Maadi is an affluent, leafy suburban district south of Cairo, Egypt, on the east bank of the Nile about 12 km upriver from downtown Cairo. The Nile at Maadi is parallelled by the Corniche, a waterfront promenade and the main road north into Cairo. There is no bridge across the Nile at Maadi. Maadi's population was estimated to be 97,000 in 2016, the district is popular with international expatriates as well as Egyptians and is home to many embassies, as well as major international schools, sporting clubs, cultural institutions such as the Supreme Constitutional Court of Egypt and the national Egyptian Geological Museum. Ma'ǎdi معادي is the plural form of the word ma'diyya, Egyptian Arabic: معدية, which means "ferry". There was a story that the name comes from a ferry crossing in the area where ferries carried people from the east side of the Nile to the west. Maadi today stands on the site of a town that has turned out to be a significant predynastic, Ancient Egyptian archaeological site, founded ca. 3500 B.
C. Building activity in the area has destroyed some archaeologically sensitive places. Maadi traces its modern history to 1904, when the railway between Cairo to the north and Helwan to the south was built. This, in combination with land speculation by the Mosseri cousins and city planning by Alexander Adams, gave rise to a new town. Construction was limited to the area adjacent to the railway, but spread west to the Nile. A large British army camp was built east of the railway; the town planning was done in 1905 by a Canadian retired officer Captain Alexander J. Adams, his vision led to the wide boulevards and large villas still seen in Maadi today. There were strict rules associated with residential development in Maadi with regards to the size of houses, how much of the property could be occupied by the house and how much had to be left for the garden, the size of the sidewalks. Window shutters had prescribed colours. Other regulations included wireless radio noise control after 22:00 and fines for not maintaining gardens properly.
The world’s first solar thermal power station was built in Maadi. An example of British colonial life in Maadi may be found in The house at Maadi, a short story by Gerald Bullett from his collection The street of the eye. During the period between 1940 and 1946, Maadi had an important role in the Military history of New Zealand during World War II. During that time this area belonged to the Delta Land Company which created Maadi in 1907; the rocky plateau was leased to the New Zealand Forces, for the next six years became New Zealand's main overseas base. A British interrogation centre was located in Maadi. In July 1942, at the height of the Western Desert Campaign, two German spies revealed under questioning that they had been using a copy of Daphne du Maurier's Rebecca, found among their possessions, as a codebook for secret, coded radio transmissions, their equipment, stored on a houseboat on the River Nile, had been examined by a young signals officer from the Egyptian army, future president Anwar Sadat.
Following the 1952 Revolution, after which the British colonial occupation ended, the 1956 Suez Crisis, or Tripartite Aggression, in which Britain and Israel attacked Egypt to regain control of the Suez Canal and French expatriates living in Maadi and elsewhere were forced to leave Egypt. As a result, some of their institutions, such as St. John's Anglican Church, were taken over and run temporarily by other nationalities; the oldest area in Maadi is El Sarayat, composed of villas and low rise buildings. It is the most affluent part of Maadi along with the adjacent Degla area; these two areas are recognizable by the high number of quiet atmosphere and greenery. There are many flats in Maadi in lowrise buildings. There are several highrises along the Corniche by the river, as well as in the newer, eastern part of Maadi, known as Degla; the new Maadi areas include El-Laselky St. and the Autostrad, as well as Masaken El Arays, Saqr kuraish and the houses of the Kuwaiti company. It is characterized by the large number of oil companies, most notably the Gulf of Suez Oil Company, as well as some other companies.
