Lübars is a German locality within the borough of Reinickendorf, Berlin. First mentioned in 1247, it was an autonomous municipality merged into Berlin in 1920 with the "Greater Berlin Act"; as a part of West Berlin bordering East Germany, Lübars was crossed, from 1961 to 1989, by the Berlin Wall, built beyond the Tegeler Creek. Famous was the "Checkpoint Qualitz", a point of the wall named after Helmut Qualitz, a farmer from Lübars, who broke it on 16 June 1990 with his tractor. Situated in the north of Berlin and included in the area of Barnim Nature Park, Lübars includes the small lakes of Ziegeleisee, Klötzbecken and part of Hermsdorfer See; the Tegeler Fließ separates Lübars from the Brandenburger municipalities, both in Oberhavel district, of Glienicke/Nordbahn and Mühlenbecker Land. The Berliner bordering localities are Hermsdorf, Wittenau, Märkisches Viertel and Rosenthal. Lübars' principal recreation park is the eponymous one, situated in its southwestern corner. Lübars counts 3 zones: AEG-Siedlung Andreas-Rabe-Siedlung Kienwerder The locality is not served by rails.
Bus line 222 serves the locality. W. Ribbe, J. Schmädeke: "Kleine Berlin-Geschichte", Stapp Verlag, Berlin 1994, ISBN 3-87776-222-0 Media related to Lübars at Wikimedia Commons Lübars page of Reinickendorfer site
George Gomez is an industrial designer, video game designer, pinball designer who has worked for Bally and Stern Pinball, among other companies. He worked on the team that created the Tron video game, headed the team that created Spy Hunter. In 1984 after the 1983 video game crash, he left Midway to invent toys at the consulting firm Marvin Glass & Associates, he is the inventor of numerous toys, including Tonka's "Splash Darts" and Galoob's "Crash-N-Bash". After Glass, he worked on numerous projects through the contract manufacturer Grand products, including the Battletech Centers and several Sega and Taito coin op video games of the late 80's. In'93 he became a designer at Williams Electronics and designed several notable pinball machines including Monster Bash and was one of the lead developers of the Pinball 2000 system. After Williams closed the pinball division, he re-joined Midway Games and was one of key designers of the street basketball video game series NBA Ballers. While at Midway he became a consultant designer to Stern Pinball.
Since July 11, 2011 he has been the Chief Creative Officer for Stern Pinball, responsible for all of the company's product development efforts. Designed the joystick for Gorf, used on numerous other Bally arcade games Satan's Hollow Tron Discs of Tron Spy Hunter BattleTech NBA Ballers: Chosen OneMidway Games, Inc. NBA Ballers: Phenom, Midway Games, Inc. NBA Ballers, Midway Games, Inc. Corvette Johnny Mnemonic NBA Fastbreak Monster Bash Revenge From Mars Playboy The Lord of the Rings The Sopranos Batman Transformers The Avengers Batman 66 Spiderman The Pin Supreme The Beatles Deadpool Star Wars Pin George Gomez at the Internet Pinball Database
Hannelore Baron was an artist whose work has become known for the personal, book-sized, abstract collages and box constructions that she began exhibiting in the late 1960s. Born in Dillingen/Saar, Germany and her family fled persecution in Nazi Germany, illegally crossing the border into Luxembourg in 1939. In 1941 Baron's family settled in the Bronx, New York City. By the time she graduated from the Staubenmiller Textile High School in Manhattan, Baron was avidly reading eastern philosophy, making abstract paintings and already experiencing the symptoms of claustrophobia and depression that would lead to a series of nervous breakdowns throughout her life, she married book dealer Herman Baron in 1950 which whom she had son Mark. In the late 1950s Baron began making her first collages. Occupied with raising her two children and beset by psychological problems, Baron exhibited her work and in 1969, the year of her one-person exhibition at Ulster County Community College, she began to make the box constructions that would become her signature.
