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Garner, Arkansas

Garner is a town in White County, United States. Brandy Goodwin is the current mayor; the population was 284 at the 2000 census. Garner is located at 35°8′28″N 91°47′7″W. According to the United States Census Bureau, the town has a total area of 1.8 km², of which 1.7 km² is land and 0.1 km² is water. As of the census of 2000, there were 284 people, 103 households, 83 families residing in the town; the population density was 168.7/km². There were 113 housing units at an average density of 67.1/km². The racial makeup of the town was 95.07% White, 1.06% Black or African American, 3.87% from two or more races. 1.06 % of the population were Latino of any race. There were 103 households out of which 40.8% had children under the age of 18 living with them, 66.0% were married couples living together, 11.7% had a female householder with no husband present, 19.4% were non-families. 18.4% of all households were made up of individuals and 7.8% had someone living alone, 65 years of age or older. The average household size was 2.76 and the average family size was 3.08.

In the town, the population was spread out with 28.9% under the age of 18, 4.9% from 18 to 24, 33.1% from 25 to 44, 20.8% from 45 to 64, 12.3% who were 65 years of age or older. The median age was 34 years. For every 100 females, there were 98.6 males. For every 100 females age 18 and over, there were 94.2 males. The median income for a household in the town was $24,688, the median income for a family was $28,393. Males had a median income of $24,375 versus $18,750 for females; the per capita income for the town was $11,015. About 12.3% of families and 19.2% of the population were below the poverty line, including 20.5% of those under the age of eighteen and 15.8% of those sixty five or over

Troop sleeper

In United States railroad terminology, a troop sleeper was a railroad passenger car, constructed to serve as something of a mobile barracks for transporting troops over distances sufficient to require overnight accommodations. This method allowed part of the trip to be made overnight, reducing the amount of transit time required and increasing travel efficiency. Between December 1941 and June 1945 U. S. railroads carried 44 million armed services personnel. As there were not enough cars and coaches available to meet the massive need for troop transit created by World War II, in late 1943 the U. S. Office of Defense Transportation contracted with the Pullman Company to build 2,400 troop sleepers, with American Car and Foundry to build 440 troop kitchen cars; this new rolling stock was either converted from existing boxcars or built from scratch based on Association of American Railroads standard 50'-6" single-sheathed steel boxcar designs, were constructed out of steel with reinforced ends. In some instances baggage cars were converted into temporary kitchen cars before ACF could complete its order.

The cars were affixed with gold lettering. Along the Atchison and Santa Fe Railway's "Surf Line," trains consisting of 10-12 former Southern Pacific interurban trailer cars, owned by the U. S. Maritime Commission but bearing Santa Fe markings, were fitted with conventional knuckle couplers at each end of the trainset and pressed into service to handle the additional passenger loads. Equipped with special Allied Full Cushion high-speed swing-motion trucks, Pullman troop sleepers were designed to be interchangeable with all other passenger equipment; the units came equipped with end doors similar to those found on standard railway cars, but had no vestibules. Loading and unloading of passengers was accomplished via wide doors positioned on each side at the center of the cars with built-in trap doors and steps. Light and ventilation was provided by ten window units mounted on each side, each equipped with rolling black out shades and wire mesh screens. Troop sleepers intended for use by enlisted personnel, were equipped with bunks stacked 3-high, slept 29 servicemen plus the Pullman porter.

Every passenger was provided with a separate Pullman bed, complete with sheets and pillowcases that were changed daily. The berths were laid out in a cross-wise arrangement that placed the aisle along one side of the car, as opposed to down the center. Though the upper berths were fixed, the middle and lower sections could be reconfigured into seating during the daytime. Weapon racks were provided for each group of berths. Four washstands delivered cold running water; the cars came outfitted with two enclosed toilets and a drinking water cooler. Troop kitchens, rolling galleys joined the trains to provide meal service en route; as the cooking was performed by regular U. S. Army cooks, the cars were outfitted with two Army-standard coal ranges; the cars were equipped with a pair of 200-gallon cold water tanks and a 40-gallon hot water tank. The cars served 250 men each, were placed in the middle of the train so that food could be served from both ends. Troop hospital cars based on the troop sleeper carbody, transported wounded servicemen and travelled in solid strings on special trains averaging fifteen cars each.

