Smile is an American Christian free-to-air television network owned and operated by the Trinity Broadcasting Network. The network is aimed at children between the ages of 2 and 12 years, offers a mix of children's religious and family-oriented programming; the network was founded as the television arm of TBN's Smile of a Child ministry, created by TBN co-founder Jan Crouch. Smile is available on pay television providers as well as on some streaming services that offer TBN's six U. S. networks. The network is available in the U. S. on DirecTV and Dish Network and throughout North and Central America as a free-to-air channel on Galaxy 14 C-band, Galaxy 19 Ku band and available with Glorystar Christian Satellite. Internationally, Smile is on the Hot Bird satellite service in Europe, ABS1 satellite to Asia and the Middle East, Agila 2 both C-band and Ku band signal in some areas of Asia and the Philippines; the network is livestreamed on both its own and TBN's website. In addition, a parent network TBN runs a "Smile" block on Saturday mornings.
On October 26, 2015, Kids & Teens TV aired a block of Smile programming until sometime in 2017. Founded as Smile of a Child TV by TBN co-founder Jan Crouch, the network was developed and named after Smile of a Child, a children's outreach ministry founded by Jan and Paul Crouch in the 1990s to provide services and donations to needy children worldwide; the network launched on December 24, 2005 at 3:00 a.m. Eastern Time, with the holiday-themed special Martin the Cobbler as its inaugural program. Smile was available as a 24-hour-a-day service on all platforms, debuted on digital subchannels of TBN owned-and-operated station in 13 markets. Over the subsequent years, Smile expanded its national coverage to all of TBN's owned-and-operated and affiliated stations in nearly 40 markets, carried on the fifth subchannel; the network's original butterfly logo is a visual representation of the initials of Jan Crouch's maiden name, JWB. On June 1, 2015, Smile was combined into a single subchannel with sister network JUCE TV, under a timeshare arrangement.
As a result of the realignment, for over-the-air viewers, Smile was reduced to a nine-hour daily programming schedule on the third subchannel occupied by JUCE on the 38 stations owned directly by TBN and through its subsidiary Community Educational Television. The following week, the time share was modified so that Smile would air from 7 a.m. to 7 p.m. with JUCE airing the remainder of the day, giving each network a daily 12-hour window on its O&O stations' DT3 subchannels. The change – due to technical limitations with its stations' existing digital compression equipment – is a byproduct of the launch of TBN Salsa, a digital subchannel network targeting English-speaking Hispanic viewers which launched on that date. While it now has a reduced presence on broadcast television, Smile continues to maintain a 24-hour-day schedule, with all programming not shown over-the-air remaining available via live stream on TBN's website, mobile and digital media players as well as on select cable and satellite providers that carry the TBN multicast networks, as was the case before the over-the-air consolidation of the two networks.
On January 1, 2017, the network underwent a major rebranding, shortening its name to Smile. On January 1, 2020, TBN resumed offering a 24-hour feed of Smile on its multicast tier over the DT3 subchannel of its owned-and-operated stations. Although a Christian-based network, Smile has acquired some secular programming from outside producers and the public domain, such as Lassie and The Big Garage, as well as acquiring the U. S. rights to Canadian series such as Mickey's Farm. It airs family-oriented movies with religious/inspirational themes on Friday afternoons and Saturday evenings. Programs in bold indicate that the program airs Saturdays on TBN as part of their "Smile" children's block. All programs listed are designated as E/I by Smile fulfilling the Federal Communications Commission's educational programming requirements. Curiosity Quest The Dooley and Pals Show The Reppies The Swamp Critters of Lost Lagoon Raggs The Zula Patrol VeggieTales Zoo Clues Auto-B-Good The Huggabug Club Gerbert My Bedbugs 3-2-1 Penguins!
Jessie Catherine Kinsley was an American folk artist known for braidings - an artistic medium of her own devising which grew out of her interest in colonial-style braided rugs. Kinsley began making braidings at the age of 50, created many pieces for friends and family. One author described her as having "typified the domestic artist”. Kinsley’s works attracted attention in the Arts and Crafts world. In 1917-18 alone, her creations were displayed prominently in the annual exhibit of the National Society of Craftsmen, the Craftsmen’s Exhibition of the Carnegie Institute, the Applied Arts Exhibition of the Art Institute of Chicago. Kinsley was a prolific diarist and correspondent. A selection of those writings and a memoir were collected into a book titled A Lasting Spring: Jessie Catherine Kinsley, Daughter of the Oneida Community, edited by her granddaughter Jane Kinsley Rich and historian Nelson Blake. A Lasting Spring details Kinsley's experiences growing up in a utopian community and her subsequent life.
