Sōryū was a Sōryū-class aircraft carrier built for the Imperial Japanese Navy during the mid-1930s. A single sister ship, Hiryū, was intended to follow Sōryū, but Hiryū's design was modified and she is considered to be a separate class. Sōryū's aircraft were employed in operations during the Second Sino-Japanese War in the late 1930s and supported the Japanese invasion of French Indochina in mid-1940. During the first months of the Pacific War, she took part in the attack on Pearl Harbor, the Battle of Wake Island, supported the conquest of the Dutch East Indies. In February 1942, her aircraft bombed Darwin and she continued on to assist in the Dutch East Indies campaign. In April, Sōryū's aircraft helped sink two British heavy cruisers and several merchant ships during the Indian Ocean raid. After a brief refit, Sōryū and three other carriers of the 1st Air Fleet participated in the Battle of Midway in June 1942. After bombarding American forces on Midway Atoll, the carriers were attacked by aircraft from the island and the carriers Enterprise and Yorktown.
Dive bombers from Yorktown crippled set her afire. Japanese destroyers rescued the survivors but the ship could not be salvaged and was ordered to be scuttled so as to allow her attendant destroyers to be released for further operations, she enlisted men of the 1,103 aboard. The loss of Sōryū and three other IJN carriers at Midway was a crucial strategic defeat for Japan and contributed to the Allies' ultimate victory in the Pacific. Sōryū was one of two large carriers approved for construction under the Imperial Japanese Navy's 1931–32 Supplementary Program. In contrast to some earlier Japanese carriers, such as Akagi and Kaga, which were conversions of battlecruiser and battleship hulls Sōryū was designed from the keel up as an aircraft carrier and incorporated lessons learned from the light carrier Ryūjō; the ship had a length of a beam of 21.3 meters and a draught of 7.6 meters. She displaced 16,200 tonnes at 19,100 tonnes at normal load, her crew consisted of ratings. Sōryū was fitted with four geared steam turbine sets with a total of 152,000 shaft horsepower, each driving one propeller shaft, using steam provided by eight Kampon water-tube boilers.
The turbines and boilers were the same as those used in the Mogami-class cruisers. The ship's power and slim, cruiser-type hull, with a length-to-beam ratio of 10:1, gave her a speed of 34.5 knots and made her the fastest carrier in the world at the time of her commissioning. Sōryū carried 3,710 metric tons of fuel oil, which gave her a range of 7,750 nautical miles at 18 knots; the boiler uptakes were trunked together to the ship's starboard side amidships and exhausted just below flight deck level through two funnels curved downwards. The carrier's 216.9-meter flight deck was 26 meters wide and overhung her superstructure at both ends, supported by pairs of pillars. Sōryū's island was built on a starboard-side extension that protruded beyond the side of the hull so that it did not encroach on the width of the flight deck. Nine transverse arrestor wires could stop a 6,000 kg aircraft; the flight deck was only 12.8 meters above the waterline and the ship's designers kept this distance low by reducing the height of the hangars.
The upper hangar had an approximate height of 4.6 meters. Together they had an approximate total area of 5,736 square metres; this caused problems in handling aircraft because the wings of a Nakajima B5N "Kate" torpedo bomber could neither be spread nor folded in the upper hangar. Aircraft were transported between the hangars and the flight deck by three elevators, the forward one abreast the island on the centerline and the other two offset to starboard; the forward platform measured 16 by 11.5 meters, the middle one 11.5 by 12 meters, the rear 11.8 by 10 meters. They were capable of transferring aircraft weighing up to 5,000 kilograms. Sōryū had an aviation gasoline capacity of 570,000 liters for her planned aircraft capacity of sixty-three plus nine spares. Sōryū's primary anti-aircraft armament consisted of six twin-gun mounts equipped with 40-caliber 12.7-centimeter Type 89 dual-purpose guns mounted on projecting sponsons, three on either side of the carrier's hull. The guns had a range of 14,700 meters, a ceiling of 9,440 meters at an elevation of +90 degrees.
