The term mecha may refer to both scientific ideas and science fiction genres that center on giant robots or machines controlled by people. Mechas are depicted as humanoid mobile robots; the term was first used in Japanese after shortening the English loanword mekanikaru, but the meaning in Japanese is more inclusive, "robot" or "giant robot" is the narrower term. These machines vary in size and shape, but are distinguished from vehicles by their humanoid or biomorphic appearance and size—bigger than a human. Different subgenres exist, with varying connotations of realism; the concept of Super Robot and Real Robot are two such examples found in Japanese anime. The term may refer to real world piloted humanoid or non-humanoid robotic platforms, either in existence or still on the drawing board. Alternatively, in the original Japanese context of the word, "mecha" may refer to mobile machinery/vehicles in general, manned or otherwise; the word "mecha" is an abbreviation, first used in Japanese, of the word "mechanical".

In Japanese, mecha encompasses all mechanical objects, including cars, guns and other devices, the term "robot" or "giant robot" is used to distinguish limbed vehicles from other mechanical devices. Outside of this usage, it has become associated with large humanoid machines with limbs or other biological characteristics. Mechas differ from robots in that they are piloted from a cockpit located in the chest or head of the mech. While the distinction is hazy, mecha does not refer to form-fitting powered armor such as Iron Man's suit, they are much larger than the wearer, like Iron Man's enemy the Iron Monger, or the mobile suits depicted in the Gundam series. In most cases, mecha are depicted as fighting machines, whose appeal comes from the combination of potent weaponry with a more stylish combat technique than a mere vehicle, they are the primary means of combat, with conflicts sometimes being decided through gladiatorial matches. Other works represent mecha as one component of an integrated military force, supported by and fighting alongside tanks, fighter aircraft, infantry, functioning as a mechanical cavalry.

The applications highlight the theoretical usefulness of such a device, combining a tank's resilience and firepower with infantry's ability to cross unstable terrain and a high degree of customization. In some continuities, special scenarios are constructed to make mecha more viable than current-day status. For example, in Gundam the fictional Minovsky particle inhibits the use of radar, making long-range ballistic strikes impractical, thus favouring close range warfare of Mobile Suits. However, some stories, such as the manga/anime series Patlabor and the American wargame BattleTech universe encompass mecha used for civilian purposes such as heavy construction work, police functions or firefighting. Mecha see roles as transporters, advanced hazmat suits and other R and D applications. Mecha have been used in fantasy settings, for example in the anime series Aura Battler Dunbine, The Vision of Escaflowne, Panzer World Galient and Maze. In those cases, the mecha designs are based on some alternative or "lost" science-fiction technology from ancient times.

In case of anime series Zoids, the machines resemble dinosaurs and animals, have been shown to evolve from native metallic organisms. A chicken walker is a fictional type of bipedal robot or mecha, distinguished by its rear-facing knee joint; this type of articulation resembles hence the name. However, birds have forward-facing knees; the 1868 Edward S. Ellis novel The Steam Man of the Prairies featured a steam-powered, back piloted, mechanical man; the 1880 Jules Verne novel La Maison à vapeur featured a steam-powered, mechanical elephant. One of the first appearances of such machines in modern literature was the tripod or fighting machine of H. G. Wells' famous The War of the Worlds; the novel does not contain a detailed description of the tripods' mode of locomotion, however it is hinted at: "Can you imagine a milking stool tilted and bowled violently along the ground? That was the impression, but instead of a milking stool imagine it a great body of machinery on a tripod stand." Ōgon Bat, a kamishibai that debuted in 1931, featured the first piloted humanoid giant robot, Dai Ningen Tanku, but as an enemy rather than a protagonist.