The Arab region is the most popular areas in Maadi and the Arab Maadi, available from shops and crafts and various means of transport and its location, which connects all areas of Maadi. Maadi is the least densely populated district in Greater Cairo, much of it is inhabited by well-to-do Egyptians, as well as expatriates, many of whom are connected with embassies, ambassadorial residences and international corporations located in Maadi; the Cairo office for the USAID is located in Maadi. Many streets in Maadi continue to have speed bumps as a traffic calming measure. Maadi has a reputation for being green and more relaxed than urban Cairo. In some parts of Maadi, most notably around Cairo American College, there is no traffic noise; the abundant greenery bears little resemblance to most of the crowded areas seen in urban Cairo, belies Maadi's original desert location. This reputation is true of the original core of Degla. Along with its affluent residents, Maadi is home t
Dance Deewane is an Indian television dance competition reality show that gives the opportunity to dance to three different generations. Hosted by Arjun Bijlani and judged by Madhuri Dixit, Shashank Khaitan and Tushar Kalia, it premiered on 2 June 2018 on Colors TV. Color Key Madhuri Dixit Tushar Kalia Shashank Khaitan Male Winner Female Winner Couple Winner Top 20 contestants were chosen, 6 from 1st & 3rd generation and 8 from 2nd generation. 1st Generation: Kids 2nd Generation: Youth 3rd Generation: Seniors Indicates the contestant is male. Indicates the contestant is female; the contestant is from 1st Generation. The contestant is from 2nd Generation; the contestant is from 3rd Generation. The contestant was the Ultimate Winner; the contestant was the Winner of their Generation. The contestants were eliminated during the final; the contestant was safe by getting all 3 Plays. The contestant was saved by getting 2 Plays; the contestant was got only 1 Play &. The contestant was in the bottom; the contestant was Eliminated.
The contestant had to leave the competition. 23 contestants were chosen, 2nd generation and 7 from 3rd generation. 1st Generation: Kids 2nd Generation: Youth 3rd Generation: Seniors Indicates the contestant is male. Indicates the contestant is female. Injured and Left the competition Eliminated The contestant is from 1st Generation; the contestant is from 2nd Generation. The contestant is from 3rd Generation; the contestant was the Ultimate Winner. The contestant was the Winner of their Generation; the contestants were eliminated during the final. The contestant received all 3 Plays & moved on to next round; the contestant received 2 Plays & moved on to next round. The contestant was safe; the contestant was got only 1 Play. The contestant was in the bottom; the contestant received Rewind. The contestant was injured and had to leave the competition
Walter Anton Berger was a Major League Baseball outfielder who played for four National League teams the Boston Braves. Berger was the National League's starting center fielder in baseball's first All-Star Game. One of the league's top sluggers of the early 1930s, in his initial 1930 season he hit 38 home runs, a record for rookies which stood until 1987, he led the league in home runs and runs batted in in 1935 despite the Braves having the fourth-most losses in MLB history, went on to become the seventh NL player to hit 200 career home runs. Born in Chicago but raised in San Francisco, Berger played third base for Mission High School, sharing the infield with future Hall of Fame shortstop and American League president Joe Cronin, who manned second base. Through 2020, he was one of five players to hit 20 or more home runs in their rookie year before July, along with Albert Pujols, Joc Pederson, Cody Bellinger, Pete Alonso. Berger's 38 home runs as a 1930 rookie established a major league record that would stand for 57 years until eclipsed by Mark McGwire's 49 in 1987.
Pete Alonso hit 53 in 2019. Berger still shares the record for being the fastest player to hit 20 home runs, shared with Gary Sánchez and Cody Bellinger. Berger batted.310 that season, his 119 runs batted in were an NL rookie record, since topped by Albert Pujols in 2001. Berger made the NL All-Star team in the first four years the game was held, starting in the first two. In 1933 he finished third in the Most Valuable Player voting, behind Carl Hubbell and Chuck Klein, after hitting 27 home runs, second in the league behind Klein's 28; that same year, when Babe Ruth was asked once again to make his annual selection of the game's best, he named Berger as his center fielder. Of the eighteen players who started the 1934 All-Star Game, Berger is the only player not elected to the Major League Baseball Hall of Fame. In 1935, he led NL outfielders in putouts with 458. Eddie Mathews broke his Braves franchise record of 38 home runs in 1953, the team's first year in Milwaukee, surpassed his mark of 199 career home runs in 1957.
