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18th Avenue station (BMT West End Line)

18th Avenue is a local station on BMT West End Line of the New York City Subway in Bensonhurst, Brooklyn. It is served by the D train at all times; this elevated station, which opened on September 15, 1916, has two side platforms. The center express track is not used; the station is situated in between two curves and platform extensions are to the north on both sides. In 2012, the station was rehabilitated with funding from the American Recovery and Reinvestment Act of 2009. In 2019, the MTA announced that this station would become ADA-accessible as part of the agency's 2020–2024 Capital Program. There is a single mezzanine with three stairs to the street as well as two to each platform; some exterior scenes of the 1991 Steven Seagal film Out for Justice were shot outside this station. Nycsubway.org – BMT West End Line: 18th Avenue Station Reporter — D Train 18th Avenue entrance from Google Maps Street View Platforms from Google Maps Street View

Private Jets

Private Jets is a Swedish power pop quartet, founded in 2001 by the twins Erik and Per Westin. The band started out as a song writing project, the brothers curious to see if they could mix their influences of pop and jazz into their own brand of power pop with ambiguous lyrics and smart arrangements; when pushed by pop enthusiasts to record some of the songs, they realized that they had to put a band together. Janne Hellman was recruited as lead vocalist together with Mikael Olsson on bass, Olsson who had previous worked with the brothers in the hi-speed pop outfit Revolver Bop Agents. First release Private Jets released the debut EP “A Four Leaf Clover in E-Major” on May 27, 2002 on Sparkplug Records, it was well received by the power pop community. The songs were written, produced and to a large extent performed by the brothers. Lead vocals was provided by Janne Hellman on all tracks and Olsson played bass on the song Millionseller. In a radio interview on Swedish Radio, Erik Westin explained that the band were writing what they wanted to hear but couldn’t seem to find anywhere.

He said that the ambition with the band is to write the ultimate pop song over and over again. Second release After the release of “A Four Leaf Clover in E-Major” the brothers started to work on a new album; the band bio states that they wrote 43 new songs to be able to make an album filled with singles only. It says that they would strive than power pop perfection. Of the songs written, the band chose to record twelve, the result can be heard on the album “Jet Sounds”, released on May 26, 2008. Live gigs In May 2008 Private Jets made their live debut at the Cavern Club in Liverpool, playing the International Pop Overthrow. An extra show was added. On Saturday November 7, 2008, the band played at the International Pop Overthrow in New York City, performing at Kenny’s Castaways in Greenwich Village. Erik Westin - guitar, vocals Per Westin - guitar, drums, keyboards Janne Hellman - lead vocals Micke Olsson - bass Magnus Adell played bass on two tracks on “Jet Sounds” – “Fast forward with you” and “Speak up, speak out”.

Thomas Hedquist, sound engineer at Quest Studios, did the final mixing on both “Jet Sounds” and “A Four Leaf Clover in E-Major”. ”Unlike most of their brethren, Private Jets go beyond mere stylistic worship to forge their own sound. The cleverly titled Jet Sounds is a gorgeous slab of retro-pop but what seals the deal is the four-song EP, A FOUR LEAF CLOVER IN E MAJOR. Too many highlights on the album, but “Extraordinary Sensations,” “Speak Up, Speak Out,” and “Fireman for a Day” and its follow-up “Fire Academy” all have that Brill Building ethic.” Mike Baron's Top Ten Records of 2008! Monday, December 15, 2008 ”All the way from Sweden come Private Jets, whose Jet Sounds on Sparkplug Records is a spectacular distillation of bands such as Jellyfish, The Cars and The Beach Boys. A dozen glorious, sing-along tunes laced with perky synthesizers, shiny harmonies and punchy guitars all add up to another release that deserves to be heard by many. Random thoughts on this one: Ringo Starr should cover “Starshaped World.

