Frank Helmut Auerbach is a German-British painter. Born in Germany, he has been a naturalised British citizen since 1947. Auerbach was born in Berlin, the son of Max Auerbach, a patent lawyer, Charlotte Nora Borchardt, who had trained as an artist. Under the influence of the British writer Iris Origo, his parents sent him to Britain in 1939 under the Kindertransport scheme, which brought 10,000 Jewish children to Britain to escape from Nazi persecution. Aged seven, Auerbach arrived at Southampton on 7 April. Left behind in Germany, Auerbach's parents died in a concentration camp in 1942. In Britain, Auerbach became a pupil at Bunce Court School, near Faversham in Kent, where he excelled in not only art but drama classes. Indeed, he became an actor taking a small role in Peter Ustinov's play House of Regrets at the Unity Theatre in St Pancras, at the age of 17, but his interest in art proved a stronger draw and he began studying in London, first at St Martin's School of Art from 1948 to 1952, at the Royal College of Art from 1952 to 1955.

Yet the clearest influence on his art training came from a series of additional art classes he took at London's Borough Polytechnic, where he and fellow St Martin's student Leon Kossoff were taught by David Bomberg from 1947 until 1953. From 1955, he began teaching in secondary schools, but moved into the visiting tutor circuit at numerous art schools, including Ravensbourne, Ealing and the Slade School of Art. However, he was most to be found teaching at Camberwell School of Art, where he taught from 1958 to 1965. Auerbach's first solo exhibition was at the Beaux Arts Gallery in London in 1956, followed by further solo shows at the Beaux Arts Gallery in 1959, 1961, 1962 and 1963, at Marlborough Fine Art in London at regular intervals after 1965. In 1978, he was the subject of a major retrospective exhibition at the Hayward Gallery, in 1986 he represented Britain in the Venice Biennale, sharing the biennale's main prize, the Golden Lion, with Sigmar Polke. Further exhibitions have included Eight Figurative Painters, held at the Yale Center for British Art in New Haven, USA, in 1981, alongside Michael Andrews, Francis Bacon, William Coldstream, Lucian Freud, Patrick George, Leon Kossoff and Euan Uglow.

This show toured, with some additional works, to the Museum Folkwang and the Centro de Arte Reina Sofia, Madrid, in 1987. Exhibitions were held at the Van Gogh Museum, Amsterdam, in 1989, he was included in the exhibition A New Spirit in Painting at the Royal Academy of Arts, London, in 1981 and a solo exhibition of his paintings and drawings 1954 to 2001 was held there in 2001. Auerbach was the subject of a television film entitled Frank Auerbach: To the Studio, directed by Hannah Rothschild and produced by Jake Auerbach; this was first broadcast on the arts programme Omnibus on 10 November 2001. David Bowie owned Auerbach's "Head of Gerda Boehm" as part of his private collection. After Bowie's death in 2016, this piece was among many put up for auction in November 2016, where it was sold for £3.8 million. London's Tate Britain, in association with the Kunstmuseum Bonn, organized a major retrospective of Auerbach's work in 2015 and 2016; the exhibit was curated by Catherine Lampert together with the artist.

Auerbach is a figurative painter, who focuses on portraits and city scenes in and around the area of London in which he lives, Camden Town. Although sometimes described as expressionistic, Auerbach is not an expressionist painter, his work is not concerned with finding a visual equivalent to an emotional or spiritual state that characterised the expressionist movement, rather it deals with the attempt to resolve the experience of being in the world in paint. In this the experience of the world is seen as chaotic with the role of the artist being to impose an order upon that chaos and record that order in the painting; this ambition with the paintings results in Auerbach developing intense relationships with particular subjects the people he paints, but the location of his cityscape subjects. Speaking on this in 2001 he stated: "If you pass something every day and it has a little character, it begins to intrigue you." This simple statement belies the intensity of the relationship that develops between Auerbach and his subjects, which results in an astonishing desire to produce an image the artist considers'right'.

This leads Auerbach to paint an image and scrape it off the canvas at the end of each day, repeating this process time and again, not to create a layering of images but because of a sense of dissatisfaction with the image leading him to try to paint it again. This indicates that the thick paint in Auerbach's work, which led to some of Auerbach's paintings in the 1950s being considered difficult to hang due to their weight and according to some newspaper reports in case the paint fell off, is not the result of building up a lot of paint over time, it is in fa

Admaston railway station was a railway station serving the village of Admaston in Shropshire, England. It was located on; the station was opened by the Shrewsbury and Birmingham Railway in 1849, was shared with the Shropshire Union Railways and Canal Company. The line through the station was taken over by the North Western Railway, it closed to traffic just a few months after opening, but reopened again in the summer of 1850. It only appeared in LNWR timetables for their Shrewsbury to Stafford route in its early years, as Great Western Railway trains between Shrewsbury and Wolverhampton ran through without stopping there, though the line had come under joint ownership by 1854. Platforms, a station house and a brick single storey ticket office on the down side were provided in the final years of the nineteenth century, by which time GWR trains were calling on a regular basis. After the 1923 Grouping, joint operation passed to the London and Scottish Railway and GWR; the station remained quite modestly served thereafter, though the line itself carried heavy volumes of freight and passenger traffic.

