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Service club

A service club or service organization is a voluntary nonprofit organization where members meet to perform charitable works either by direct hands-on efforts or by raising money for other organizations. A service club is defined firstly by its service mission and secondly its membership benefits, such as social occasions and personal growth opportunities that encourage involvement. A service organization is not exclusive of ideological motives, although organizations with such defined motives are more to identify themselves through their association. Much like the historical religious organizations that formed the basis for many societal institutions, such as hospitals, service organizations perform many essential services for their community and other worthy causes. In the United States, some of these clubs also have a component club organization, a tax exempt 501 nonprofit organization. Many of today's service clubs got their start as social clubs for business networking, but evolved into organizations devoted more to service than to networking, although networking may still be the primary reason many members decided to join.

Most service clubs consist of community-based groups that share the same name, membership requirements, meeting structure. Many of these clubs meet weekly, bi-weekly, or monthly on a recurring established day and time at a mealtime. Most of these clubs started with a single club in a single city, but replicated themselves by organizing similar clubs in other communities. Many of the service club organizations have become worldwide movements, have obtained official recognition by the United Nations and various governments as non-governmental organizations. Service clubs in this article do not refer to the term "service club" used in the United Kingdom and some other Commonwealth countries, in which those groups consist of clubs for members of "the services", a common expression for the military or uniformed forces. In the Americas, these types of clubs are known as veterans' organizations or veterans' fraternal groups; the world's first service club, the Rotary Club of Chicago, was formed in 1905 by Paul Harris, an attorney who wanted to create in a professional club with the same friendly spirit he had felt in the small towns of his youth.

The Rotary name derived from the early practice of rotating meetings among members' offices. Many of these service clubs were started early in the 20th century, such as Kiwanis, Rotary International, Civitan International, Order of DeMolay, Apex Clubs of Australia, Altrusa International, JCI, Exchange, Soroptimists, KIN Canada, Quota International, Round Table. A new generation of service clubs includes Helpers Dynasty, HandsOn Network, BEAN,, Golden

Bogusław Bagsik

Bogusław Bagsik is a Polish businessman and patron of arts. He is the founder and owner of ART B. In 1991 Bagsik emigrated to Tel Aviv; as of 1991, Bagsik was the 8th wealthiest person in Poland, according to Wprost magazine. Poland: Kisiel Prize Bagsik was arrested in 1994 at the Zürich airport. After a long extradition procedure, he had been released to Poland in 1996, he was accused of illegally acquiring 400 mln PLN, acting against the interest of his company. On October 20, 2000 he had been sentenced to 9 years in prison. Bagsik was released from prison in May 2004 on Parole. After his, release Bagsik began further business work and was arrested on April 14, 2014 accused of money laundering of a sum of 11 mln PLN. 1991:Guitar Legends, Seville 1991 – producer 2000: Zakochani - actor Pablo Picasso, "Cyrk", 1957, Pablo Picasso, "Tauromachia", 1957 Oswald Achenbach, "Grobowiec Cecylii Metelli", 1886 Pierre-Auguste Renoir, "La collation", ok. 1890, Stanisław Ignacy Witkiewicz, Portret pana S. A. czerwiec 1939, 62,3 × 48,5 Johann Georg Bandau II, lata 20.

XIX w.. XIX w Louis-Nicolas Naudin'a, " Srebrna waza", ok 1820, 1819–38, 30 × 33,2. Zygmunt Menkes, Dziewczyna z kwiatem, 42,4 × 34,5 Teodor Axentowicz, "Na gromniczną" Józef Brandt, "Portret towarzysza pancernego na karym koniu" Wojciech Kossak, "Odwrót spod Moskwy", 1922 Wojciech Kossak, "Dziewczyna w chustce", 1918, Mela Muter, "Zimowy pejzaż miejsk", "Kutry przy brzegu" Alfred Aberdam, "Martwa natura z kwiatami i książką" Jacek Malczewski, Portret dziewczynki siedzącej na drabinie, 1922, 97,8 × 69,5 Jacek Malczewski, Mężczyzna na drabinie, 1922 Jacek Malczewski, Portret Wincentego Łepkowskiego, 1911, 74 × 93 Jacek Malczewski, Chrystus w Emaus – dyptyk, 1912, cz. lewa 72,6 × 53,5, cz. prawa 72,5 × 55 Jacek Malczewski, Portret doktora Ignacego Baslera, 1924, 50,3 × 71,3 Jacek Malczewski, "Portret Antoniego Lanckorońskiego z ojcem", 1905 Jacek Malczewski, "Kobieta na tle gaju z jarzębiną", 1917 Jacek Malczewski, "Kobieta na tle gaju z jarzębiną", 1917 Tadeusz Makowski, Portret dziewczynki o ciemnych włosach, 46 × 28,5 Baccarat, Pantera, 15 × 51,2 × 12,3