John M. Borack, November 14, 2008 ”Swedish power pop has a great rep. Bands like Private Jets confirms why. Believe me, listening to this talented quartet, will leave you with a sugar rush. Throwing in every pop cliche in the book, from show tunes to Jellyfish riffs, enveloped with high-octane harmonies, toe-tapping rhythms, sensual chord changes and sweet sweet tunes, Private Jets don’t give pop junkies much of a chance of losing the habit, and the Beach Boys references are not limited to the album title - I mean, The Fire Academy contains jazz vocal arrangements that Brian Wilson himself would be impressed with. Elsewhere, you will catch the McCartney inflections on tracks like I Wanna Be A Private Jet, Speak Up, Speak Out and Starshaped World. If you’ve got the McCartney/Wilson camp on your side, chances are that the pop underground will adopt you as its own. Beyond that, I don’t know but anyone with a sweet tooth will find it hard to resist Jet Sounds.” Powerofpop.com, September 12, 2008 “Target in My Heart” and “Magic” are over-the-top, Jellyfish ambitious, suite-like compositions with gorgeous harmonies.

“Magic” is a bodacious sunrise of a song with a soaring chorus and the line “My heart is beating like Keith Moon,” followed by the most exquisite a cappella since Take 6.” Mike Baron's Top Ten Records of 2008! Monday, December 15, 2008 “Brilliant debut EP from one of Sweden’s purest popsters! Four slices of pop bliss!” Ray Gianchett, Kool Kat Musik Newsletter, June 2002 “This 4-track EP boasts mellifluous strength, sumptuous chord changes, classy studio work and divine harmonies – power pop splendour to the nth degree!” - Kevin Mathews, Power of Pop.com“Really good stuff!” David Bash, International Pop Overthrow, at Audities Discussion List, April 2002 “Pop fireworks all over, sharp riffs and forcibly memorable melodies! File under Magical power pop sensation!” Not Lame Records, Newsletter June 2002 “Private Jets has a simplistic approach that can’t fail to hit the spot with anyone who has a liking for uncomplicated guitarpop ditties.” Scootering Magazine, Issue 193, June 2002 The band's MySpace site lists Sweet, The Zombies, Beach Boys, The Move, The Records, The Rubinoos as influences.

The official band site The band's myspace page

Caroline Emily Clark

Caroline Emily Clark, invariably known as Emily Clark, was a South Australian social reformer well known for championing the cause of children in institutions and founding the "boarding-out system" for settling orphan children with foster families in Adelaide. She was born in Birmingham, the eldest of the family of Francis Clark, a silversmith of Birmingham, his wife Caroline, a sister of Rowland Hill; the family settled in Adelaide, South Australia in 1850. A delicate child with poor eyesight, she was an industrious student like her brother Howard. In 1837 she was sent to stay with her grandmother Hill in Tottenham, half a mile from Bruce Castle, to study at "Miss Woods School" in a nearby town Upper Clapton. Around 1840 scarlet fever struck Emily was left with rheumatism in her hands. In 1863, shortly after the death of brother Howard's wife Lucy, Emily joined him in his newly built "Hazelwood Cottage" to care for his three young children: Frank and new-born Lucy, stayed there until Howard's marriage to Agnes McNee in 1865.

The next phase of her life, for which she is best remembered, arose from her friendship with fellow-Unitarian Annie Montgomerie Martin, who had visited Adelaide's Destitute Asylum, a State-run institution for children abandoned by their parents on account of poverty, been shocked at the hopelessness of its occupants. Emily had seen in Scotland the virtues of having these unfortunates rather raised amongst working families, broached the subject in the Register, which prompted favourable editorial comment and extended the debate to the Orphan Girls' Home, it is that her brother Howard, a proprietor of the Register, was behind these editorials. Emily argued that housing them together perpetuated their feelings of hopelessness and worthlessness and was unlikely to develop them into productive citizens, it was, expensive. There were, at the time, two State bodies concerned with the welfare of uncared-for children: the Children's Apprenticeship Board and the Destitute Board, which since 1867 ran a form of poorhouse in the "Grace Darling" in Brighton, followed by a new orphanage in Magill in 1869.

Emily's aim was to replace these with a less bureaucratic system that sent these children to live in the homes of working families, no more than four together, preferably away from the city. The families would receive adequate recompense, but the overall cost would not be higher than the warehousing of the children. Despite influential support from Catherine Helen Spence, John Howard Clark, C. B. Young, Margaret Fraser Davenport and Mary Colton, the government refused to put any of her ideas into operation, but did permit her "Boarding-out Society" to engage in trials. Neville Blyth organised for her to have responsibility for a boy and a girl who were unhappy in the institution, she was appointed to the State Children's Council on 9 December 1886. She appears to have been invited by the State of Victoria in 1902 to advise on welfare of orphan and destitute children babies of unmarried girls with no family support, she retired from the State Children's Council due to her deafness, on 13 August 1906.