After a 1936 shoulder injury, Berger was traded to the New York Giants in June 1937. In the 1937 World Series, he made only three pinch-hitting appearances. In June 1938 he was traded to the Cincinnati Reds, where he would remain until 1940, he ended his career in 1940 with the Philadelphia Phillies. In an 11-season career, Berger posted a.300 batting average with 242 home runs and 898 RBI in 1350 games played. Following his retirement as a player, he was a scout for the New York Yankees and managed their Manchester, New Hampshire, minor league team in 1949. Berger died of a stroke in Redondo Beach, California, in 1988, he was interred at Inglewood Park Cemetery in California. List of Major League Baseball career home run leaders List of athletes on Wheaties boxes List of Major League Baseball annual runs batted in leaders List of Major League Baseball annual home run leaders Twin Falls Cowboys Brattain, John. "Blast From The Past: Wally Berger". Hardballtimes.com. Career statistics and player information from Baseball-Reference, or Baseball-Reference, or Baseball Almanac Wally Berger at Find a Grave
A feather Christmas tree is a type of artificial Christmas tree, considered one of the first artificial trees used as a Christmas tree. They originated in Germany in the late 19th century and became popular in the United States during the early 20th century. Feather Christmas trees were first created in Germany in the 1880s or 1890s and are regarded as one of the first types of artificial Christmas trees; these first artificial trees were, in part, a response to growing environmental concerns in the late 19th century concerning deforestation associated with the harvest of Christmas trees in Germany. The tradition of feather Christmas trees was brought to the United States by German immigrants in places such as Pennsylvania and Texas. Feather Christmas trees became popular during the early 20th century, were sold by department stores in the United States. Benefits touted for feather trees included the elimination of a trip to the tree lot and the lack of shed needles. Today, feather Christmas trees are valued as a collectible antique.
One 36 inch German tree sold at auction in 2008 for $230. Feather trees were made of green-dyed goose feathers which were attached to wire branches; the feathers were split and secured with wire to form the branches. These wire branches were wrapped around a central dowel which acted as the trunk; the branches were spaced to keep the candles from starting a fire, which allowed ample space for ornamentation. Feather Christmas trees ranged in size, from a small 2 inch tree to a large 98 inch tree sold in department stores during the 1920s; the tree branches were tipped with artificial red berries which acted as candle holders. Crews, Barbara. "Feather Christmas Trees: Pictures and Patents", about.com, accessed March 28, 2009. Mueller, Thomas G. "Grandpa Salomon's German Christmas Tree", Germans From Russian Heritage Collection, North Dakota State University Libraries, updated December 18, 2008, accessed March 28, 2009. "Country Mitten Feather Tree", Better Homes and Gardens, accessed March 28, 2009.
Rush–Copley Medical Center in Aurora, Illinois is a 210-bed hospital in the greater Fox Valley area. It is named after Ira Clifton Copley; the Cancer Care Center has been designated as a Comprehensive Community Cancer Center by the American College of Surgeons Commission on Cancer. Rush–Copley Neuroscience Services provides specialized care to the greater Fox Valley area; the Heart and Vascular Institute is an accredited Chest Pain Center for the care of patients with Acute Coronary from the Society of Chest Pain Centers. Emergency Services is a designated Level II Trauma Center that serves nearly 70,000 patients annually. Rush University Official website Rush University Chicago
María Luisa Bemberg was an Argentine film writer and actress. In her work, she specialized in portraying the Argentine upper class. Bemberg focused on feminism, with regard to the gender debate and cinematic gaze. Bemberg is arguably Argentina’s foremost female director; the daughter of Otto Eduardo Bemberg and Sofía Bengolea, she was born into one of the most powerful and wealthy families of Argentina. Her great-grandfather, German Argentine immigrant Otto Bemberg founded the largest brewery Quilmes Brewery in 1888. Bemberg grew up in a patrician family. Bemberg never received a college degree, she was tutored by a governess. On October 17, 1945, she married an architect. Following their marriage and in the midst of the Juan Perón era, the couple moved to Spain, where they had four children before returning to Argentina. One of them, Carlos Miguens Bemberg, would become a well-known businessman. 10 years she divorced Miguens. Her partner in subsequent years was film producer Oscar Kramer. In 1949, Bemberg became involved with the named Smart Theater and renamed the Astral Theater.