Balmy Alley

Balmy Alley is a one-block-long alley, home to the most concentrated collection of murals in the city of San Francisco. It is located in the south central portion of the Inner Mission District between 24th Street and Garfield Square. Since 1973, most buildings on the street have been decorated with a mural; the earliest murals in the alley date to 1972, painted by Maria Galivez and children in a local child care center. Artists Patricia Rodriquez and Graciela Carillo had rented an apartment on Balmy Alley and painted their first mural in the Alley, a jungle-underwater scene, in 1973, their two-woman team soon became known as Las Mujeres Muralistas. Fellow member Irene Perez painted her own mural on the alley in 1973, depicting two back-to-back figures painting flutes. In 1984, in a second significant wave of murals in the alley, Ray Patlan spearheaded the PLACA project to install murals throughout the alley featuring the common theme of a celebration of indigenous Central American cultures and a protest of US intervention in Central America.

Topics of the murals included the Nicaraguan revolution, Óscar Romero, the Guatemalan civil war. This culminated in the addition of twenty-seven murals during the summer of 1985, funded in part by a grant of $2,500 from the Zellerbach Foundation; this art project proved influential, inspiring the La Lucha Continua Art Park/La Lucha Mural Park in New York City the following year. Painting continues in the alley, including new murals about gentrification and police harassment in 2012 and a restoration of one the PLACA murals in 2014. Besides those listed above, artists who have produced murals in the alley include Juana Alicia, Susan Kelk Cervantes, Marta Ayala, Brooke Francher, Miranda Bergman, Osha Neuman, Carlos Loarca, Xochitl Nevel-Guerrero, Sirron Norris; the Balmy Alley murals have been described, along with San Diego's Chicano Park and Los Angeles' Estrada Courts, as a leading example of mural environments that reclaim spaces for Chicanos and give expression to a history of Chicano displacement and marginalization.

The mural grouping in the alley is internationally recognized, both as an exemplar of activist art and as a tourist destination. The Mission District has San Francisco's densest concentration of murals along political themes, sometimes described jointly as the "Mission School" of muralism. Balmy Alley is cited as the leading concentration within the Mission. Nearby Clarion Alley, another mural grouping by local artists, was inspired by Balmy Alley. Precita Eyes, a mural arts education group, located near Balmy Alley San Francisco Mural Arts gallery of works in Balmy Alley Balmy Alley website

Vulcan Presenting Venus with Arms for Aeneas (Boucher)

Vulcan Presenting Venus with Arms for Aeneas is a painting of 1757 by François Boucher in the Louvre in Paris. He produced it as the basis for one of a set of tapestries on The Loves of the Gods, it depicts the homely but muscular Vulcan on the ground in the right, offering up to the more celestial Venus the weapons he has forged for her son Aeneas. French National Cultural office. Louvre visitors guide. French National Cultural office. Apollo in the Forge of Vulcan by Diego Velazquez in the Prado Museum, Madrid Venus at the furnace of Vulcan by Luigi Garzi at the Palazzo Buonaccorsi, Macerata

Tench-class submarine

Tench-class submarines were a type of submarine built for the United States Navy between 1944 and 1951. They were an improvement over the Gato and Balao classes, only about 35 to 40 tons larger, but more built and with a improved internal layout. One of the ballast tanks was converted to carry fuel, increasing range from 11,000 nautical miles to 16,000 nautical miles; this improvement was made on some boats of the previous two classes. Further improvements were made beginning with SS-435, which are sometimes referred to as the Corsair class. Initial plans called for 80 to be built, but 51 were cancelled in 1944 and 1945 when it became apparent that they would not be needed to defeat Japan; the remaining 29 were commissioned between October 1944 and February 1951. The last submarine of the Tench class, as well as the last submarine which served during World War II, in service with the U. S. Navy was USS Tigrone, decommissioned on 27 June 1975; the as-built diesel-electric propulsion layout was the same as the last few Balao class, with four Fairbanks-Morse or General Motors Cleveland Division two-stroke diesel engines supplying two low-speed double-armature direct-drive electric motors to drive two shafts.

