Aerial techniques known as "High-flying moves" are maneuvers in professional wrestling using the ring's posts and ropes as aids, in many cases to demonstrate the speed and agility of smaller and acrobatically inclined wrestlers preferring this style instead of throwing or locking the opponent. Due to injuries caused by these high risk moves, some promotions have banned the use of some of them; the next list of maneuvers was made under general categories whenever possible. The wrestler takes hold of one of the opponent's wrists; the wrestler climbs up the corner turnbuckles and takes a walk on the top rope before falling down striking the opponent's head, shoulder or nape with a chop. This is more known as the name used by The Undertaker, who popularized it. Standing on the top turnbuckle, the attacking wrestler proceeds to jump in order to deliver an overhead chop to a standing opponent's head; this is one of the most recognizable signature moves performed by Tatanka, who called it the Tomahawk Chop.

The attacking wrestler jumps from an elevated position as extending their arm out from the side of the body and parallel to the ground, hitting the standing opponent in the neck or chest, knocking them over. A version of this move, called a flying lariat, involving the wrestler wrapping the attacking arm around the opponent's neck. Known as diving axe handle, diving double axe handle smash or diving double sledge, this is accomplished by jumping from the top turnbuckle to the mat or floor and striking the opponent with two fists held together in the fashion of holding an axe; this is done on a standing or rising opponent. A common variation sees the wrestler standing over the top rope. From this point, the wrestler jumps twisting his body holding clutching both fists together to strike the double axe handle. Executed by diving onto a supine opponent with one elbow cocked, driving the elbow into the opponent as the wrestler falls on one of their sides; this less common variation sees a wrestler stand facing away from a standing or supine opponent and in an elevated position.

The wrestler dives backwards to strike the opponent. It was popularized by the late great Randy Savage, is used by various wrestlers such as Jay Lethal, CM Punk and Velveteen Dream; the wrestler sits on the top turnbuckle with a foot on each second rope facing a supine opponent. The wrestler leaps towards clasping both forearms together, landing on their knees, driving an elbow into the opponent; this move sees a wrestler jumping forward from an elevated position followed by executing a mid-air backflip to land elbow first on an opponent lying on the mat. A move in which a wrestler jumps down from the turnbuckle on an opponent driving his fist into the opponent's head. While doing it, wrestlers have their front four knuckles out, their thumb to the side; this move was popularised by Jerry Lawler as his finisher. Known as a diving headbutt drop, it is delivered from the turnbuckle to anywhere on the opponent's body; the move was accidentally innovated by Harley Race, who adapted it as a signature move and it was further popularized by The Dynamite Kid, Chris Benoit, Daniel Bryan and Lars Sullivan.

It was discovered that this move could cause severe spinal, legs, or chest damage. Regarded nowadays as one of the most dangerous moves in professional wrestling. A move in which a wrestler jumps from the top turnbuckle, top rope or the apron landing one knee across a supine opponent. There is a variation where a wrestler jumps from the elevated position and lands both knees across the prone opponent, referred to as a diving double knee drop; this version of the diving double knee drop sees the attacker performing the maneuver from an elevated platform, jumping forward onto a standing or seated upright opponent with each knee striking both of their shoulders simultaneously. Springboard and standing or running versions of this move are possible with the latter being used while the attacker is charging towards an opponent, against a charging opponent, or a combination of both. Innovated by CIMA, who has used both a springboard and top rope version as finishing maneuvers in Dragon Gate, named it after the Greek landmark where he proposed to his wife.

Sasha Banks is known to use the meteora in WWE as a transitional move, being a Dragon Gate fan. This move sees the wrestler jumping forward from the second turnbuckle executing a mid-air backflip, landing knee first on an opponent down all on fours, it is a finishing move used by "Speedball" Mike Bailey. Called guillotine leg drop, this move sees a wrestler jumping from a raised platform landing the bottom side of one leg across the opponent's throat or chest. Known as diving Famouser, sees the wrestler springboarding off one of the ropes or jumping from the top turnbuckle dropping a leg across the nape of a leaning forward opponent; this variation sees the wrestler performing a moonsault but instead of landing on the opponent in a splash position, the wrestler continues the rotation to drive a leg across the downed opponent. The wrestler jumps forward from an elevated position following a full 360° or beyond rotation, driving a leg across the fallen opponent; the wrestler, standing on an elevated position and flips forward to land one leg on the opponent lying beneath.

