the American version had been filmed, the Brazilian version had headed into its pre-production phase; the Circle at Channel 4 The Circle at

Weill Institute for Cell and Molecular Biology

Founded in 2007, the Joan and Sanford I. Weill Institute for Cell and Molecular Biology is a collaborative, non-profit research institution located on Cornell University's campus in Ithaca, New York; the Weill Institute consists of twelve faculty-led teams, appointed in several life sciences departments within Cornell University. The "cornerstone" of the University's $650 million New Life Sciences Initiative, the Institute is intended to foster multidisciplinary, collaborative research efforts toward answering fundamental questions in cell and molecular biology; the Weill Institute occupies three floors in the south wing of Weill Hall, a $162 million, 263,000-square-foot research facility on Cornell University's Ithaca campus. Weill Hall was designed by Cornell alumnus Richard Meier. Cornell and the Weill Institute celebrated the building's dedication on October 16, 2008. In May 2006, Scott D. Emr was named the Frank H. T. Rhodes Class of'56 Director of the Weill Institute for Cell and Molecular Biology.

Emr is best known for his identification of the ESCRT protein machinery. This set of protein complexes is critical for down-regulating activated cell surface receptors, it has been found to play a vital role in cell division and the viral budding of HIV. His work on the ESCRT complexes has led to his election into both the American Academy of Arts and Sciences in 2004 and the United States National Academy of Sciences in 2007. Anthony Bretscher was appointed in 2007 as Associate Director of the Weill Institute, his research focuses on microfilaments and cell polarity. Weill Institute for Cell and Molecular Biology Cornell University's New Life Science Initiative

Bumageddon: The Final Pongflict

Bumageddon: The Final Pongflict is the final book in Andy Griffiths' Bum trilogy, following The Day My Bum Went Psycho and Zombie Bums from Uranus. The book details the events of a young boy called Zack and his adventures to finish the bums once and for all. After the events of the previous story, Zack Freeman and the entire chapel are crushed under a giant brown blob, he manages to escape with his bum and Eleanor. As they attempt to do so, four Great White Bums descend from the sky and attempt to crush the protagonists under more giant brown blobs, but are saved, believed to be burned to death by, another Great White Bum; the group discovers that they have been teleported inside a spacecraft disguised as a Great White Bum named Robobum, constructed and is being operated by Ned Smelly. Ned reveals that he had no idea that the zombie bumvasion has happened, as he had been trapped underground in a giant stinkant cave in search for their juice, a rare and sought-after fuel for his spacecraft. After discovering a massive reservoir of the juice and mapping out the cave, Ned had discovered three skeletons huddled under a warning written on the cave wall.

One of the skeletons was holding a piece of soap. The warning foretold to future readers that Great White Bum was using the brown hole to send prehistoric bumosaurs to the future in order to bring along Bumageddon; the group realizes that they can prevent Bumageddon by killing the Great White Bum with the arseteroid that killed the bumosaurs. The group use Robobum to travel back sixty-five million years, but accidentally travel back six hundred and fifty million years due to an error in Robobum's system. There, they realize that they have landed at the exact moment that the Great White Bum hatched from its egg, Zack attempts to kill it, believing that he will stop Bumageddon by doing so; the Great White Bum escapes and is pursued by the group in Robobum, where Zack inadvertently fixes the time-travel glitch and causes Robobum to travel to the correct era. The group is forced to abandon Robobum when a tyrannosore-arse rex attacks, leaving Robobum to fight it. After a near miss with a tricerabutt, the group is saved by a bum, who agrees to take them to the Crack of Doom to stop the Great White Bum.