The first humanoid giant robot piloted by the protagonist appeared in the manga Atomic Power Android in 1948. The manga and anime Tetsujin 28-Go, introduced in 1956, featured a robot, controlled externally by an operator via remote control; the manga and anime Astro Boy, introduced in 1952, with its humanoid robot protagonist, was a key influence on the development of the giant robot genre in Japan. The first anime featuring a giant mecha being piloted by the protagonist from within a cockpit was the Super Robot show Mazinger Z, written by Go Nagai and introduced in 1972. An early use of mech-like machines outside Japan is found in "The Invisible Empire" a "Federal Men" comic by Jerry Siegel and Joe Shuster. Other examples include the Brazilian comic "Audaz, the demolisher", by Álvaro "Aruom" Moura and Manoel Messias, Kimball Kinnison's battle suit in E. E. "Doc" Smith's Lensman novel Galactic Patrol, the french animat

With You Now is the second EP and from the Christian singer-songwriter Ellie Holcomb. The EP released on August 2013 by Good Time Records; this EP received commercial success and it garnered a few positive reviews. The EP released on August 19, 2013 by Good Time Records, this was her second EP. With You Now received two positive reviews from music critics. At CCM Magazine, Matt Conner rated the album four out of five stars, writing that "the talented songwriter creates beautiful music on her own, her new EP With You Now is proof positive." Jonathan Andre of Indie Vision Music rated the album four stars, stating that "Ellie’s EP is a fresh, invigorating and encouraging precursor to what listeners can expect come February next year." For the Billboard charting week of September 7, 2013, With You Now was the No. 7 most sold album on the Christian Albums chart

In botany, the radicle is the first part of a seedling to emerge from the seed during the process of germination. The radicle is the embryonic root of the plant, grows downward in the soil. Above the radicle is the embryonic hypocotyl, supporting the cotyledon, it is the embryonic root inside the seed. It is the first thing to emerge from a seed and down into the ground to allow the seed to suck up water and send out its leaves so that it can start photosynthesizing; the radicle emerges from a seed through the micropyle. Radicles in seedlings are classified into two main types; those pointing away from the seed coat scar or hilum are classified as antitropous, those pointing towards the hilum are syntropous. If the radicle begins to decay, the seedling undergoes preemergence damping-off; this disease appears on the radicle as darkened spots. It causes death of the seedling; the plumule is the baby shoot. It grows after the radicle. In 1880 Charles Darwin published a book about plants he had studied, The Power of Movement in Plants, where he mentions the radicle.

It is hardly an exaggeration to say that the tip of the radicle thus endowed acts like the brain of one of the lower animals. Plant perception

Ruislip-Northwood was a borough constituency represented in the House of Commons of the UK Parliament from 1950 to 2010 that elected one member by the first past the post system of election. It was centred on the districts of Ruislip and Northwood in the London Borough of Hillingdon; the seat returned each of three Conservatives. Its narrowest majority was 17.4% in 1997, over the Labour Party candidate. This represented the northern half of the earlier Uxbridge constituency, divided into two following house-building in the area in 1950. Ruislip-Northwood was constituency that as such covered elevated and hilly outskirts of West London, beginning 12 miles WNW of Charing Cross. All three of its successive Members of Parliament were Old Etonians and as the majorities they received were non-marginal, with their contributions the seat was throughout its elections a safe seat. All of its area has been succeeded by Ruislip and Pinner. 1950–1974: The Urban District of Ruislip-Northwood. 1974–1983: The London Borough of Hillingdon wards of Eastcote, Manor, Northwood and South Ruislip.

1983–1997: The London Borough of Hillingdon wards of Bourne, Deansfield, Manor, Northwood Hills, St Martins. 1997–2010: The London Borough of Hillingdon wards of Bourne, Deansfield, Harefield, Northwood, Northwood Hills, St Martins. The constituency consisted of the northern part of the London Borough of Hillingdon. List of Parliamentary constituencies in Greater London

Edward William May Jr. was an American composer and trumpeter. He composed film and television music for The Green Hornet, The Mod Squad and Naked City, he collaborated on films such as Pennies from Heaven, orchestrated Cocoon, Cocoon: The Return, among others. May wrote arrangements for many top singers, including Frank Sinatra, Nat King Cole, Anita O'Day, Peggy Lee, Vic Damone, Bobby Darin, Johnny Mercer, Ella Fitzgerald, Jack Jones, Bing Crosby and Young, Nancy Wilson, Rosemary Clooney, The Andrews Sisters and Ella Mae Morse, he collaborated with satirist Stan Freberg on several classic 1950s and 1960s satirical music albums. As a trumpet player, during the 1940s big band May recorded such songs as "Measure for Measure", "Long Tall Mama", "Boom Shot", with Glenn Miller and His Orchestra, "The Wrong Idea", "Lumby", "Wings Over Manhattan" with Charlie Barnet and His Orchestra. With his own band, May had a hit single, "Charmaine", in 1952, he released several albums including Sorta-May. May was born in Pennsylvania.