Their maximum rate of fire was fourteen rounds a minute, but their sustained rate of fire was around eight rounds per minute. The ship was equipped with two Type 94 fire-control directors to control the 12.7-centimeter guns, one for each side of the ship, although the starboard director on the island could control all of the Type 89 guns. The ship's light AA armament consisted of fourteen twin-gun mounts for license-built Hotchkiss 25 mm Type 96 AA guns. Three of these were sited on a platform just below the forward end of the flight deck; the gun was the standard Japanese light AA weapon during World War II, but it suffered from severe design shortcomings that rendered it ineffective. According to historian
The third generation Honda CR-V was launched for the 2007 model year. It went on sale in the U. S. during late September 2006. Unlike preceding models, it features a rear liftgate rather than a side-opening rear door and no longer has the spare tire mounted on the rear door; the new CR-V is lower and shorter than the previous models. A lowering of the center of gravity is another benefit of the spare wheel being located underneath the rear cargo area; the center rear seat pass-through was introduced as a new feature on the third generation. The third generation CR-V is powered by the latest version of Honda's standard K-series 2.4 L inline-four engine, similar variants were found in the Honda Accord and Honda Element. In North American markets, this engine's power is rated at 166 hp at 5,800 rpm and 161 lb⋅ft at 4,200 rpm. A 2.2 L i-CTDI diesel engine was offered in the Asian markets. The European market CR-V had the R20A 2.0 L petrol engine, based on the Honda R-series i-VTEC SOHC engine found in the Honda Civic, as opposed to the previous CR-V offering the K20A.
Honda offered an integrated Navigation option on the EX-L model. The navigation unit was made for Honda by Alpine and includes voice activated control, XM radio, an in-dash CD player that can play MP3 and WMA media; the media offerings included a six-disc CD changer in the center console and a PC Card slot in the Navigation unit for flash memory MP3 or WMA files. A second CD player is positioned behind the navigation screen. A rear backup camera was included. An iPod adapter was to be an available option on US models, but was only available as an add-on accessory. All CR-V models retained the auxiliary audio input jack, either on the head unit itself, on the central tray or inside the center console. For 2007, Honda CR-V became one of the ten best selling vehicles of the year, it overtook Ford Explorer, which had held the title for fifteen years, to be the best selling SUV in the US. In Canada, the CR-V was the second best selling SUV in 2007, behind the Ford Escape. To meet demand, Honda shifted some Civic production from East Liberty, Ohio to Alliston Plant #2, Ontario to free up space for additional CR-V production.
The East Liberty plant is building 400 CR-V models a day for the Canadian and US markets. The U. S. market CR-V models are imported from Sayama, Japan and El Salto, Mexico in increasing numbers. In 2008, CR-V continued to be top ten bestseller and best selling SUV of the year in the U. S. Since its introduction in 1997, there were more than 215,000 CR-V sold in Canada. Chassis code: RE1, RE2, RE3, RE4 RE5, RE7 2008 National Highway Traffic Safety Administration Crash Test RatingsFrontal Impact: Side Impact: Rollover: All models came standard with Vehicle Stability Assist; the Honda CR-V was rated "good" in frontal and side-impact crash tests by the IIHS. However it was rated "marginal" in the roof strength test. An analysis conducted by the IIHS and released in June 2011, found that the 2007-08 MY CR-V had the lowest fatality rate in its class and among the lowest fatality rates among all vehicles. Since the introduction of a newer, five-speed automatic transmission, which sports a higher MPG rating and smoother shifting, the manual transmission was dropped from the US market.
