The Italian Sighthound is an Italian breed of small sighthound. It may be called the Italian Greyhound; this dog has long been popular with royalty. Among those believed to have kept it are Frederick II, Duke of Swabia; the dog has been represented in painting, notably by Giotto and Tiepolo. The Italian Sighthound is the smallest of the sighthounds, it stands 32 to 38 cm at the withers. It is in the sighthound group of the Fédération Cynologique Internationale, but in the toy group in the UK and US, it is deep in the chest, with a tucked-up abdomen, long slender legs and a long neck that tapers down to a small head. The head is pointed; the gait should be high-stepping and well-sprung, with good forward extension in the trot, a fast gallop. Recognised coat colours are black and isabelle in any shade; the Italian Greyhound has a median lifespan of 13.5 in a 2004 UK Kennel Club survey. A 1993 US breed club survey gives an average lifespan of 9 years but more than a quarter of the dogs had "accidents" recorded as cause of death.
Health problems that can be found in the breed: epilepsy Legg-Perthes disease patellar luxation von Willebrand disease progressive retinal atrophy color dilution alopecia leg breaks cataracts vitreous degeneration liver shunts autoimmune hemolytic anemia periodontal disease, gum recession, early tooth loss, bad tooth enamel hypothyroidism, autoimmune thyroid disease The Ortheopedic Foundation for Animals has found the Italian Greyhound to be the least affected by hip dysplasia of 157 breeds studied, with an incidence of 0. Companion group Media related to Italian Greyhound at Wikimedia Commons
"Brown Eyed Handsome Man" is a rock and roll song written and recorded by Chuck Berry released by Chess Records in September 1956 as the B-side of "Too Much Monkey Business." It was included on Berry's 1957 debut album, After School Session. The song title was used as the title of a biography of Berry. "Brown Eyed Handsome Man" was written after Berry visited several African-American and Hispanic areas in California. During his time there, he saw a Hispanic man being arrested by a policeman when "some woman came up shouting for the policeman to let him go.""Brown Eyed Handsome Man" was recorded on April 16, 1956, in Chicago, Illinois. The session was produced by the Chess brothers and Phil. Backing Berry were Johnnie Johnson on piano, L. C. Davis on tenor saxophone, Willie Dixon on bass, Fred Below on drums; the song was released in September 1956 and reached number 5 on Billboard magazine's R&B Singles chart that year. Glenn C. Altschuler, in a caption to photo of Berry, states that the lyrics of the song "played slyly with racial attitudes and fears."
Martha Bayles noted that "Berry's penchant for bragging about his'Brown Eyed Handsome Man"s appeal for white females outraged a lot of people." The song has been covered by many artists, including Buddy Holly, whose recording was a posthumous hit in the United Kingdom in 1963, where it peaked at number three, was released on the album Reminiscing, which reached number two on the UK Albums Chart. Johnny Rivers covered the song on his first album, At the Whisky à Go Go, in 1964, as did Nina Simone on her 1967 album High Priestess of Soul and Waylon Jennings on a single from his 1970 album Waylon, it was covered by Robert Cray on the 1987 live tribute album to Berry, Hail! Hail! Rock'n' Roll and by Paul McCartney on his 1999 album Run Devil Run and on a double A-side single with "No Other Baby"; the song was performed by the so-called "Million Dollar Quartet": Johnny Cash, Carl Perkins, Jerry Lee Lewis, Elvis Presley in a jam session on December 4, 1956. Lewis released a solo version on his 1970 album She Even Woke Me Up to Say Goodbye.
Cash recorded it with Perkins on his posthumous 2003 album Unearthed. "Brown Eyed Handsome Man" was performed in the Broadway musical Million Dollar Quartet, which opened in New York in April 2010, was included in the album Million Dollar Quartet, recorded by the original Broadway cast, with Lance Guest as Johnny Cash, Robert Britton Lyons as Carl Perkins, Levi Kreis as Jerry Lee Lewis, Eddie Clendening as Elvis Presley. It was covered by Lyle Lovett on his 2012 album Release Me; the song is loosely referenced in John Fogerty’s song Centerfield with the line, “A-roundin' third, headed for home, It's a brown-eyed handsome man.” Lyrics of this song at MetroLyrics
Taxis in Australia are regulated by each Australian state and territory, with each state and territory having its own history and structure. In December 2014, there were 21,344 taxis in Australia. Taxis in Australia are required to be licensed and are required to operate and charge on a fitted taximeter. Taxi fare rates are set by territory governments. A vehicle without a meter is not considered to be a taxi, may be described, for example, as a hire car, carpool, etc. Most taxis today are fuelled by liquid petroleum gas. Cabcharge Australia owns and operates the Cabcharge payment system, which covers 98% of taxis in Australia, operates one of Australia's largest taxi networks. Taxi services are valuable to less mobile groups in the community, such as elderly and disabled people; as a result, government intervention has ensured that taxi services have assisted in ensuring equity, reliability and safety. At the same time, regulation has created barriers to entry and limited competition in the sector.