All except Corsair received the Fairbanks-Morse 38D 8-1/8 engine with 10 cylinders. The direct-drive electric motors were much quieter than the reduction gear arrangement of previous classes, they made the drive train much more reliable due to the fact that the gearing was an element prone to shock damage from depth charges. Two 126-cell Sargo-type lead-acid batteries provided submerged power to the electric motors. A design weakness of earlier classes solved by the Tench re-design were the ballast tank vent riser pipes that passed through the interior of the boat in the forward and after torpedo rooms; these pipes allowed #1 and #7 Main Ballast Tanks to vent air during diving, which allowed water to flood into them from below. The tops of these tanks formed the walking deck in the interior of both rooms and thus the normal location of the vent valves could not be used; the riser pipes allowed the tanks to vent, but when the tanks were full these pipes contained water at full submergence pressure inside the torpedo rooms.

If these pipes ruptured during depth charge attack, catastrophic flooding would occur. Solving this problem proved quite difficult, but required the complete rearrangement of the ballast tanks. #1 MBT was moved to a location forward of the end of the pressure hull, thus allowing it to vent directly into the superstructure like the rest of the MBT's. This move eliminated the riser pipes completely. #7 MBT, after stability and buoyancy calculations were run, was found to be redundant and was converted to a variable fuel oil/ballast tank, increasing the class's surfaced range. These changes forced a rearrangement of the associated piping runs and locations of many of the other tanks. Being entirely internal, these changes resulted in a boat, visually indistinguishable from the earlier Balao class, with the exception of a sharper angle at the lower corner of the bow. Another difference was the elimination of small bulges around the motor room that accommodated the reduction gears. A significant benefit of the tank rearrangement was that these boats could carry four additional torpedoes in the forward torpedo room, for a total of 28.

This was a change, asked for by submarine crews much earlier, but could not be accommodated in the earlier designs due to the lack of space in the torpedo rooms. Many targets in the Pacific War were sampans or otherwise not worth a torpedo, so the deck gun was an important weapon. Due to war experience, most Tench class were armed with a 5-inch /25 caliber gun, some boats had two of these. Additional anti-aircraft guns included single 40mm Bofors and twin 20mm Oerlikon mounts one of each. 29 of these boats were built during and after World War II, commissioned from October 1944 through February 1951, with 11 commissioned postwar. None of this class were lost in World War II. Ghazi was lost in Pakistani service on 4 December 1971 during the Indo-Pakistani Naval War of 1971 due to a minelaying accident or enemy action by India; some of the class served in the US Navy through the middle 1970s, others served into the 1990s with foreign navies, one is still active in Taiwan's Republic of China Navy.

With one exception, these boats were all built at government owned shipyards. Two boats, Wahoo and an unnamed boat designated SS-517 were laid down at Mare Island Navy Yard but canceled and broken up prior to completion. With the end of the war near and due to a large construction backlog of Balao-class boats, the Electric Boat Company was only awarded contracts for three Tench-class boats, only one of which, was completed. Electric Boat's follow on yard, the Manitowoc Shipbuilding Company of Manitowoc, Wisconsin worked through its contracts for Balaos and was not awarded any Tench contracts; the Cramp Shipbuilding Company of Philadelphia, struggling with workforce problems and supply issues with its Balaos, was not awarded any contracts. A total of 125 U. S. submarines were cancelled during World War II, all but three between 29 July 1944 and 12 August 1945. The exceptions were USS Wahoo, USS Unicorn, USS Walrus, cancelled 7 January 1946. References vary as to how many of these were Balaos and how many were Ten