The line passed on to the Western Region of British Railways on nationalisation in 1948, with Admaston becoming an unstaffed halt at the end of June 1952. In January 1963, the line and station were transferred from the Western Region of British Railways to the London Midland Region. Shortly afterwards consent to closure was granted by the Transport Secretary Ernest Marples the following May; the last train called here on the evening of 5 September 1964, with closure to passengers coming into effect two days later. Trains on the Shrewsbury to Wolverhampton Line pass the site. There is little sign now that the station was there, although a feasibility study was undertaken regarding the possibility of reopening in 2003. Butt, R. V. J.. The Directory of Railway Stations: details every public and private passenger station, halt and stopping place and present. Sparkford: Patrick Stephens Ltd. ISBN 978-1-85260-508-7. OCLC 60251199. Jowett, Alan. Jowett's Nationalised Railway Atlas. Penryn, Cornwall: Atlantic Transport Publishers.

ISBN 978-0-906899-99-1. OCLC 228266687. Jowett, Alan. Jowett's Railway Atlas of Great Britain and Ireland: From Pre-Grouping to the Present Day. Sparkford: Patrick Stephens Ltd. ISBN 978-1-85260-086-0. OCLC 22311137. Mitchell, Vic. Wolverhampton to Shrewsbury. Middleton Press. Figs. 103-104. ISBN 9781906008444. OCLC 286385795. Station on navigable O. S. map

Potnia is an Ancient Greek word for "Mistress, Lady" and a title of a goddess. The word was inherited by Classical Greek from Mycenean Greek with the same meaning and it was applied to several goddesses. A similar word is the title Despoina, "the mistress", given to the nameless chthonic goddess of the mysteries of Arcadian cult, she was conflated with Kore, "the maid", the goddess of the Eleusinian mysteries, in a life-death rebirth cycle which leads the neophyte from death into life and immortality. Karl Kerenyi identifies Kore with the nameless "Mistress of the labyrinth", who presided over the palace of Knossos in Minoan Crete. Potnia is a poetic title of honour, used chiefly in addressing females, whether women, its hypothetical Proto-Indo-European form *pot-niha-, "mistress", "lady", "wife", is the feminine counterpart to *pótis, "husband". Potnia is attested in the Linear B script in Mycenean Greek: po-ti-ni-ja; the word was inherited in classical Greek with the same meaning. A related Greek word is despoina.

An alternative etymology of the goddess Demeter comes through Despoina. The figure of a goddess of nature, of birth and death was dominant during the Bronze Age, in both Minoan and Mycenean cults. In the Mycenean cult she was known by the title Potnia; the earliest references to the title are inscriptions in Linear B syllabic script found at Pylos and at Knossos, dated 1450-1300 BC. On a number of tablets from Pylos, we find po-ti-ni-ja without any accompanying word. Chadwick suggests, it seems. Wanax was her male companion in the Mycenean cult, this title was applied to the god Poseidon as king of the underworld. Another epithet of Poseidon was e-ne-si-da-o-ne and in the cave of Amnisos Enesidaon is related to the cult of Eileithyia, she was a goddess of nature concerned with the annual birth of the divine child. Potnia and her male companion survived in the Eleusinian cult, where the following words were uttered: "Mighty Potnia has born a strong son". An inscription from Knossos refers to the "potnia of the labyrinth", who presided over the palace of Knossos.

A famous Minoan seal impression found by Arthur Evans shows a nameless goddess brandishing a spear and standing upon the representation of a mountain flanked by rampant lions, the representation seems similar to the Homeric potnia theron. Several tablets in Linear B script found at Knossos and Pylos refer to the potnia. Potnia is always accompanied by an epithet characterizing a particular place or function of the mistress: po-ti-ni-ja,a-si-wi-ja, si-to-po-ti-ni-ja, po-ti-ni-ja,i-qe-ja. At Knossos a tablet refers to a-ta-na-po-ti-ni-ja, "potnia Athana", a form similar to the Homeric form; this divine title could be the translation of a similar title of Pre-Greek origin, just as the title "Our Lady" in Christianity is translated in several languages. The Pre-Greek name may be related to a-sa-sa-ra, a possible interpretation of inscriptions found in Linear A texts. Although Linear A is not yet deciphered, Palmer relates tentatively the inscription a-sa-sa-ra-me which seems to have accompanied goddesses, with the Hittite išhaššara, which means "lady or mistress", with išhaššaramis.