In April 1995, the Commonwealth and all State and Territory governments entered into the Competition Principles Agreement that required all jurisdictions to review legislation which restricts competition by the year 2000. As a result of pressures from competition law, the Competition and Consumer Act 2010, evolving technology, the regulated industry is facing challenges from deregulated operators, such as transportation network companies including Uber. Australia adopted horse-drawn taxis once cities were established and, in the case of Queensland, Brisbane introduced the first horse-drawn taxis, which plied throughout the city; these included hansom cabs, a more elaborate type with a closed-in cabin for passengers with two small front doors and glass windows and their driver sitting high at the back. This type of vehicle was a standard type used in England. Hansom cabs were used in Brisbane until 1935, operating from a rank outside the Supreme Court in George Street. Motor taxis were introduced into Australia not long after they were put into service in the United Kingdom and Europe.
In 1906 Sydney inaugurated motorised taxis, followed soon after by the other states. The taxis of the period including a variety of types, with tourers and sedans; the latter were French built Renaults, which were designed as taxis, not unlike the hansom cabs. Brisbane had a number of them that plied from the ranks outside Parliament House, Brisbane in Alice Street, the Supreme Court of Queensland building in George Street; as applied to the hansom cabs, the Renaults catered for gentlemen of standing, including judges and other notables. The drivers wore uniforms with leggings, the same as those worn by chauffeurs of horse-drawn carriages; each large taxi company had telephones installed in a steel box type cover at city and suburban ranks, direct to the switch control rooms in the city. Although motor vehicle taxis were being used at the time, a few horse-drawn taxis continued service in Brisbane until the early 1920s. Country towns had them for a while longer; the progress through the years included many types of tourers from circa 1910 until the late 1920s, with British and American cars predominating.
Makes featured such names as Buick, Talbot, Saxon, Chandler, Chevrolet, Whippet, Marmon, Hudson, Erskine, Rugby and Chrysler. Sedans included similar makes of vehicles; this was the case with all cars being imported into Australia until World War II. American cars proved more suitable to Australian motoring conditions for taxis. General Motors Corporation built thousands in Australia, as did the other American companies including Ford and Chrysler. New South Wales is served by around 6,000 taxis, the industry employs over 22,700 taxi drivers, the largest number of taxis and drivers in Australia. In general, individual taxis are owned by small-scale operators who pay membership fees to regional or citywide radio communication networks; these networks provide branding as well as telephone and internet booking services to operators and drivers. Fares are set by Regulatory Tribunal of New South Wales. Other aspects of the industry are regulated by the Transport for New South Wales and the Roads & Maritime Services.
The industry plays a self-regulating role through the New South Wales Taxi Council. Vehicle operators are represented by the New South Wales Taxi Industry Association and, in country New South Wales, by the New South Wales Country Operators Association. Drivers are represented by the New South Wales Taxi Drivers Association; the New South Wales Transport Workers Union purports to represent taxi drivers. Most regional centres have a local taxi network. There are numerous taxi services throughout Queensland which operate in all main city centres, as far north as Thursday Island off North Queensland. Prior to a taxi company being formed in Queensland, owners of taxis had signs on the vehicles indicating "For Hire" painted on the side and rear. Before 1924, all taxis plied for hire without a means of recording the mileage, other than the driver himself calculating the fare according to how far he drove his passengers. There was a fare scale, the driver could charge whatever he thought was nearest to the amount specified.
This no doubt, brought about the introduction of meters. The first taxi company in Queensland was Ascot Taxi Service, formed in 1919 in Brisbane by two motor mechanics, Edmund William Henry Beckman and Edward Roland Videan. In 1924, the Yellow Cab Company imported their taxis from the United States, which were built for taxi w