In the early 1970s, Baron established a studio and devoted her time and energy to her artwork until her death in 1987. Hannelore Baron was self-taught. Although her compositions are abstract, she considered them to be both personal and political statements. In her own words, Everything I’ve done is a statement on the, as they say, human condition...the way other people march to Washington, or set themselves on fire, or write protest letters, or go to assassinate someone. Well, I’ve had all the same feelings that these people had about various things, my way out, because of my inability to do anything else for various reasons, has been to make the protest through my artwork... H. B. Throughout the 1970s and 1980s her work garnered critical acclaim, along with gallery and museum exhibitions in the United States and Japan. In 1995, her work was the subject of a one-person exhibition at the Solomon R. Guggenheim Museum in New York. In 2001 her work was the subject of a traveling exhibition curated by Ingrid Schaffner and organized by the Smithsonian Institution Traveling Exhibition Service.
Her works can be found in the collections of The Museum of New York. Albright-Knox Art Gallery, New York The Art Institute of Chicago, Illinois Bass Museum, Florida The Brooklyn Museum, New York The Chrysler Museum, Virginia Solomon R. Guggenheim Museum, New York City Hammer Museum, Los Angeles, California Hudson River Museum, New York Israel Museum, Israel The Jewish Museum, New York City Kunstsammlung der Stadt Reutlingen, Germany St. Lawrence University, New York Los Angeles County Museum of Art, Los Angeles, California Milwaukee Art Museum, Wisconsin Minneapolis Institute of Art, Minnesota Modern Galerie des Saarland Museums, Saarbrücken, Germany The Museum of Modern Art, New York City The Boston Museum of Fine Arts, Massachusetts The Smithsonian American Art Museum, Washington, D. C; the New York Public Library, New York City Racine Art Museum, Wisconsin San Francisco Museum of Modern Art, San Francisco, California Santa Barbara Museum of Art, Santa Barbara, California Skirball Museum and Cultural Center, Los Angeles, California Ulster County Community College, Stone Ridge, New York Frederic Koeppel, Hannelore Baron Fragments Shored Against Ruins, Art Museum of the University of Memphis, 2002 Ingrid Schaffner, Hannelore Baron Works from 1969 to 1987, Smithsonian Institution, 2001 Ingrid Schaffner and Matthias Winzen, Deep Storage: Collecting and Archiving in Art, P.
S. 1 Contemporary Art Center, New York, 1998 Michael Rosenfeld Gallery Estate of Hannelore Baron
The Middletown, New Jersey, Folk Festival, which ran from 1968-1984, was a folk music and crafts event which attempted to show to local audiences the variety and breadth of American folk music. It was conceived and produced by Marlene and Dick Levine, who after attending the Newport Folk Festival in Rhode Island and the Fox Hollow Folk Festival in Petersburgh, New York, wanted to have a festival in their own community using local facilities. Marlene and Richard met in college where together, they became interested in the Folk Revival of the 1950’s. After Marlene graduated and Richard completed dental school, they settled in Hazlet, NJ, where Richard opened his practice and where they would raise their family. During this time, the two traveled to Greenwhich Village in NYC where they frequented the folk club of Israel Young, seeing such performers as Bob Dylan, Peter and Mary and Pete Seeger. Soon and Marlene started performing themselves, Richard on guitar, concertina and a variety of other instruments and Marlene the autoharp.
They met two other couples who were playing folk music and starting in 1962, they gathered monthly to share songs. They called these gatherings hootnannies and was their first change to realize that music was more than performing, but rather a chance to come together with others in community. In time, the Levines began attending folk festivals. In 1967, they determined to bring their love of folk music and community to the community where they lived, they made plans for a folk concert, held in June, 1967, they called it the $.99 Hootnanny. Response to the concert was so positive that beginning in 1968, they produced the Middletown Folk Festival; the festival consisted of a series of folk music concerts, workshops, a children's activity area and numerous crafts exhibits. In the first year 700 people attended; the Middletown Recreation Department provided support and services including the use of a municipal park with a mobile stage with the local Kiwanis and Junior Woman's club organizations handling the food concession.