Each had 38 berths for patients, 30 of which were arranged in the central section of the car in three tiers on each side. There was a section with six berths which could be used for isolation cases as well as private compartments for special cases; each unit was ice air-conditioned and came fitted with a shower room along with a modern kitchen with the latest equipment. Troop cars saw service through 1947, after which many were declared surplus and sold by the U. S. Army Transportation Corps to the railroads and were subsequently converted into baggage cars, express service boxcars, refrigerator cars, cabooses, while others remained in sleeper configuration for use as bunk cars by maintenance of way crews. Several Kitchen Cars remained in Department of Defense service, being converted into Guard Cars to accompany sensitive military rail movements, such as military unit equipment deployments, the Strategic Air Command's mobile B-52 and KC-135 cockpit simulators. Subsequent conflicts have not created the need for such an arrangement due to the much smaller level of manpower involved but due to the wider use of aircraft for long-distance transportation of troops.

Today, preserved troop sleepers and kitchen cars can be seen at several railroad museums and tourist railroads across the United States. Troop sleeper #7437 is on display at the Baltimore & Ohio Railroad Museum in Baltimore, MD, it was purchased as surplus by the Western Maryland Railroad and used on work trains as crew quarters. The museum has restored it to its original outside appearance; the inside has half the beds put back and the other half has displays about B&O's services during the war. Hediger, Jim.. "Troop kitchen cars." Model Railroader 69 80–82. McGuirk, Marty.. "Troop sleepers." Model Railroader 68 89–92. Pearce, Bill.. "Express Reefer from troop sleeper in N." Model Railroader 72 62–65. Signor, John R. ed.. "Troop Sleepers." The Warbonnet 10 31. Wider, Patrick C.. "Troop cars." Classic Trains 2 84–87. DeNevi, Don. America's Fighting Railroads: A World War II Pictorial History. Pictorial Histories

Hugo Heyrman

Hugo Heyrman known by his artist name Dr. Hugo Heyrman, is a leading Belgian painter, internet pioneer and new media researcher. Dr. Hugo Heyrman was born in Zwijndrecht, he works in Antwerp. Heyrman opted for a musical education, but transferred to the visual arts, he graduated from the Royal Academy and became a laureate of the National Higher Institute for Fine Arts in Antwerp. In addition, he studied nuclear physics during one year at the State Higher Institute for Nuclear Energy in Mol, he received a Ph. D. in art sciences, magna cum laude, from the Universidad de La Laguna, in Tenerife with a thesis on Art & Computers: an exploratory investigation on the digital transformation of art. From his earliest work, Heyrman developed a specific vision on the nature of perception. "Most of my work has to do with contemporary fragility. The works are'ways of seeing', forms of visual thinking, they make the virtual and mental space of an image real", he declares in his website, his art practice includes painting, sculpture, video and digital media.

In his website'Museums of the Mind' he continues to publish his research and experiments on the telematic future of art, the senses and synaesthesia. During the sixties, Heyrman profiled himself as an avant-garde artist with happenings, film- and video experiments. Online since 1995, Heyrman became one of the pioneers in Net.art. He participated in 1988 at the'First International Symposium on Electronic Art' in Utrecht. In 1995, Heyrman coined the terms "tele-synaesthesia" and "post-ego". Since 1993 he is a working member of the Royal Flemish Academy of Belgium for Science and the Arts, Brussels; as of 2006 he was a professor at the Royal Academy for Antwerp. Continental Video & Film Tour with his'Mobile Museum of Modern Media' through Belgium, Germany and the Netherlands.'Street-life' paintings. Elected laureate of the'Jeune Peinture Belge' at the Palais des Beaux-arts, Brussels. Monumental painting series on'Water','Light','Time','A Vision is Finer than a View' and'New Models of Reality', which Heyrman describes as painting the existential tension between ideas and images.

Various Internet art projects, including the online exhibitions, Digital Studies: Being In Cyberspace'ALT-X-site' New York and'Revelation' ISEA 2000, Paris. His works have been presented in major international exhibitions ranging from Antwerp, Basel, Paris and Chicago to the Venice Biennale. Cyberarts Interactive art New media art Késenne, Joannes, Dr. Hugo Heyrman / Monography, 2008, Snoeck Publishers & De Zwarte Panter, Bilingual edition Dutch and English, ISBN 978-90-5349-685-5 Official website Dr. Hugo Heyrman