Fuel economy ratings from the EPA are 20 mpg‑US city, 26 mpg‑US highway. Consumer Reports rates fuel economy as 19 mpg‑US city, 29 mpg‑US highway. For the 2010 model year, the CR-V received style and equipment changes; the exterior changes included a redesigned front fascia with a new horizontal-slat chrome grille and honeycomb-designed lower front grille, new front bumper, revised tail lights. The rear bumper was redesigned, as well as new five split-spoke 17-inch alloy wheels for EX and EX-L models; the interior received minor changes, including seat fabrics, as well as wider driver and front-passenger armrests. The audio head unit controls were altered and the information display backlighting in the gauges was changed to blue, instead of the previous black. A USB audio input became standard in the EX-L trim while hands-free Bluetooth connectivity was exclusive to the EX-L trim equipped with navigation system. In 2011, a mid-level SE trim debuted with a 6-disc CD changer and 17-inch 7-spoke alloy wheels that came from the pre-facelift EX and EX-L trims.
Power was increased from 166 to 180 hp for 2010 and mileage improved by 1 mpg for both front-wheel and all-wheel drive models. The EPA ratings were 21 miles per US gallon / 28 miles per US gallon city/highway and 21 miles per US gallon / 27 miles per US gallon city/highway respectively. Recommended oil weight changed from 5W-20 to 0W-20 from previous years with a change to the K24Z6 engine; the 2010 model year update went on sale in the United States in September 2009. Pre-facelift styling Post-facelift styling The 2010 Honda CR-V is nearly the same as the US model, but is provided with side-mirror turning signals, it is available in the former having a five-speed automatic gearbox as standard. The top of the range 2.4 L 4x4 comes with leather HID headlamps. All models
Magic: The Gathering Online is a video game adaptation of Magic: The Gathering, utilizing the concept of a virtual economy to preserve the collectible aspect of the card game. It is played through an Internet service operated by Wizards of the Coast, which went live on June 24, 2002. Users can play the trade cards with other users, it is only available for the Microsoft Windows operating system. As of February 2007, Magic Online has over 300,000 registered accounts. According to Worth Wollpert in 2007, Magic Online was "somewhere between 30% to 50% of the total Magic business." Magic Online is played as an electronic analogue to the physical card game. Digital artwork reproduces the look of the paper card game, users interact with their cards to play with them on a virtual tabletop; each game is hosted by the Magic Online servers. The logic for handling card interactions is provided by Perl scripts. Though the rules set as a whole is accurate and works well, it suffers from bugs. Players can set up or join casual games of their choice for free in several rooms within the Constructed Open Play area.
The casual game rooms are as follows: Just Starting Out, a room for players who are new to the game and are not looking for a tough duel. Games in this room are limited to the Standard format to restrict the power of the cards being used. Just For Fun, a room designed for players to play casual decks against one another; this has no restrictions on what format a player can host a game in. Getting Serious, this room is provided as a step up from the Just For Fun room, but it is unoccupied. Tournament Practice is the most competitive room in the Constructed Open Play area, it is where the most serious players go to test their best decks before entering them into a Constructed event. In addition to free casual play, official competitive tournaments take place around the clock. Tournament play includes 8-man constructed events, limited sealed deck and drafts, as well as larger tournaments that take place according to a regular schedule. Entering events requires an investment of sealed packs and/or event tickets, with winners being rewarded with additional product.
Up until Version 3, League play was another method of competitive play. These month-long events were sealed deck tournaments of 256 players that allowed for intermittent play over a period of 4 weeks at the pace the player desired. After 6 years, leagues returned in February 2016, they were only available for the sealed limited format. Leagues last two months, in that time window a player can play between 5 and 9 matches. Once a player finishes playing their league matches, prizes are awarded and they can rejoin the league if they want. Leagues are available in a variety of formats, including Standard, Modern and Limited Sealed. Leagues offer "Friendly" and "Competitive" alternatives with different prize structures. Leaping Lizard Software approached Wizards of the Coast with an offer to create an online version of Magic: The Gathering. WotC was skeptical about. LLS created a tech demo to prove to WotC that an online collectible card game could work. WotC was sufficiently convinced and contracted LLS to develop the service, known as Magic Online with Digital Objects.