The festival was a community event with a true community flavor and family appeal with most of the attendees from the local area, with over 33,000 attending over the 17-year period in which the festival took place. This excerpt from the 1969 festival program articulates the mission of the festival: "What we are trying to do here today is to show you some of the tremendously varied kinds of folk music that people play for their own enjoyment right here in the Middletown area. You will be hearing everything from traditional ballads to Irish fiddling, from bagpipes to bluegrass, from Nashville country music to blues and gospel, European lute to Indian sitar. During the afternoon you will have the opportunity of examining crafts as exhibited by local craftsmen. Among the displays will be one on dulcimer making, one on the construction of the "clogging man", as well as marionette making, rug braiding and special children's crafts. In short, our emphasis is on people doing things themselves, providing their own entertainment rather than sitting back and having someone else provide it for them.
We hope more and more of you will realize that what we do ourselves is the most fun of all, the most fulfilling." In spite of the Levine’s intention to create a small, community celebratory event, the community spirit was felt not only by the attendees but by the performers as well. Through the years, some of the nationally known folk and traditional music performers of the time included: Michael Cooney, Highwoods String Band, Utah Phillips, Barbara Carnes, Helen Schneyer, Jay Ungar, Molly Mason, Lyn Hardy, Mike and Alice Seeger; the Middletown Folk Festival ran from 1968-1984. As the local support for the event dwindled and Marlene felt that the time had come for the event to end, it seemed like the natural ending point and it wasn’t so much sad that the festival stopped but it was more a celebration of good work done for the betterment of the community and for the world of folk music as well. The festival attracted media interest and had been televised on New Jersey Public Broadcasting and the National Educational Network..
Two recordings, produced in the earliest years, have been contributed to the Archive of Folksong at the Library of Congress and local libraries
In computing, a word is the natural unit of data used by a particular processor design. A word is a fixed-sized piece of data handled as a unit by the instruction set or the hardware of the processor; the number of bits in a word is an important characteristic of any specific processor design or computer architecture. The size of a word is reflected in many aspects of a computer's operation; the largest possible address size, used to designate a location in memory, is a hardware word. Several of the earliest computers used binary-coded decimal rather than plain binary having a word size of 10 or 12 decimal digits, some early decimal computers had no fixed word length at all. Early binary systems tended to use word lengths that were some multiple of 6-bits, with the 36-bit word being common on mainframe computers; the introduction of ASCII led to the move to systems with word lengths that were a multiple of 8-bits, with 16-bit machines being popular in the 1970s before the move to modern processors with 32 or 64 bits.
Special-purpose designs like digital signal processors, may have any word length from 4 to 80 bits. The size of a word can sometimes differ from the expected due to backward compatibility with earlier computers. If multiple compatible variations or a family of processors share a common architecture and instruction set but differ in their word sizes, their documentation and software may become notationally complex to accommodate the difference. Depending on how a computer is organized, word-size units may be used for: Fixed point numbers Holders for fixed point integer, numerical values may be available in one or in several different sizes, but one of the sizes available will always be the word; the other sizes, if any, are to be multiples or fractions of the word size. The smaller sizes are used only for efficient use of memory. Floating point numbers Holders for floating point numerical values are either a word or a multiple of a word. Addresses Holders for memory addresses must be of a size capable of expressing the needed range of values but not be excessively large, so the size used is the word though it can be a multiple or fraction of the word size.
Registers Processor registers are designed with a size appropriate for the type of data they hold, e.g. integers, floating-point numbers, or addresses. Many computer architectures use general-purpose registers that are capable of storing data in multiple representations; these registers must be sized to hold the largest of the available types. This determined the word size of the architecture. Memory–processor transfer When the processor reads from the memory subsystem into a register or writes a register's value to memory, the amount of data transferred is a word; this amount of bits which could be transferred in one cycle was called a catena in some environments. In simple memory subsystems, the word is transferred over the memory data bus, which has a width of a word or half-word. In memory subsystems that use caches, the word-sized transfer is the one between the processor and the first level of cache. Unit of address resolution In a given architecture, successive address values designate successive units of memory.