This move can be performed from a standing non-elevated position although this variation is quite rare. This diving variation for a senton sees the wrestler landing back or buttocks first on the opponent's stomach or chest; the attacker on the top turnbuckle jumps and flips mid-air into a double front somersault to land sitting on the oppo

Roadcraft refers to the system of car or motorcycle control outlined in two books Roadcraft: The Police Driver's Handbook and Motorcycle Roadcraft: The Police Rider's Handbook. The books are published by The Stationery Office; the official Roadcraft website provides further information about the Roadcraft handbooks, their history and how they were published. Roadcraft is the UK's police handbook that outlines a system of car and motorcycle control split into five phases represented by the acronym IPSGA: Information received from the outside world by observation, given by use of signals such as direction indicators, headlamp flashes, horn; the taking and giving of Information is, most important and surrounds the five phases IPSGA. It may, should, be re-applied at any phase in the System; the System is used. A hazard is something which requires a change in direction or both; the benefit of applying a systematic approach to driving is to reduce the simultaneous demands on the vehicle, the driver mentally and the driver physically.

That is, the System seeks to separate out the phases of a manoeuvre into a logical sequence so that the vehicle and the driver avoid being overwhelmed by having to do too much at the same time. For example and steering at the same time place greater demands on the vehicle's available grip and in the worst case can lead to a skid. Whilst the books were put together at the Metropolitan Police Driving School at Hendon, intended for police drivers and riders, they have been available for sale to the general public since the mid-1950s. Civilian advanced driving organisations such as RoSPA and the Institute of Advanced Motorists base their teaching and advanced motoring tests on Roadcraft

The Our Lady of Glory Cathedral Also Valença Cathedral Is the name given to a religious building, part of the Catholic Church and is located in the center of the city of Valença in the state of Rio de Janeiro in the southern part of the South American country of Brazil. The current church was built in 1820 and between 1917 and 1970 it went through a period in which it was extensively restored, it is the main church of the bishop of the diocese of Valença and houses the Padre Manoel Gomes Leal Museum. It is one of the main tourist attractions of the city. Is under the pastoral responsibility of Bishop Nelson Francelino Ferreira. Roman Catholicism in Brazil

Esther González Rodríguez is a Spanish footballer who plays as a striker for Primera División club Levante UD and the Spain women's national team. At club level she played for Atlético Málaga, Sporting Huelva and Atlético Madrid. Esther made her senior international debut in March 2016, as a substitute in a 0–0 friendly draw with Romania in Mogoșoaia, she played the 2009 U-17 European Championship. Esther González on Twitter Esther González – UEFA competition record Profile at La Liga

Carl Ortwin Sauer was an American geographer. Sauer was a professor of geography at the University of California at Berkeley from 1923 until becoming professor emeritus in 1957, he has been called "the dean of American historical geography" and he was instrumental in the early development of the geography graduate school at Berkeley. One of his best known works was Dispersals. In 1927, Carl Sauer wrote the article "Recent Developments in Cultural Geography," which considered how cultural landscapes are made up of "the forms superimposed on the physical landscape." Sauer was born December 24, 1889 in Warrenton, the son of German-born William Albert Sauer and Rosseta J. Vosholl; as a child he was sent to study in Germany for five years. He attended Central Wesleyan College where his father served as the school botanist and taught music and French; the elder Sauer was interested in history and geography and felt there was a strong relationship between the two fields of study. His outlook most had a strong influence on his son's perspective.

