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Fox–Wisconsin Waterway

The Fox–Wisconsin Waterway is a waterway formed by the Fox and Wisconsin Rivers. First used by European settlers in 1673 during the expedition of Marquette & Joliet, it was one of the principal routes used by travelers between the Great Lakes and the Mississippi River until the completion of the Illinois and Michigan Canal in 1848 and the arrival of railroads; the western terminus of the Fox–Wisconsin Waterway was at the Mississippi at Prairie du Chien, Wisconsin. It continued up the Wisconsin River about 116 miles until reaching Wisconsin. There travelers would portage to the Upper Fox River, or use the Portage Canal, it continued about 160 miles down the Fox River, following it through Lake Winnebago and continuing on the Lower Fox over 170 feet of falls to the eastern terminus of Green Bay. In the mid-19th century, the waterway was improved with numerous locks and canals, including the 2-mile Portage Canal between the Fox and Wisconsin Rivers. All the locks were not completed until 1876, well after the Illinois and Michigan Canal and at the point where the move from canals to railroads was in full swing.

Development on the waterway introduced barriers to navigation, such as the dam at Prairie du Sac. Use of the waterway was never substantial and it died out; the Portage Canal was closed in 1951 and most of the Upper Fox River locks and dams fell into disuse. The lock system on the Lower Fox River, from Lake Winnebago to Green Bay, was closed in 1983 to prevent the upstream spread of invasive species such as the lamprey; the Fox-Wisconsin is no longer used as a transportation route between the Mississippi River and the Great Lakes. However, the various reaches of the waterway enjoy significant recreational use. Plans are well advanced for reopening the Lower Fox dams; the Waterway can be divided into four physical reaches: the Lower Wisconsin River, "The Portage" canal and locks at Portage, the Upper Fox River and the Lower Fox River. Overall the system is about 280 miles long, it begins in the west at the Mississippi River, rises at a nearly constant rate to Portage, crosses the Great-Lakes/Mississippi River divide at Portage, descends along the Upper Fox to the Lake Winnebago Pool and plunges in a short reach to the eastern end at the head of Green Bay on Lake Michigan.

The lower Wisconsin River flows through glacial drift until it enters the Driftless Area and reaches the Mississippi River. It extends about 116 river miles from Portage to its confluence with the Mississippi River, falling 171 feet from about elevation 782 feet above sea level at Portage to 611 feet, msl at the Mississippi; the reach has nearly uniform hydraulic gradient of about 1.5 feet per mile. There is only one major tributary, the Kickapoo River, which enters just before the Mississippi at about River Mile 16. Since there are no major tributaries, river discharge in the reach are constant, averaging about 8,700 cubic feet per second at USGS gage 05407000 at Muscoda; the river channel is dominated by sand. Sand bars, tow-head islands and new, multiple channels form and change; the channel is shallow. The 2-mile portage at Portage, Wisconsin is not unique as a passage between the Great Lakes and Mississippi River watersheds. Similar passages exist all along the watershed divide, for instance, at Chicago and in the northern Indiana area.

What is unique is that, while the Fox is a small stream—typical of such passages—the Wisconsin is a large river over 300 miles long. The divide between the two rivers has little grade change; the Wisconsin flowed across the Portage into the Fox during high water. The Fox and Wisconsin have modified their courses and outlets over geological time and it is that either river has flowed into either watershed. Only about 2 miles separate the two rivers; the Fox River end of the canal is at about elevation 780 feet msl. The Wisconsin River end is higher, depending on Wisconsin River discharge levels; the Portage lies about 116 river miles from the Mississippi River and 162 river miles from Green Bay. The upper Fox River flows northwest from its headwater to within 2 miles the Portage, it flows to the north-northeast to the Lake Winnebago Pool. It extends about 110 river miles from Portage to Lake Winnebago, falling only about 36 feet from elevation 782 feet, msl at the Portage to 746 feet, msl at Lake Winnebago.