He started out playing the tuba in the high school band. "I sat in the rear of the stand. I didn't realize it at the time, but I was intrigued with becoming an arranger and an orchestrator." At the age of seventeen May began playing with Gene Olsen's Polish-American Orchestra. After playing for a few local bands, May heard Charlie Barnet's band on the radio in his hometown of Pittsburgh. In the summer of 1938, he approached the bandleader and asked if he could write arrangements for the band. From 1938 -- 40, he played trumpet for Barnet's big band, his arrangement of the Ray Noble composition "Cherokee" became a major hit of the swing music era. During the Barnet days, May revealed a significant flair for satire on a composition, "The Wrong Idea", composed with Barnet, ridiculing the bland "Mickey Mouse" style of safe big-band music, with specific aim at bandleader Sammy Kaye, known for his "swing and sway" trademark. May's caustic lyrics to the song called it "swing and sweat with Charlie Barnet".

Bandleader Glenn Miller hired May away from Barnet in 1940. "May points out that he was not responsible for any of the band's signature hits, but he did write the beautiful left-field introduction to Finegan's'Serenade In Blue'". Miller and May had a wary relationship. According to Will Friedwald, by 1942, May was ready to resign from the Miller band. Miller refused to record half of May's arrangements, May objected to the regimented style of Miller's band, but since Miller was joining the military, he convinced May to stay on. May said around 1995, after a life of heavy drinking and going to rehabilitation for alcoholism, that working with Glenn Miller "helped me immensely. I learned a lot from Glenn, he was a good musician and an excellent arranger." He became a much-coveted arranger and studio orchestra leader after that band broke up, going on to work with Frank Sinatra, Rosemary Clooney, Anita O'Day, Bing Crosby. At Capitol, May wrote arrangements for many top artists; these included Frank Sinatra on the albums Come Fly with Me, Come Dance with Me! and Come Swing with Me!.

Look at Me Now. May's orchestra was featured on many Capitol Records children's projects, including cowboy star, Hopalong Cassidy, he worked with early 1950s satirist Stan Freberg, using his arranging skills to help Freberg create his spoofs of current hits by creating musical backing stunningly close to the original hit single. On Freberg's Wun'erful, Wun'erful! A lacerating spoof of bandleader Lawrence Welk, May hired some of the best jazz musicians in Hollywood for his recording sessions, they relished the idea of mocking the financially successful Welk sound, which they considered musically awful; the result was a note-perfect recreation of Welk's sound as Freberg and a group of vocalists created parodies of Welk's "musical family". Freberg has recounted. May composed and conducted the music for Freberg's short-lived comedy radio series on CBS, which ran for fifteen episodes in 1957, his send-up of trashy horror-film music is notable. May won two Grammy Awards including Best Performance by an Orchestra in 1958 and for Best Arrangement in 1959.

Much of May's work for Capitol has been reissued on the Ultra-Lounge series of CDs. The Crosby-Clooney collaboration was a sequel to

Jiang Weilie is a retired vice-admiral of the People's Liberation Army Navy of China. He served as Deputy Commander of the PLAN from 2014 to 2017, served as Commander of the South Sea Fleet. Jiang Weilie was born in November 1955 in Wujin, Jiangsu Province, enlisted in the PLAN in 1975. Jiang spent most of his career in the PLAN's East Sea Fleet, he was promoted to deputy commander of the Shanghai Naval Base in January 2003, before becoming vice president of the PLA Naval Command Academy in December 2003. He served as deputy commander of the Zhoushan Base from June 2004 to August 2007, commander of the Lüshun Base from 2007 to 2008, chief of staff of the East Sea Fleet from 2008 to 2010, director of the PLAN Armaments Department from February to November 2010. In November 2010, Jiang was promoted to commander of the South Sea Fleet, concurrently deputy commander of the Guangzhou Military Region. In December 2014, he was appointed deputy commander of the PLAN, replacing Xu Hongmeng, who had reached the mandatory retirement age.

Shen Jinlong succeeded Jiang as commander of the South Sea Fleet. Jiang attained the rank of rear admiral in July 2008 and vice-admiral in July 2012, he was an alternate member of the 18th Central Committee of the Communist Party of China