At night, the bum recalls her former owner, a child who took good care of her and abandoned her for no reason. The group is kidnapped by giant stinkants and taken into their nest, where Zack and Eleanor find the freshly-written and incomplete warning. Zack's grandmother, the Pincher, reveals herself along with the Flicker and the Forker, who were responsible for the message. Robobum saves the group from a giant stinkant attack and teleports the group inside, but leaves behind the three aging bum-fighters, who have to stay behind and complete the message. Zack's bum and the tour guide bum fight over, responsible for keeping the group safe, with Eleanor breaking up the fight and revealing that the tour guide bum is her bum. Eleanor explains that she got rid of her bum after the Great White Bum killed her mother, in order to become a bum-fighter and get her revenge, her bum angrily leaves the craft, despite Eleanor's pleas to stay. Robobum detects a molecular signature that of the Great White Bum at a nearby location and determines that the Crack of Doom is at this point.

The group realizes that they are stuck in bumantula webs. While Eleanor and Ned try to cut Robobum out of the web and his bum rescue a creature stuck in the web, they discover that the creature is the kisser, consumed by mutant zombie maggots in the previous book and regurgitated in the past when they became blowflies, leaving him in his liquid form. Zack rescues him; the group retreat into the craft as a bumantula latches onto it crushing Robobum and killing her occupants as she attempts to fly away. She is rescued by the Great White Bum, who believes that she is a real bum, falls in love with him. Realizing their opportunity, the group plots to stop Bumageddon by accepting the Great White Bum's marriage proposal and paralyzing him at their wedding at the Crack of Doom, hours before the arseteroid is due to hit the site. Robobum is carried away by a bumodactyl up to its nest, where Eleanor discovers her bum being fed to its chicks. Eleanor and Zack rescue Eleanor's bum before the Great White Bum arrives, but returns to see that the Kisser has shot Ned dead.

Realizing that the Kisser is still allied with the bums and Zack subdue him by sucking his liquefied body into a vacuum cleaner. Eleanor's bum, who had jumped in front of Eleanor to stop her from being shot, is saved by Zack's bum. Ned's corpse is teleported out of Robobum; the Great White Bum takes the group to the wedding ceremony. After receiving a dress, flowers and a singing quartet, Robobum goes AWOL and refuses to buy more time for Eleanor and Zack. Before they can paralyze the Great White Bum, the Kisser escapes the vacuum cleaner and teleports outside, revealing to the ceremony that Robobum is a spacecraft; the Great White Bum shakes out her occupants and attempts to crush them, but Robobum tricks the Great White Bum into thinking that she has real feelings for him. Robobum sacrifices herself by pulling the Great White Bum into an inescapable hug before shorting out, fusing them together and preventing his escape. With the arseteroid impact imminent, the Great White Bum announces victory, revealing that the young Great White Bum that Zack had chased off the

The Connection (1961 film)

The Connection is a 1961 feature film directed by the American experimental filmmaker Shirley Clarke. The film was Clarke's first feature. Jack Gelber wrote the screenplay; the film was the subject of significant court cases regarding censorship. A title card announces that the film is a result of found footage assembled by cameraman J. J. Burden working for the acclaimed documentary filmmaker, Jim Dunn, who has disappeared. Leach, a heroin addict, introduces the audience to his apartment where other heroin addicts, a mix of current and former jazz musicians, are waiting for their drug connection, Cowboy, to appear; as the men grow nervous, waiting for their fix, some of them start to break the fourth wall and address the camera. Though director Jim Dunn asks his camera operator J. J. to turn off the camera, J. J. films him coaching the junkies to "act natural" and revealing where the microphones and lights are hidden in the apartment. Furthermore, Jim reveals that he is the one who has given the addicts the money for their heroin in exchange for being able to film them.