Pete Tyler

Pete Tyler is a fictional character in the British science fiction television series Doctor Who, played by Shaun Dingwall. He is the father of the Doctor's companion Rose Tyler and first appears in the episode "Father's Day". Writer Paul Cornell incorporated characteristics of his own father whilst writing Pete; this episode reveals. Rose takes inspiration from her father in a time of need. Though deceased in Rose's universe, the 2006 series introduces a parallel universe version of Pete who, unlike the original, is rich and successful. Whilst fighting the emotionless Cybermen, Pete loses his wife, the parallel universe Jackie Tyler, in turn struggles to comprehend that Rose is his daughter in another universe; this version of Pete returns in the finale episode in which he is there to aid his parallel self's family returning to the parallel universe with them. He settles down with accepts Rose as a surrogate daughter; the 2005 episode "Father's Day" in which the character is introduced establishes the background of Pete.

Flashback sequences are shown in which Pete's widow, Jackie tells Rose as a young child that he was a good husband and father and that he died alone. In the present day, Rose asks the Ninth Doctor to take her back in time in his time machine so that she can witness his death and comfort him; when faced with the reality of what she is seeing, Rose impulsively rushes forward and saves Pete from being run down, changing history and causing a temporal paradox. Resultingly, the destructive Reapers arrive and begin to "sterilise" the wound in time by eradicating everything in sight. Pete realises that Rose is his daughter and that her tales of her childhood with him were all lies to cover up the fact he was meant to be dead. Pete chooses to sacrifice himself by deliberately stepping in front of the car that should have killed him thus saving those taken by the Reapers and restoring history; this time, Rose holds his hand whilst he dies. Rose invokes her experience of meeting Pete and being there as he died in order to secure Jackie's help in the first series finalé "The Parting of the Ways".

A parallel Earth version of Pete appears in three episodes of the second series. In this universe, Pete is still alive, has become rich through his entrepreneurial efforts. However, despite a public front he and Jackie were separated and had not had children. Attending Jackie's 40th birthday party, Pete witnesses the first assault of the Cybermen. Though suspected to be one of John Lumic's minions, Pete reveals that he is in fact a mole secretly broadcasting information about Lumic's dealings on an encrypted channel. Along with Rose, who had decided to meet her parallel parents after arriving in the parallel universe, he agrees to infiltrate the Cyber-factory and is horrified to discover that Jackie had been converted into a Cyberman. In the episode's epilogue, Rose tries to tell Pete about her origins, but he is unable to handle this information and slips away to deal with the aftermath of the Cyberman invasion. In the series finale, "Doomsday", Pete along with Mickey Smith and Jake Simmonds is able to travel to the Doctor's universe to help defeat the Cybermen.

During the encounter, he is introduced to Rose's universe's Jackie and realises he still has feelings for her. When the walls between universes are sealed Pete and Jackie are sent to the parallel universe for safety. In the episode's epilogue, it is stated; the character of "Pete" does not return with his on screen family in the series four finalé but it is mentioned that he had been looking after his and Jackie's son, Tony. Simon Pegg, who played the Editor in "The Long Game", was reported as being in line to play Pete, before having to pass on the episode. Paul Cornell, who wrote the episode "Father's Day" states that he based the character of Pete on his own father, who attempted many different jobs one of which was, like Pete, selling health drinks. In the episode after assuming responsibility for the destructive time paradox, Pete assures Rose "I'm your dad, it's my job for it to be my fault"; this line was taken from something. An item of discussion between the production staff was over who would rescue Rose from falling into the void in second series finale "Doomsday".

The role was given to Pete, to emphasise that he had accepted Rose as a surrogate daughter. SFX magazine felt Shaun Dingwall to be the "lynchpin" of the episode "Father's Day" and opined that "he gives one of the series' best performances." The magazine felt that "it was inevitable that Rose's sanitised image of her dad would turn out to be far from the truth" but commended the production team "for not making him as much of a shit as they could have done." Despite his flaws, SFX concluded that Pete was "still immensely likeable." Mark Braxton of the Radio Times praised Dingwall's "unbelievably good" performance and stated that this helped distance Pete from being "a cut-price Del Boy". In his book Who is the Doctor, Graeme Burk reacted negatively toward Pete in "Rise of the Cybermen"/"The Age of Steel", feeling that the wr