The reach has a shallow grade. The hydraulic gradient averages about 4 inches per mile. There are two shallow lakes along the way, Buffalo Lake and Lake Puckaway; the river drainage area grows in size from 80 square miles at the Portage to about 1,340 square miles at USGS gage 004073500 at Berlin, where the average flow is about 1,140 cubic feet per second. The river discharge would grow at nearly the same proportions, thus the Upper Fox grows from a small stream to a small river over its course. At Big Lake Butte des Morts it is joined from the north by flow from the Wolf River through Lake Poygan; the drainage area of Wolf River is more than twice the size of the drainage area of the Fox. But this extra flow joins the Fox; the river channel is characterized by sand and organic material. The channel, which ranges from 70 to 300 feet, is shallow and widens and deepens as it approaches Lake Winnebago; the lower Fox River flows from the natural impoundment of Lake Winnebago to Lake Michigan. It extends about 39 river miles from Menasha at

Technical rehearsal

The technical rehearsal or tech rehearsal is a rehearsal that focuses on the technological aspects of the performance, in theatrical and filmed entertainment. Tech rehearsals are broken down into four types: dry tech rehearsals, tech rehearsals, pick-up tech rehearsals, paper tech, they consist of testing out all of the technology being used in the performance to diagnose and prevent mistakes from occurring during the actual performance. It gives the designers the opportunity to see how their designs will impact each other, to make final changes; the dry tech is a rehearsal without the performers. It is a period lasting multiple hours, where each designer and department head runs his or her segment of the production, it is a chance for the tech crew who will operate the equipment to become familiar with the flow of the performance. It consists of the lights being cued in sequential order, fixing any problems along the way such as brightness, framing, or position. A sound check is initiated to check the levels of the music, sound effects, or microphones to be used during the performance.

Changes are made as necessary to correct pitch, or feedback problems. Lastly, for stage shows, the fly rigs or battens are tested for weight and accuracy of cueing with sound and lights. If there are moving set pieces, the crew will test their operation and mechanics and practice their movement and position on and offstage. There may be an extra step for effect-intensive productions, such as film, TV, or Broadway-style stage shows, where the crew tests any special effects that require systems such as rain, fire, or explosions; when these effects are completed to the director's and production designer's satisfaction, the crew is ready to move onto the tech. The tech rehearsal includes the performers as well as production crew members, it is a rehearsal that focuses on the technological aspects of the performance in theatrical and filmed entertainment. It runs in its entirety or cue-to-cue. A cue -to-cue is when the sound and lights are run with certain parts of scenes within the production. A scene will start with the first few lines and skip to the lines and staged blocking for the next lighting, sound, or other cue.

This whole process can take many hours, though it is beneficial for all aspects of production, it can become tedious. Tech rehearsals have been known to run long hours due to multiple runs of the show within the tech. Included in the tech are the final show props; these props differ from rehearsal props because they are not just placeholders, they are the props to be used in the actual production. This is so that a performer can become acquainted with using the true prop before the actual performance so as not to look awkward when using it, it is to test the durability of the final prop, as well as how the props will look under the final stage lighting. Costumes are reserved for use starting with the dress rehearsal, but they are sometimes brought in to test the costumes against the final stage lighting as well, so as not to produce a conflict in color differentiation in the final product. Costume pieces that restrict movement or fit strangely such as shoes, gloves and so on may be added either in their final form or in rehearsal form approximating size, etc. to allow actors to get used to them in advance.

Sometimes actors will get dressed in costume for the first time and come on stage so the production staff can see the costumes in their finished form for the first time under stage lighting. This is called a costume parade. During the tech, all of the previous actions taken during the dry tech are repeated, so as to check lighting in concordance with the staged blocking and stage placement, check the levels on the performers' microphones and how well the performers can project if orating concurrently with sound or music, allow the performers to know when there are incoming flying rigs, allow performers to experience and become accustomed to the special effects that will occur so that it will not interfere with the actual performance and make sure the director and designers are happy with all aspects of the production that can be seen or heard. One significant effect, added in tech is blood; this allows actors to get used to it and the costume designer to see how the blood will affect the costumes.