In classical Greece the title potnia is applied to the goddesses Demeter, Artemis and Persephone. This title was given to the earth goddess Gaia. A similar title Despoina, "the mistress", was given to the nameless goddess of the mysteries of Arcadian cult conflated with Kore, the goddess of the Eleusinian mysteries. Homer in the Iliad mentions a potnia theron, Artemis. Karl Kerenyi identifies Persephone with the nameless "mistress of the labyrinth". Demeter and Persephone were the two great goddesses of the Arcadian cults. According to Pausanias at Olympia they were called Despoinai. Demeter and Persephone were called "Demeteres" as duplicates of the earth goddess with a double function as chthonic and vegetation goddesses. Despoina Persephone Potnia theron List of Mycenaean deities

Anthony Max North was a Judge of the Federal Court of Australia serving from 3 October 1995 until 11 September 2018. He held appointments as a Judge of the Supreme Court of the Australian Capital Territory and the Industrial Relations Court of Australia. North graduated as Bachelor of Bachelor of Arts from the University of Melbourne. In 1973 he served as associate to Sir Ninian Stephen a Judge of the High Court of Australia, he graduated as Master of Laws from the University of London in 1975. In 1976 he was admitted to the Victorian Bar, he held the part-time statutory appointment as Defence Force Advocate between 1993 and 1995. He retired in September 2018. List of Judges of the Federal Court of Australia List of judges of the Industrial Relations Court of Australia List of Judges of the Supreme Court of the Australian Capital Territory

The 1/100 regularity rally is a European format of regularity rally for classic cars. As with other regularity rallies, the aim is not to be the fastest but rather to stay on the prescribed time across all timed checkpoints. Accordingly, 1/100 regularity rallies carry a negligible risk of damage to the vehicles and participants. 1/100 regularity rallies are conducted on open, public roads alongside regular traffic, without the contestants knowing the route in advance. Teams take off at fixed intervals, creating a field, spread along the course; the route is described in a roadbook sign by sign. In addition to having to adhere to the prescribed arrival times to the timed checkpoints, the route is sprinkled with 1/100 challenges - where the denomination of the rally comes from. 1/100 challenges are special tasks between ordinary stages of the rally, timed to the accuracy of 1/100 second. The roadbook will include a chart with the layout for each challenge with their prescribed completion times, competitors would receive penalty points for every 0.01s too early or too late across the finish line.

A typical 1/100 regularity rally may run for a few hours or it may run over a series of stages over a few days. Competitors are briefed about the event at the start, may be required to submit their cars for inspection; each team is given a timecard prior to departure. This timecard will record arrival times at all timed checkpoints. Teams' scores are determined by adding all penalty points from timed checkpoints, 1/100 challenges, missing stamps or other control measures, route errors. In addition, some events apply a multiplier to the overall score of participants based on the year of manufacture of their vehicle, to offset any potential advantage of more modern technology; the team with the lowest number of penalties wins. Most 1/100 regularity rallies require a stopwatch to complete; the rules of each event determine. Some common aids include: Odometer: Odometers can range from the odometer included on the dashboard of most cars to specially manufactured rally odometers. Speedometer: As with odometers, speedometers used by rallyists range from those built into the vehicle to specially manufactured rally speedometers.

Stopwatch: Accurate time is essential in regularity rallying - in 1/100 rallies a mechanical stopwatch is preferred. Austria's famous Silvretta Classic has been held since 1998 with over 150 cars attending every year; the hosting Motor Klassik magazine organises several similar rallies, such as the annual Paul Pietsch Classic and the Sachsen Classic. The Hungarian Oldtimer Supercup comprises 4-8 rallies for classic cars every year since 2002, based on the 1/100 regularity format. From 2012 Australia has been hosting their own 1/100 regularity series called the Australia Classic. In 2009, in episode 6 of season 13 of Top Gear Jeremy Clarkson and his team participated in the Rally Clásico Isla Mallorca, a 1/100 regularity rally in Mallorca

Manuel Alejandro Mayorga Almaráz is a Mexican professional footballer who plays as a left-back for Liga MX club Pumas UNAM. Mayorga joined Guadalajara's youth academy in 2011, he continued through Chivas Youth Academy going through U-17 and U-20. Until reaching the first team, Matías Almeyda being the coach promoting mayorga to first team. Mayorga made his Liga MX debut on August 2017 in a 2 -- 2 draw against Necaxa. Mayorga started in all of the national team's matches in the 2017 FIFA U-20 World Cup in South Korea. Mayorga and Edson Álvarez were given the opportunity to be a supporting practice squad player with the Mexico squad that participated in the 2017 Confederations Cup. Mayorga got his first call up to the senior Mexico side in the preliminary list for the 2017 CONCACAF Gold Cup, all before his Liga MX debut. On June 28, 2017 Mayorga made the official 23-man list. GuadalajaraCONCACAF Champions League: 2018 CONCACAF Champions League Best XI: 2018 Manuel Alejandro Mayorga Almaráz at Liga MX M. Mayorga at Soccerway