Jessie Catherine Baker was born in the Oneida Community, a utopian community of religious perfectionists led by John Humphrey Noyes. In keeping with the practices of the Community, she was raised in communal style. Women in the Community held a wide variety of jobs, but they were responsible for the mending and sewing, which would have helped Jessie develop her skills from an early age; the utopian community voted to disband in 1880 when Jessie was 22. The Community became a joint-stock corporation evolving into Oneida Limited. Jessie married former Community member Myron Kinsley in February 1880. Myron was assigned by the newly formed company to supervise the construction and operation of the Oneida Silverplate and Canning factories in Niagara Falls, N. Y. Together the couple had three children, Jessie helped raise Myron’s daughter from a Community relationship. After living in Niagara Falls and Chicago, the Kinsleys returned to New York. At age 50, Jessie Catherine Kinsley began studying painting with Kenneth Hayes Miller, a leading proponent of urban genre painting.
Kinsley was inspired to create braidings. She wrote:"So I found the fascination of this medium to my mind and fingers, began making pictures in a wholly original way from my own designs...and unlike my painted pictures, braided pictures grew into satisfactory proportions and some large tapestries came with the years." Her work grew in complexity. As Beverley Sanders noted in an article about Kinsley, she went from "chair mats to large wall hangings that resemble traditional tapestries in their subtlety of color, complexity of design and sensuous texture." Kinsley created braidings until just before her death in 1938. Kinsley's braidings are "elaborate, exquisitely colored tapestries...that evoke a fairy-tale world" in the words of one craft historian. Kinsley found inspiration for her braidings in poetry, many of her pieces have quotations from poems. A series of landscapes, Woodlands and To a Green Thought include versus from The Garden by Andrew Marvell, while her piece Shepherd Boy was inspired by William Blake's poem The Lamb.
Kinsley once stated that she approached her designs as a painter would, by first sketching out the design and "using the braids just as a painter uses his brush--making braids take on movement-direction-perspective." She stripped cloth into bands and made her braids by attaching three bands to the back of a chair and braiding them together. Instead of using wool or cotton scraps, Kinsley used silks for their more vibrant colors, she assembled the braids and basted them onto the pattern she had created, bending them to cover every part of the pattern before sewing them together. By the 1920s, Kinsley was creating large pieces, her first large-scale piece, titled Things Not of Man's Devising, measured 7 feet by 7 feet. The large pieces were divided into sections, like a triptych, to make the work possible. Much of Kinsley’s work is housed at the Oneida Community Mansion House, a museum, once home to the Oneida Community; the museum has a permanent display of her work in an exhibit titled “The Braidings of Jessie Catherine Kinsley.”Kinsley’s braidings have been featured in a 2004 exhibit “Braidings and Benches: The Oneida Community and the Arts and Crafts Movement” at Colgate University and at an exhibit titled “The Braided Wall Hangings of the Oneida Community” at Fountain Elms, Munson-Williams-Proctor Arts Institute in 1978.
Kinsley's braiding The Picnic is in the collection at The Ruth and Elmer Wellin Museum of Art at Hamilton College. Kinsley’s papers, including letters and journals, are archived at the Oneida Community Mansion House. Other Kinsley papers are located in Syracuse University’s Oneida Community Collection in the Special Collections at Bird Library
Maylard incision is a surgical incision in which a transverse cut is made on rectus abdominis muscle to allow wider access to the pelvic cavity. It is called Mackenrodt incision. For gynaecological surgery, the skin incision is made 5-8 cm above the pubic symphysis; the site of skin incision is parallel to traditional Pfannenstiel incision. The rectus fascia and muscle are cut transversely and the incision is extended as far laterally as needed; the anterior rectus sheath is not separated from the muscle to facilitate easy closure at the end of the surgical procedure. The inferior epigastric vessels which span across more than half of the rectus muscle's width are identified and ligated. In patients with peripheral arterial disease, ligation of inferior epigastric vessels may lead to distal ischemia; the peritoneum is cut laterally. After the surgery, peritoneum is closed with an absorbable suture; the ties placed on the inferior epigastric vessels are inspected to ensure hemostasis. The rectus fascia is closed with monofilament absorbable suture.