Jim, nervous around the junkies, confesses a private hope that he will be able to film the connection behind the connection. The junkies suggest it would be more interesting to watch Jim take heroin. J. J. suggests that Jim start with marijuana which Leach finds amusing and does not have. Cowboy arrives, bringing with him an older woman called Sister Salvation who has no idea what they are up to; the men shoot up one by one in the bathroom. Under pressure from the other men, who claim Jim is exploiting them, Jim agrees to try heroin, he immediately becomes ill from the effects, which are much stronger on him than on the others. Despite this, Jim continues to film the others encouraging them to act more cinematic and telling Cowboy he once thought of making him the "hero" of his film. Despite the fact that Cowboy injected Leach with heroin Leach claims to not be high. Annoyed, Cowboy gives Leach the heroin and allows him to shoot up himself which he does, in full view of J. J; however this final shot proves too much for Leach and Leach overdoses, though Cowboy manages to revive him Leach continues to have a bad trip.

The men who are left wait for their next connection to show up. Meanwhile, Jim turns to J. J. and tells him that the film goes to join the other addicts in waiting. Based on the play The Connection by Jack Gelber, the film follows a young filmmaker who attempts to film junkies waiting for their heroin dealer to arrive. Most of the actors from the original stage production reprised their roles for the film: Warren Finnerty as Leach, Carl Lee as Cowboy, Garry Goodrow as Ernie, Jerome Raphel as Solly, Barbara Winchester as Sister Salvation, Henry Proach as Harry. All the musicians from the original stage production appeared: Freddie Redd, Jackie McLean, Michael Mattos, Larry Ritchie. Non-original cast members James William Redfield took the roles of Sam and Jim Dunn; the character of Jaybird was cut from the film, that role shifted to an off-screen camera operator, J. J. Burden, voiced by Roscoe Lee Brown; the film is significant in the history of film censorship, as Clarke and producer Lewis Allen had filed suit to be able to show the film in New York.

In that era, in New York, the State's Department of Education had a vote on the State's film licensing board, they voted to deny a license on the grounds that the word "shit" was used during the film though it was used to refer to drugs. The case went all the way to the New York State Court of Appeals; the Court of Appeals affirmed the decision of the intermediate level Appellate Division, which had held that while'vulgar', this usage could not be considered obscene. The film was unsuccessful at the box office. On May 4, 2012, Milestone Films released a version of The Connection restored by the UCLA Film and Television Archive. Lauren Rabinovitz, Points of Resistance: Women, Power & Politics in the New York Avant-Garde Cinema 1943-71 University of Illinois Press, 2003 The Connection Company v. Regents of the University of the State of New York 17 A. D.2d 671 The Connection on IMDb Trailer Movie of the Week: The Connection at The New Yorker

Aleut Restitution Act of 1988

The Aleut Restitution Act of 1988 was a reparation settlement passed by the United States Congress in 1988, in response to the internment of Aleut people living in the Aleutian Islands during World War II. Before the Japanese invasion of Attu and Kiska in 1942, the United States forcibly relocated some 800 Aleuts to camps in Southeast Alaska, where it is estimated that more than 1 in 10 evacuees perished; the bill was introduced on January 6, 1987, by Representative Thomas S. Foley, along with 166 co-sponsors, it declared the following: The Aleut civilian residents of certain islands who were relocated during World War II remained relocated long after any potential danger had passed. The United States failed to provide reasonable care for the Aleuts, resulting in illness and death, failed to protect Aleut personal and community property; the United States has not compensated the Aleuts adequately. There is no remedy for injustices suffered by the Aleuts except an Act of Congress. Under the new bill, a trust fund was established to be used "for the benefit of the following people and purposes": The elderly, disabled, or ill Students in need of scholarship assistance Preservation of Aleut cultural heritage and historical records The improvement of community centers in affected Aleut villages, Other purposes to improve Aleut life.

For each eligible Aleut, $12,000 was paid to compensate for any personal property losses sustained during the war. On September 14, 1993, an amendment was proposed to the original 1988 Restitution Act, increasing authorization for payments from $1,400,000 to $4,700,000, in order to include church property damaged or lost during the war; the bill was passed by the House of Representatives and the Senate, the Act was amended on October 5, 1994. Aleut Aleutian Islands Outline of United States federal Indian law and policy