Once completed as many times as the director feels comfortable, the tech will end. Any number of actions can be taken after a tech such as the running of problematic scenes or acts, another dry tech to work out problematic technical issues, or certain performers may be held to work with certain effects for which the other performers are not needed. After all this is completed, the tech rehearsal is over; the next rehearsal to be performed is the dress rehearsal, followed by final dress rehearsal just prior to opening night. Pick-up tech rehearsals are scheduled. Pick-ups consist of covering problem areas from previous shows, rehearsing difficult effects or transitions, or rehearsing newly introduced technical aspects. Lasting no longer than a few hours, they will sometimes be held on different days or times as performance pick-ups so as not to bog down the performers or to detract from the performing rehearsal aspect of the show. If the show is on tour, additional tech rehearsals may be held to cover iss

Daffodil Records (Canadian label)

Daffodil Records was a Canadian record label that existed from 1971 to 1978. Daffodil Records was co-founded in Canada, in 1971, by Frank Davies, associated in the United Kingdom with Liberty Records and EMI Records. Davies assumed the position of vice-president of the new label; the label was owned by Love Productions Ltd. the first release of, a single, "Uncle Pen", by Blake Fordham known as Kelly Jay, of Crowbar. The single was released on London Records; the first album released by Daffodil Records was Official Music, by King Biscuit Boy with Crowbar. At the time, the label announced a distribution agreement with Capitol Records, though the label appears to have been distributed by GRT Records and, as of 1978, Capitol Records. Canadian artists releasing recordings through the label included King Biscuit Boy, Crowbar, A Foot in Coldwater and Fludd; the label is notable as having released the first live-in-concert album by a Canadian band: Crowbar's Larger Than Life: And Live'r Than You'll Ever Be, a recording of the band's concert at Toronto's Massey Hall, released in 1971.

In addition, Daffodil Records was the first independent Canadian label to be distributed under its own name in international markets. Through a 1971 agreement with Festival Records, Daffodil was distributed under its own name in Australia and New Zealand. Shortly after concluding its 1978 distribution agreement with Capitol/EMI Records, the company ceased operations as an independent entity

Sang Lan

Sang Lan is a former Chinese gymnast and television personality. She is a student and advocates for improved conditions for the disabled within China. Sang achieved excellence in gymnastics at a young age, winning the all-around and every single event final at the 1991 Zhejiang Province Championships. By 1995 she was competing nationally. Sang was one of China's strongest vaulters, placing second on the event at the 1995 Chinese Nationals and gaining championship in 1997. While she never represented China at the Olympics or World Gymnastics Championships, she did compete at the 1996 and 1997 American Cup meets and was selected for the 1998 Goodwill Games team. In New York City at the Goodwill Games in July 1998, during warmups for the vault event final, Sang fell while she was performing a timer, she could not raise herself from the mat and was taken to Nassau University Medical Center, a Level I trauma center in East Meadow. She underwent spinal realignment and cervical spine fusion, however the injury to her spinal cord was quite extensive.

The result of the injury was paralysis from the mid-chest down. Sang remained in New York City for a year, receiving rehabilitation at Mount Sinai Hospital. Many celebrities, including Leonardo DiCaprio, Celine Dion and Christopher Reeve visited and offered their support. Twelve years after her fall, Sang revealed that her fall was not just an unfortunate accident, but due to disturbance from a coach of another team, who walked into the vault area to remove a mattress after her push-off. Sang said she mentioned it when she was sent to hospital, but Chinese officials dismissed her accusation, saying she had brain damage. Sang has said she is preparing to sue the event's organisers, now that she is "old enough to stand up for herself." She accused the Chinese National Gymnastics team for cruelly abandoning her after she was paralysed. Since returning to China, Sang has become an advocate for the disabled. A television miniseries about her life was produced in the late 1990s. Sang held her own show, Sang Lan Olympics 2008 on STAR TV, a Mandarin-language television channel.

She was an ambassador for Beijing's successful 2008 Olympics bid and was selected as an Olympic relay torchbearer. Sang was a student at Peking University, she has continued a rigorous physical therapy regimen and has regained some use of her arms and hands. She has expressed an interest in returning to competitive sports and hoped to represent China as a table tennis player at the 2008 Summer Paralympics

Static Tensions

Static Tensions is the fourth studio album by the American heavy metal band Kylesa, released on March 17, 2009 by Prosthetic Records. The artwork and layout was created by John Dyer Baizley of the band Baroness. Like its predecessor, Time Will Fuse Its Worth, the record features two drummers. Static Tensions is a sludge metal album. On the album, Kylesa features a three singer- and two drummer-lineup, which distinguishes the band's "technically busy brand of post-progressive metal from contemporary competitors like Baroness and Mastodon," according to AllMusic's Eduardo Rivadiava. Rivadiava noted the use of downtuned guitars and different singing styles such as shouting, crooning or croaked singing styles, along with elements from stoner rock, sludge rock, psych-rock and alternative rock. Pitchfork critic Cosmo Lee characterized the track "Scapegoat" as "a hardcore punk two-step" and added: "But despite this newfound efficiency, the songs are more baroque than ever, they flaunt melodies shamelessly now.