In most computers, the unit is either a word. If the unit is a word a larger amount of memory can be accessed using an address of a given size at the cost of added complexity to access individual characters. On the other hand, if the unit is a byte individual characters can be addressed. Instructions Machine instructions are the size of the architecture's word, such as in RISC architectures, or a multiple of the "char" size, a fraction of it; this is a natural choice since instructions and data share the same memory subsystem. In Harvard architectures the word sizes of instructions and data need not be related, as instructions and data are stored in different memories; when a computer architecture is designed, the choice of a word size is of substantial importance. There are design considerations which encourage particular bit-group sizes for particular uses, these considerations point to different sizes for different uses. However, considerations of economy in design push for one size, or a few sizes related by multiples or fractions to a primary size.
That preferred size becomes the word size of the architecture. Character size was in the past one of the influences on unit of address resolution and the choice of word size. Before the mid-1960s, characters were most stored in six bits. Since it is efficient in time and space to have the word size be a multiple of the character size, word sizes in this period were
Kenneth David Herndon is an American former professional baseball pitcher. He played in Major League Baseball for the Philadelphia Phillies; the 6'5", 230 pound Herndon was drafted by the Kansas City Royals in the 38th round of the 2004 amateur draft out of Mosely High School in Panama City, but did not sign. The following year, the Minnesota Twins drafted him in the 23rd round out of Gulf Coast Community College, but he again opted against signing, he signed with the Anaheim Angels after being drafted in the fifth round of the 2006 amateur draft. Herndon began his professional career in 2006, going 5-2 with a 2.21 ERA in 14 starts for the Orem Owlz. In 2007, he went 13-8 with a 4.02 ERA in 25 games for the Cedar Rapids Kernels. He went 3-7 with a 5.01 ERA in 43 games in 2008 for the Rancho Cucamonga Quakes, in 2009 he went 5-6 with a 3.03 ERA in 50 relief appearances for the Arkansas Travelers. Herndon was selected by the Phillies in the 2009 Rule 5 Draft. After the 2010 spring training, Herndon was selected for the Phillies' Opening Day roster.
On April 5, he made his major league debut against the Washington Nationals. Through his first four outings he had not given up a run, but on April 16, he allowed four runs in 1⁄3 inning against the Florida Marlins. On July 27, Herndon picked up his first major league win versus the Arizona Diamondbacks, he earned a 1-3 record with a 4.30 ERA in 47 games. Herndon spent the majority of the 2011 season with Phillies, aside from a brief stint with the Triple-A Lehigh Valley IronPigs in which he went 2-0 with a 2.45 ERA and 1 save in 8 games. With the Phillies, Herndon went 1-4 with a 3.32 ERA in 45 games, recording his first Major League save after the 13th inning of the final game of the regular season. On June 19, 2012, Herndon underwent Tommy John surgery; the Toronto Blue Jays claimed Herndon from the Philadelphia Phillies on waivers on October 23, 2012. Tyson Brummett was designated for assignment to make room on the 40-man roster for Herndon. Herndon was subsequently designated for assignment by the Blue Jays on October 31, claimed by the New York Yankees on November 6.
The Yankees outrighted him to Triple-A but he chose to become a free agent instead. However, he re-signed with the Yankees on November 20 to a split contract. Herndon signed a minor league contract with the Milwaukee Brewers in the offseason. On March 31, 2015, he was released, he became a free agent after the 2015 season. Rule 5 draft results Career statistics and player information from MLB, or ESPN, or Baseball-Reference, or Fangraphs, or Baseball-Reference, or Retrosheet David Herndon at Baseball Almanac