Kanna Talli

Kanna Talli is a 1953 Telugu drama film and directed by K. S. Prakash Rao under the Prakash Studios banner, it stars Akkineni Nageswara Rao, G. Varalakshmi in the lead roles and music composed by Pendyala Nageshwara Rao; the film is the debut of Telugu popular singer P. Suseela and actress Rajasulochana into the film industry. Kanna Talli bears some resemblance to Mehboob Khan's Aurat but is a different story than the former; the film was released in Tamil as Petra Thai. Dialogues were penned by S. A. Subbaraman; the film begins on wealthy couple Chalapathi & Shantamma who lead a happy family life with two sons Ramu & Shankar. Chalapathi is the one. Hence, he absconds leaving behind the family. During that plight, Shantamma fosters the children. Behold of her struggle the elder one Ramu aims to carve his brother as a civilized person. Years roll by, Ramu exerts himself and Shankar accomplishes the school file. Parallelly, he falls for Gowri daughter of their uncle Nagaiah. At Present, Ramu aspires to admit Shankar in college for which performs a rich alliance with Rs.10,000 of dowry.

Since his wife Lakshmi is a virago. Besides, in the city, Shankar turns as a spoiled brat with the association of a dancer Chanchala. Learning it, Ramu lands where he is badly humiliated by Shankar. Distressed Ramu returns back when Lakshmi dominates him. After some time, Shankar confronts his brother for his share. Thereupon, Shantamma necks out him when warmhearted Ramu forgives and lets him in, but deceitful Shankar heists Lakshmi's jewelry and Shanta becomes culpable, so, she is spurned from the house. Being cognizant of Shankar's behavior, Nagaiah calls off the match when blue Gowri attempts suicide and Shantamma rescues her. Here, Shantamma provides an assurance to get back Shankar. By the time, Shankar discovers. Witnessing it, Shantamma indicts herself in the crime. Knowing it, Ramu rushes to his mother. Now the wheel of fortune makes Shantamma meet with her husband Chalapathi in the prison here and now as a wanderer. At last, Shantamma seeks Ramu to maintain silence and to couple up Shankar & Gowri.

The movie ends with Shantamma moving towards condemning. Art: Gooda Gaankaar Choreography: Pasumarti Dialogues: Sunkara Satyanarayana, Sri Sri, Arudra Lyrics: Sri Sri, Acharya Atreya, Tapi Dharma Rao, Sunkara Playback: Ghantasala, P. Susheela, A. M. Rajah, Madhavapeddi Satyam, K. Rani, Sarojini Music: Pendyala Nageshwara Rao Editing: A. V. S. Subba Rao Cinematography: Jagirdar Screenplay - Producer - Director: K. S. Prakash Rao Banner: Prakash Productions Release Date: 14 April 1953 Music composed by Pendyala Nageshwara Rao. Music released on Audio Company. Telugu songsTamil SongsLyrics were penned by M. S. Subramaniam. Playback singers are M. S. Sarojini, Ghantasala, A. M. Rajah, P. Susheela and K. Rani; the song Yaedukku Azhaithai is the first song in Tamil film sung by P. Susheela. Kanna Talli on IMDb

William A. Burwell

William Armisted Burwell was a nineteenth-century congressman and presidential secretary from Virginia. Born near Boydton, Burwell graduated from the College of William and Mary, he moved to Franklin County, Virginia in 1802 and became a member of the Virginia House of Delegates, serving from 1804 to 1806. Burwell became a private secretary for President Thomas Jefferson before being elected a Democratic-Republican to the United States House of Representatives to fill a vacancy. Burwell served from 1806 until his death on February 16, 1821, in Washington, D. C.. He was interred there in the Congressional Cemetery, his home, the Burwell-Holland House was listed on the National Register of Historic Places in 2002. In her 1974 biography of Jefferson, Fawn M. Brodie repeats a clergyman's claim that Burwell was an atheist and that he was expelled from New Jersey College for this reason and for "infidelity." List of United States Congress members who died in office United States Congress. "William A. Burwell".

Biographical Directory of the United States Congress. William A. Burwell at Find a Grave William A. Burwell at The Political Graveyard

2014–15 Matador BBQs One-Day Cup

The 2014 Matador BBQs One-Day Cup was the 45th season of the official List A domestic cricket competition in Australia. It was played over a four-week period at the start of the domestic season to separate its schedule from the Sheffield Shield, held after the tournament's conclusion; the tournament was held in Sydney and Brisbane, with most matches broadcast live on free-to-air television on GEM. Western Australia defeated New South Wales in the final to win the title for the first time in 11 years. Matador BBQs One-Day Cup 2014/15 on ESPN Cricinfo on Cricket Australia