Her sister Mary Crompton had done much useful work on the boarding-out committee and succeeded her on the State Children's Council in 1906. Catherine Spence wrote the book "State Children in Australia" about the work of Emily Clark, it was published by the State Children's Council in recognition of her service. Miss Spence wrote:-"In other English speaking countries boarding-out in families is sometime permitted, but here, under the Southern Cross, it is the law of the land that children shall not be brought up in institutions but in homes; this movement originated in South Australia, with all its far-reaching developments and expansion it is due to the initiative of one woman, of whom the State and the Commonwealth are justly proud – Miss C. E. Clark."In her last years she was infirm and totally blind, but she retained much of her fierce intellect. A late poem, published in The Register, can be quoted here: All-healing Death! Thou art not far away. Time bears thee onwards with unflagging wings – Nearer and nearer coming day by day To break the tangled web that round me clings The web of life with many glittering strings.

Localities of Iceland

Most Icelandic municipalities consist of several cities or towns. For example, four localities can all be found in the municipality of Árborg. A number of municipalities only contain a single locality, while there are a few municipalities in which no localities exist. All localities in Iceland can only be located within a single municipality, i.e. they cannot straddle multiple municipality borders. Some municipalities, such as Hafnarfjörður and Akranes share the same name with a locality. However, these localities are not always situated in their namesake municipalities. In those cases, this does not mean that they there are no other localities included in that particular municipality; when they are the only locality there, they do not always encompass the span of that municipality's entire land area. Localities shaded in pale green in the table are their respective regional capitals; the majority of the functions that are carried out by local governments happen at the municipal level. However, most settlements in Iceland are broken down further into the "locality" level, which are used for and information collection and statistical analysis purposes only—they are the regional equivalent of a census division.

Government of Iceland Administrative divisions of Iceland Regions of Iceland Municipalities of Iceland Largest metropolitan areas in the Nordic countries Map of Iceland at Archive.today Municipalities and Urban Settlements in Iceland Regions of Iceland

Omakase! Miracle Cat-dan

Omakase! Miracle Cat-dan known as Omakase Mamitasu is a Japanese anime series produced by OLM, Inc. and Shogakukan-Shueisha Productions and aired on NHK in between the variety programs, Tensai Terebi-kun and R no Hōsoku from March 31, 2015 to February 23, 2016. The series is adapted from an autobiographical essay book by Shoko Nakagawa; the series depicts the slapstick comedy of 10 idiosyncratic cats and the folks in the unusual Nakagawa family. Part of the main characters, consisting of 10 cats, is based on the fact that Nakagawa owns 10 cats in real life, she adores one in particular, the name of the series' cat protagonist. While the anime is aimed at children, its production committee stated that "the heartfelt story will remind a wide range of generations of something comforting that they may have forgotten in recent times"; the series portrays Nakagawa as a child named Pokomi, with Natsuhiko, who watches over her from heaven. Nakagawa stated that "She never dreamed that the day would come when her precious cat Mamitas would be animated."

She watched lots of anime since she was a girl, learned courage and love from them. She stated that "She hopes that many children, or just one, will feel something similar through this anime." The opening theme is "Neko Boogie" by Shokotan♥Haruomi. Pokomi Akagawa / Pokotan Voiced by: Fuka Haruna A young girl, in the fourth grade. Mamitas Voiced by: Mako Morino The Akagawa family's pet cat. Whenever he transforms into his miracle cat form, he ends his sentences with no nā or nā. Natsuhiko Akagawa Voiced by: Takehito Koyasu Pokomi's late pop star father. Reiko Akagawa Voiced by: Noriko Shitaya Pokomi's mother. Etsuko Shirota Voiced by: Ayumi Tsunematsu Pokomi's grandmother. Official website Omakase! Miracle Cat-dan at Anime News Network's encyclopedia