After graduating in 1908, Sauer studied geology at Northwestern University and moved to the University of Chicago to study geography. There he was influenced by geologist Rollin D. Salisbury and botanist Henry C. Cowles. Sauer wrote his dissertation on the geography of the Ozark highlands and received his doctorate degree in 1915. Sauer married Lowen Schowengerdt in 1913. In 1915 Sauer joined the University of Michigan as an instructor in geography and was promoted to full professor in 1922. While at Michigan he became involved in public land use policy, he became concerned about the clear-cutting of pine forests in the state and the resulting ecological harm. In 1922 he played a major role in the establishment of the Michigan Land Economic Survey. In 1923 Sauer left Michigan to become a professor of geography and founding chairman of the Geography Department at the University of California, Berkeley, he served as chair for more than thirty years. Shortly after his arrival he began a program of fieldwork in Mexico.

He focused on the contemporary landscapes of Mexico but his interests grew to include the early Spanish presence in the region and the prehistoric Indian cultures of northwestern Mexico. He worked with other departments anthropology and history; the scope of Sauer's work expanded in scope to include investigations into the timing of man's arrival in the Americas. Carl Sauer's paper "The Morphology of Landscape" was the most influential article contributing to the development of ideas on cultural landscapes and is still cited today. However, Sauer's paper was about his own vision for the discipline of geography, to establish the discipline on a phenomenological basis, rather than being concerned with cultural landscapes. "Every field of knowledge is characterized by its declared preoccupation with a certain group of phenomena," according to Sauer. Geography was assigned the study of areal knowledge or landscapes or chorology—following the thoughts of Alfred Hettner. "Within each landscape there are phenomena that are not there but are either associated or independent of each other."

Sauer saw the geographer's task as being to discover the areal connection between phenomena. Thus "the task of geography is conceived as the establishment of a critical system which embraces the phenomenology of landscape, in order to grasp in all of its meaning and colour the varied terrestrial scene" A collection of Sauer's letters while doing fieldwork in South America has been published. Sauer was a fierce critic of environmental determinism, the prevailing theory in geography when he began his career, he proposed instead an approach variously called "landscape morphology" or "cultural history." This approach involved the inductive gathering of facts about the human impact on the landscape over time. Sauer rejected positivism, preferring historicist understandings of the world, he drew on the work of anthropologist Alfred Kroeber and critics accused him of introducing a "superorganic" concept of culture into geography. Politically Sauer was a conservative, but expressed concern about the way that modern capitalism and centralized government were destroying the cultural diversity and environmental health of the world.

He believed that agriculture, domestication of plants and animals had an effect on the physical environment. After his retirement, Sauer's school of human-environment geography developed into cultural ecology, political ecology, historical ecology. Historical ecology retains Sauer's interest in human modification of the landscape and pre-modern cultures. Sauer received numerous professional awards and honorary degrees: Charles P. Daly Medal, American Geographical Society, 1940 Vega Medal, Swedish Society for Anthropology and Geography, 1957 Alexander von Humboldt Medal, Berlin Geographical Society, 1959 Victoria Medal, Royal Geographical Society, 1975Phil. D. University of Heidelberg, 1956 LL. D. Syracuse University, 1958 LL. D. University of California, Berkeley, 1960 LL. D. University of Glasgow, 1965He was named a John Simon Guggenheim Fellow in 1931 and served as a member of the Selection Board of the Guggenheim Memorial Foundation 1936-1965, he was awarded an Honorary Fellowship from the American Geographical Society in 1935, its Daly Medal in 1940.

Sauer graduated many doctoral students, the majority completing dissertations on Latin American and Caribbean topics and thereby founding the Berkele

The Swimming Reindeer is the name given to a 13,000-year-old Magdalenian sculpture of two swimming reindeer conserved in the British Museum. The sculpture was made in what is now modern-day France by an unknown artist who carved the artwork from the tip of a mammoth tusk; the sculpture was found in two pieces in 1866, but it was not until the early 20th century that Abbé Henri Breuil realised that the two pieces fit together to form a single sculpture of two reindeer swimming nose-to-tail. The pieces of the sculpture were discovered by a French engineer, Peccadeau de l’Isle, in 1866 while he was trying to find evidence of early man on the banks of the River Aveyron, although contemporary accounts attributed the find to Victor Brun, a local antiquarian. At the time, de l'Isle was employed in the construction of a railway line from Montauban to Rodez, while digging for artefacts in his spare time he found some prehistoric flint tools and several examples of late Ice Age prehistoric art in a rock shelter of Bruniquel.