The idea of charging for virtual goods, as opposed to a subscription model with unlimited access, was greeted with skepticism. Additionally, concerns were floated over how solid the trading code would be. After a period of beta-testing, the game became available to the general public in June 2002; the name was changed from MODO to its final commercial title: Magic: The Gathering Online. In 2003, the Magic: The Gathering Invitational was held online for the first time, it was played on Magic Online each year from on until 2007 when the Invitational was moved back offline. In 2003, Wizards of the Coast decided to relieve Leaping Lizard of the responsibility of maintaining Magic Online and took on updating it themselves with in-house programmers; the first showing of the new team was to be the online release of 8th Edition in July 2003, ambitiously scheduled to coincide with the paper release. The goal was to release version 2 of the software with new functionality and implement the changes in rules that the 8th Edition had brought.
Version 2 was released on schedule, but the servers crashed, rules mistakes and other bugs were numerous. The game went into no-pay mode while temporary beta servers were opened to allow players to practice playing in for-pay formats; as a concession for these issues, Wizards planned to throw "Chuck's Virtual Party," a weekend of free tournaments after the problems settled down. It turned out that each user took up more memory in version 2 than the lightweight design of version 1; the result was. In retrospect, some have chalked the decision to remove Leaping Lizard up to hubris. Others, point to certain intractabilities in maintenance that suggests that Leaping Lizard had not delivered a extensible program that, by nature, was too monolithic and hard to improve. Wizards of the Coast has said that "Leaping Lizard's 2.5 interface and backend are not scalable like we need it to be. It wasn't written with the goal of ten thousand users in mind, it was written thinking a couple thousand." According to the developers, there was a hard limit of 4,400 play
Mammola Sandon, known by the stage name of Flo Sandon's, was an Italian singer, popular in the post-World War II years. She won the Sanremo Music Festival in 1953 with the song "Viale d'autunno". Sandon was born in the Veneto, her musical career began in 1944. Her stage name Sandon's came by chance - it was an oversight by the illustrator who prepared her first record cover, her first big break as a professional vocalist came in 1947, when she sang in The Hot Club of France with two jazz legends: guitarist Django Reinhardt, violinist Stéphane Grappelli. Celebrity came in 1952 thanks to the movie Anna directed by Alberto Lattuada and starring Silvana Mangano, Vittorio Gassman and Raf Vallone. Flo Sandon's did not appear in the movie itself, but she performed two songs on the movie soundtrack, "T'ho voluto ben" and "El Negro Zumbón". Both were great hits. Nat King Cole liked "T'ho voluto ben" so much that a few years he recorded it with the new title "Non Dimenticar". In 1953 Flo Sandon's took part in the Sanremo Music Festival for the first time, won.
The song was "Viale d'autunno" and it was performed by another singer, Carla Boni. Both winners were at their first appearance at the popular song contest, succeeded ahead of the great favorite Nilla Pizzi; the press speculated about a possible plot against Pizzi: she had been chosen to perform "Viale d'autunno" but was dismissed out of spite or jealousy, the song offered to Sandon's and Boni. In 1955 Flo Sandon's married Natalino Otto an Italian singer, they had a daughter, born in 1956. They toured together in Italy and abroad for several years, they are credited with the discovery of one of Italy's greatest singers of all times - Mina. On the night of 24 September 1958, the Happy Boys, a band of teen-age students was playing in the Rivarolo del Re dance hall, Cremona. Otto and his wife were present, were impressed by the singer of that group, they proposed her a trial recording session. One month Mina's first single was out. Flo Sandon's never won again, she however won another song contest, the Festival of Naples in 1960 with "Serenata a Mergellina".