The rectus muscle stumps do not require suturing. The skin and subcutaneous tissue are closed with subcuticular suture; the complications associated with Maylard incision are delayed bleeding from cut edges of rectus muscles and from deep epigastric vessels. In some patients, the incision may not offer sufficient exposure of upper abdomen. Maylard incision is to cause more pain than Pfannenstiel incision during the first post-operative week. However, Maylard incision has reduced rate of incisional hernia and more cosmetic appeal
The Australia Group is a multilateral export control regime and an informal group of countries established in 1985 to help member countries to identify those exports which need to be controlled so as not to contribute to the spread of chemical and biological weapons. The group consisting of 15 members, held its first meeting in Brussels, Belgium, in September 1989. With the incorporation of India on January 19, 2018, it now has 43 members, including Australia, the European Commission, all 28 member states of the European Union, the United States, India and Argentina; the name comes from Australia's initiative to create the group. Australia manages the secretariat; the initial members of the group had different assessments of which chemical precursors should be subject to export control. Adherents had no such controls. Today, members of the group maintain export controls on a uniform list of 54 compounds, including several that are not prohibited for export under the Chemical Weapons Convention, but can be used in the manufacture of chemical weapons.
In 2002, the group took two important steps to strengthen export control. The first was the "no-undercut" requirement, which stated that any member of the group considering making an export to another state, denied an export by any other member of the group must first consult with that member state before approving the export; the second was the "catch-all" provision, which requires member states to halt all exports that could be used by importers in chemical or biological weapons programs, regardless of whether the export is on the group's control lists. Delegations representing the members meet every year in France. European Commission Cyprus South Korea The Australia Group homepage
Korean comedy is the art of comedy, either enacted on stage, or within other media forms in the Korean language. It is not limited by country, so long. In South Korea, most comedy is expressed through television programs, such as Gag Concert, or in the movies, it is still physically driven. Most newspapers have a political cartoonist who will heighten attention to current events with comic illustrations. In North Korea, Pyongyang Broadcasting Corporation in late May 2005, has revived comic folk tales for political commentary, in attempting to satirize American society, political jockeying for power by using the a form known as manp'il, or "comic notes" in a short acted dialogue using folkish humour and animal metaphors. Haha Jang Dong-min Jang Do-yeon Jeong Hyeong-don Jeong Jun-ha Ji Suk-jin Jo Se-ho Kang Ho-dong Lee Guk-joo Kim Gura Kim Joon-ho Kim Jong-kook Kim Jong-min Kim Jun-hyun Kim Young-chul Lee Kwang-soo Lee Kyung-gyu Lee Su-geun Lee Hyuk-jae Lee Hwi-jae Park Myeong-su Park Na-rae Park Sang-myun Park Soo-hong Park Jun-gyu Noh Hong-chul Shin Bong-sun Shin Dong-yup Shin Jung-hwan Yang Sang-guk Yang Se-chan Yang Se-hyung Yoo Jae-suk Yoo Sang-moo Kim Byung-man Kim Shin-young List of Korea-related topics Korean art Korean culture Contemporary culture of South Korea Infinite Challenge Running Man The Foul King, a wrestling comedy PBS airs successful radio satire in manp'il, or "comic notes" form
The Sylvanus Selleck Gristmill known as the Edwin Knapp Gristmill, is a historic gristmill at 124 Old Mill Road in Greenwich, Connecticut. Built about 1796, it is one of the oldest mill buildings in the state, a rare surviving example of brace-frame construction, it was listed on the National Register of Historic Places in 1990. The Sylvanus Selleck Gristmill is located in a rural setting of northern Greenwich, on the south side of Old Mill Road, it is set on a lot that slopes down to Converse Pond Brook. A now-breached stone dam spans the brook upstream of the mill building, a modestly sized wood frame structure covered by a gabled roof and wooden clapboards. A shed-roof ell extends on the downhill side of the building, set on a fieldstone foundation, exposed on the downhill side; the building was framed with beams of oak and chestnut, with bracing added to support the heavy milling equipment. A stone tailrace extends west from the building, giving way to an unlined former channel which leads back to the streambed.
The mill was built by Sylvanus Selleck in about 1796, is one of only two known 18th-century mill buildings in the state. Selleck was a farmer who sought to supplement his farm income by providing milling services to other nearby farmers. An addition in about 1850 is believed to be by Edwin Knapp; the mill is a rare surviving example of braced-frame construction, once common. The mill was operated until Edwin Knapp's death in 1895. National Register of Historic Places listings in Greenwich, Connecticut