The finds took the name of the rock shelter: "abri Montastruc". The hill was estimated to be 98 feet high, the artefacts were found beneath an overhang that extended for about 46 feet along the river and enclosed an area of 298 square yards. De l'Isle had to dig through 7 metres of material to get to the level where the artefacts were found. At this time it was thought that there were two separate carvings of reindeer as it was not obvious that the two pieces fitted together. De l'Isle wrote a paper on his discovery, his finds were exhibited in 1867 at the Exposition Universelle in Paris. People were intrigued to see this sculpture in particular; the carvings were remarkable in. Dating was possible; this dated the find as ancient and required a re-evaluation of the life of humans in the late Ice Age. This find was astounding, as at that time no cave paintings had been discovered, it was to be some years before those that were found were accepted as genuine. In fact it was only the work of Henry Christy and Edouard Lartet that had persuaded informed opinion that mankind had lived during the ice age and coexisted with mammoths.

The evidence for coexistence came not only from the reindeer but from a carved spear thrower, found in the same location. This device was used to gain extra leverage. In this case it was made from a piece of reindeer antler, carved into the shape of a mammoth; the reindeer sculptures were again exhibited in 1884 in Toulouse, when it is speculated that a French buyer might have been found, but they were procured by the British Museum in 1887. De l'Isle offered his finds to the British Museum for the large sum of 150,000 francs, which would have a value in excess of half a million pounds in 2010; the offer was considered much too high and was not accepted by Augustus Franks, an enthusiastic antiquarian, in charge of the north European collection at that time. Franks had been known to fund the museum's acquisitions himself, he sent Charles Hercules Read to negotiate with de l'Isle. Read managed to bring the price down to £500; the purchase was funded by the Christy Fund, a £5,000 bequest by Henry Christy who had left his own collections to the museum.

It was not until 1904 when Abbé Breuil saw the sculptures whilst visiting the British Museum that he realised that the two pieces fitted together, were in fact two parts of a single sculpture. The sculpture is kept in a controlled atmosphere and is moved; the ivory is now fragile and it is feared that it could "turn to dust" if it were treated roughly. Unlike the mammoth spear thrower, the reindeer sculpture has no practical purpose, is considered to be the oldest piece of art in any British museum; the finds came from the late Ice Age, which Henry Christy and Edouard Lartet called the "age of the reindeer". That is notable as the carving of mammoth ivory depicted reindeer and the mammoth spear thrower was carved from a reindeer antler; that fixes the co-existence of reindeer and man at a time that the area had a climate similar to that of Siberia today. This period became known as Magdalenian, named after a French cave, Abri de la Madeleine, where similar art to the Swimming Reindeer were found.

The sculpture shows a female reindeer followed by a larger male reindeer. The larger male is indicated by his size and genitals, whilst the female has her teats modelled; the reindeer are thought to be swimming in illustration of the migration of deer that would have taken place each autumn. It is known that it would be autumn as both reindeer are shown with antlers, only during autumn do both male and female reindeer have antlers. At this time of year reindeer would be much easier to hunt, the meat and antlers would be at their best; each of the reindeer has been marked with a burin to show different colouring and texture in the deer's coat. Oddly there are ten deeper cuts on each side of the back of the leading female reindeer; these may have been intended to indicate coloured markings. Former Director of the British Museum Neil MacGregor says of the manufacturing process: If you look you can see that this little sculpture is the result, in fact, of four separate stone technologies. First, the tip of the tusk was severed with a chopping tool.

The whole thing was polished using a powdered iron oxide mixed with water buffed up with a c