Other hits from her repertoire include "Vorrei volare", "Kiss Me", "I Love Paris", "Passa il tempo", "Concerto d'autunno", "Verde luna", "Domani", "Que sera sera" and "Bevi con me". Flo Sandon's died in Rome at the age of 82
Jack Foley is an American poet living in Oakland, California. John Wayne Harold Foley was born August 9, 1940 in Neptune, New Jersey, raised in Port Chester, New York, educated at Cornell University and the University of California at Berkeley. Foley’s career as a poet is unique because it has always involved performance the presentation of “multivoiced” pieces written by Foley but performed by both Foley and his late wife Adelle Foley; these pieces feature conflicting, simultaneous voices whose interrelationships reflect Foley’s often-stated belief that “some parts of the mind don’t know what other parts are doing.” Foley met Adelle in November, 1960 while he was attending Cornell and she was attending Goucher College in Maryland. They married in December, 1961; the Foleys moved to California in 1963 so that he could attend UC Berkeley and she could work at the Federal Reserve Bank of San Francisco. Foley received an MA in English Literature at UC Berkeley and published several poems and articles, but by 1974, influenced by Charles Olson's Maximus Poems, he had dropped out of graduate school to pursue a career as a poet and writer.
His first poetry reading, in which he read jointly with Adelle, was in June, 1985. Since 1987, Foley has published 15 books of poetry, 5 books of criticism, a book of stories, a two-volume “chronoencyclopedia,” Visions & Affiliations: California Poetry 1940-2005. In 2010 he received a Lifetime Achievement Award from the Berkeley Poetry Festival, June 5th, 2010 was designated Jack Foley Day in Berkeley, California. In 2018 he became the recipient of the Albert Nelson Marquis Lifetime Achievement Award, his poetry books include accompanying CDs or cassette tapes on which Foley and Adelle perform his work. After Adelle's death in 2016 Foley has found a new love and performance partner in Sangye Land, daughter of poet Julie Rogers and stepdaughter of poet David Meltzer. Since 1988, Foley has hosted a show of interviews and poetry presentations on Berkeley radio station KPFA. Jake Berry’s in-depth essay on Jack Foley’s books, Grief Songs and The Tiger & Other Tales is up on OTOLITHS A Magazine of Many E Things.
In 2019, Monongahela Books released Jack Foley’s Unmanageable Masterpiece, edited by Dana Gioia and Peter Whitfield. The book discusses and celebrates Foley’s Visions & Affiliations: “Some...considered the elaborate time-line the first adequate account of California’s complex and contradictory literary life. Others recognized Foley's radical innovation in changing. A few considered these strange and sprawling yet compulsively readable tomes an oddball masterpiece.” A Visions & Affiliations blog has been created. Letters/Lights – Words for Adelle Gershwin - Poems Adrift Exiles Dead/Requiem,with Ivan Arguelles Saint James: An Homage to James Joyce, with Ivan Arguelles Foley's Books -- California Rebels, Beats & Radicals O Powerful Western Star -- Poetry & Art in California Some Songs by Georges Brassens The "Fallen Western Star" Wars: A Debate About Literary California, editor Greatest Hits 1974-2003 Fennel in the Rain, with Adelle Foley The Dancer & the Dance: A Book of Distinctions, foreword by Al Young Visions & Affiliations: A California Literary Time Line, Poets & Poetry,2 volumes Sketches Poetical.
Designed by Paul Veres. No ISBN number. Eyes: Selected Poems, introduction by Ivan Argüelles, ISBN 978-0-9891578-0-3 Life: Poems by Jack Foley, chapbook, ISBN 0988804549, ISBN 978-0-9888045-4-8 A California Beat Literary Timeline—The 1950s, a reprint of the 1950s section from Visions & Affiliations RIVERRUN:, poetry, ISBN 978-0-9891578-4-1 The Tiger & Other Tales, prose sketches, plays, ISBN 978-1-944697-13-6, ISBN 978-1-944697-14-3 Grief Songs, poetry dealing with the aftermath of the death in 2016 of Jack's wife Adelle, ISBN 9781944697488 When Sleep Comes: Shillelagh Songs, poetry, ISBN 9781944697860 Alsop Review Columns Alsop Review Foley's Books Dana Gioia Essay, O Powerful Western Star The Tower Journal, Fall 2012, vol. 5, no. 1, is a web festschrift—a celebration of Foley's life and work
Hip-Hip and Hurrah is a 2011-2013 Polish award-winning comedy/educational animated series created by Elżbieta Wąsik produce by the biggest Polish animated studio Studio Miniatur Filmowych and Filmograf company. Series premier at the Polish TV station Kino Polska and is airing at TVP ABC and JimJam. Outside of Poland the series aired on Argentina's TV Pakapaka, Romania and Italy; the cast included Grzegorz Kwiecień, Krzysztof Szczerbiński, Joanna Pach and a famous Polish celebrity actor Jarosław Boberek as the voices for various secondary characters, most notably Peacock and Hummingbird. Most episodes where written by Elżbieta Wąsik, Maciej Kur and Marcin Graj The show is set in a world of talking animals who try to live like humans; the stories focus on the adventures of a detective duo. The names Hip-Hip and Hurrah may stem from the common English expression: hip hip hooray. In each episode the heroes try to solve a mystery that concludes with an environmental message for the children, such as how rainbow is created, how children are born, how the flowers feed, where do clouds come from, or with habits and nature of particular animals.