In 1959, she established and managed Buenos Aires's Teatro Del Globo with her associate, Catalina Wolff. She was one of the Feminist Union in Argentina, her original efforts to form feminist groups were muffled by the military regime that superseded Perón in the mid-50s. Bemberg was inspired by French novelist and art theorist André Malraux, who visited her aunt's Villa Ocampo in 1959, his belief that "one must live what one believes". In 1970, she wrote the script for Raúl de la Torre's Crónica de una señora, a successful film about the Argentine upper class with Graciela Borges and Lautaro Murúa, in 1975 the script for Fernando Ayala's Triangle of Four. After her film Señora de nadie was censored by the military regime, she went to New York to study acting from Lee Strasberg. Bemberg used that time to understand. Bemberg decided to pursue directing because she was disappointed with how her semi-autobiographical screenplays were interpreted by male directors, she believed that Argentine men suffered from great insecurity and Latin American films portrayed women poorly, wanted to change what she felt was an uninteresting image of women in Latin American cinema.
She founded her own production company, GEA, with Lita Stantic and directed her first film, self-financed, in 1981. Among her films, she wrote and directed Señora de nadie in 1982, Camila in 1984, Miss Mary in 1986, Yo, la peor de todas in 1990. Bemberg's films were popular due to their melodramatic elements, enjoyed much commercial success. Throughout her career Bemberg worked with longtime producer Lita Stantic, costume designer Graciela Galan and Voytec, a London-based stage design firm. Camila was the third film that Bemberg directed as well as her first film to gain international recognition, her longtime producer Lita Stantic brought her a copy of a novel by Enrique Molina based on the life of Argentine socialite Camila O'Gorman. Stantic wanted Bemberg to prove. Bemberg was interested in showing Camila as the active pursuer in her relationship and spurning the pillars of family and state, freed from what she thought was a role that historians had confined her to. Bemberg was only able to make the film after President Raúl Alfonsín outlawed film censorship in 1982, making it a political statement as much as it is a romantic fiction.
Despite the romantic plot led by the Camila and Ladislao Gutierrez, the Jesuit priest, the film is distinct for its unromantic end in the midst of the dictatorship of Juan Manuel de Rosas. The film cost US$370,000 to make, her last film was 1993's De eso no se habla, starring Italian actor Marcello Mastroianni. At the end of her life, Bemberg was working on a script, based on the story El impostor by Silvina Ocampo, a distant relative of hers, made into a film in 1997 directed by her longtime collaborator Alejandro Maci. Before her death, she bequeathed her personal art collection to the National Museum of Fine Arts, she died of cancer in Buenos Aires on May 7, 1995, at age 73. Scholar Bruce Williams has stated that all of Bemberg's films show female protagonists transgressing the boundaries and limits of their societies, her feminist films depict women struggling to assume their place in patriarchal settings. With respect to the formal aspects of her films, Bemberg set her own aesthetics, such as the "woman's look", which she considered was lacking in films and in Latin American films.
In several interviews Bemberg said that she was inspired by New Zealand producer and director Jane Campion and in particular her movie The Piano. Eroticism, female sexuality and women were some of Campion's themes that Bemberg was most interested in. In an interview Bemberg described why Campion's films were so inspirational for her: "In most films, eroticism for the most part is portrayed from a masculine viewpoint, they speak of their sexual prowess, conquests but--excuse me, I'm going to be crude--rarely do they mention their inadequ