Choruses are insistent. The whole record is hummable." Lee noted that "the track'Running Red' alternates Slayer harmonies with riffs redolent of Black Sabbath's'Iron Man'" while Laura Pleasants' singing, once a buried gem, is upfront." Spin critic David Marchese thought that the band's guitarists "summon amorphous detuned riffs covered in reverb that snap into distorted single-note flurries. Throughout, drummers Carl McGinley and Eric Hernandez play tight, tribal beats." Upon its release, Static Tensions received positive reviews from music critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from critics, the album received an average score of 79, which indicates "generally favorable reviews", based on 8 reviews. AllMusic critic Eduardo Rivadiava wrote: "At the end of the day, the best single word for describing Static Tensions is "unpredictable," and although this characteristic may demand a few more listens before the album's many amazing qualities can sink in properly, the ultimate payoff is much worth the effort."

Jesse Raub of Alternative Press stated: " Though some might fear the band have lost their edge, their latest album is more focused and, like a laser beam more destructive when concentrated." Raub further commented: "Although a more varied use of the two drummers would be appreciated, the overall echoed effect with the cleaner production offers a complete, homogenized sound, when consumed en masse, makes for a killer album." The Austin Chronicle's Raoul Hernandez thought: "While not as compositionally right-angled as 2006 Prosthetic disc Time Will Fuse Its Worth, liquefies massively and psychedelically into a multiton Teutonic corkscrew." Pitchfork critic Cosmo Lee wrote: "The band has etched light, dark and earth so deftly onto wax that it vibrates the soul." David Marchese of Spin commented: "The heat subsides at times, but it never breaks." Tiny Mix Tapes' Bryan Reed wrote: "This is a dynamic, densely-packaged slab of rock ’n’ roll, which not only stands alongside the titans of the genre, but gives Kylesa a name of their own."

All songs written except where noted. KylesaPhillip Cope – guitar, vocals Laura Pleasants – guitar, vocals Javier Villegas – bass Carl McGinely – drums, keyboards Eric Hernandez – drums Static Tensions at Discogs

Željana Zovko

Željana Zovko is a Bosnian-Herzegovinian diplomat and politician. Since 2016, she has been serving as a member of the European Parliament from Croatia. Zovko, a Herzegovian Croat from Mostar with dual citizenship of Bosnia and Herzegovina and Croatia, studied French language at the University of North London in the 1990s. Zovko came back to Bosnia and Herzegovina in 1999 to work as associate for public relations and head of office for the Croat member of the Presidency of Bosnia and Herzegovina Ante Jelavić, found guilty of abuse of office, embezzlement of office, lack of commitment in office. In the 2000s, Zovko moved to the diplomatic service: she was named resident ambassador of Bosnia and Herzegovina to France from 2004 to 2008 ambassador to Spain between 2008 and 2011. In 2012 Zovko came back to Bosnian politics, working until 2015 as foreign affairs advisor for the Chairman of the Council of Ministers of Bosnia and Herzegovina Vjekoslav Bevanda. In May 2014 Zovko contested the 2014 European Parliament election in Croatia on the list of the "Patriotic coalition" linked to the Croatian Democratic Union.

She won 2,392 votes. She was not elected. From May 2015 to October 2016 Zovko was ambassador of Herzegovina to Italy. In 2016, following the resignation of Andrej Plenkovic and Davor Ivo Stier who went to form a new government in Croatia, the refusal of Ivan Tepeš to replace Stier, Zovko took up a place in the European Parliament as MEP for Croatia, her switch of loyalties from the Bosnian diplomatic service to representing Croatian voters in the European Parliament raised some criticisms in the press. During her first term, she served on the Committee on Development. Following the 2019 elections, she joined the Committee on Foreign Affairs. In addition to her committee assignments, Zovko is a member of the parliamentary delegation for relations with Bosnia and Herzegovina, Kosovo She is a member of the European Parliament Intergroup on Seas, Rivers and Coastal Areas. In 2017 October, Zovko was deployed to Nepal as the Chief Observer under European Union Election Observation Mission to Nepal to observe the 2017 Nepalese legislative election.

European Parliament MEP profile