One episode deals with optical perspective. All animal characters on the show appear to operate by silly logic and are puzzled by the most basic phenomena. While the series is intended for young children, it includes humor intended for adults as well; the series consists of 26 episodes. The style of animation is simple but artistic. Many episodes have a subplot, unrelated to the main mystery. Other episodes have twists on the usual formula - for example in one episode Hip-Hip and Hurra solve the mystery behind a series of crimes early on; however the thief, who turns out to be a magpie, claims she is not responsible for the crimes she committed, the animals put her on a trial with Hip-Hip as the judge. In the end they all learn that the magpie's actions were motivated by her instincts so she can't be punished for her "crimes". Hip-Hip - the main hero, a detective, he is somewhat clumsy at the same time. He has a big crush on Rose but is incredibly shy about it, he is bold and eats a lot. He considers himself a master of disguise but they don't work as well as he was hoping.
Most animals in town consider him an authority figure because of all the cases. He has a twin sister named Hopla. Hurra - Hip-Hip's assistant, a purple, energetic weasel. While clueless and a bit wacky he tries his best to help Hip-Hip solve the mystery. While Hip-Hip gets annoyed with him they appear to bond pretty well. Unlike Hip, Hurra isn't shy. Rose the Giraffe - Hip's next door neighbor who speaks with a French accent, she is kind and is a professional painter. She's popular artist as all animals in town appear to be fans of her art, she appears to have some admiration for him as well. She work as a nurse. Auntie Hen - Hip's landlady, she sometimes serve as the voice of wisdom. Misia - An ant who lives in Hip-Hip's front packet and is his apprentice, she assist the heroes in some adventures serving as a spy. Despite her ambition she is lazy and falls asleep easily. Peacock - narcissistic and obsessed with his tail, he is a big celebrity in town. Kinga - an attractive mail lady kangaroo and Hurra's girlfriend.
She is sweet but eccentric. Despite of being an adult she lives with her imaginary friend, a flower named Adelka, spends her free time entertaining her. Hummingbird - small but aggressive wise guy with an over the top groveling voice, parody of Polish actor Witold Pyrkosz; the Bear Family - A family of brown bears who appear once in a while as comedic relief. The family consist of Mr. Bear, his wife and, an adult son referred to as "Synek" as well three cousins: a polar bear, a sloth bear and a panda from China. Crane - A bank owner and Hip's friend, he panics a lot and gets paranoid. Gorilla - Another of Hip's friends who loves to drive his scooter, he has a wife and a small child, born in episode 6. Squirrel - She loves to gossip, spread rumors and is seen spying to see what other animals are doing in their houses. Https://web.archive.org/web/20171011190718/http://www.hip-hip-hurra.pl/ - Official website http://www.filmpolski.pl/fp/index.php/4224246 Hip-Hip and Hurra on IMDb http://www.filmograf.com.pl/ - Filmograf page http://smf.com.pl/en/ - "Studio Miniatur Filmowych" page http://www.pakapaka.gov.ar/ - Pakapaka official website http://rp.pl