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A sorus is a cluster of sporangia in ferns and fungi. This New Latin word is from Ancient Greek σωρός. In lichens and other fungi, the sorus is surrounded by an external layer. In some red algae, it may take the form of depression into the thallus. In ferns, the sori form a brownish mass on the edge or underside of a fertile frond. In some species, they are protected during development by a scale or film of tissue called the indusium, which forms an umbrella-like cover. Sori occur on the sporangia within producing haploid meiospores; as the sporangia mature, the indusium shrivels. The sporangia burst and release the spores; the shape and location of the sori are valuable clues in the identification of fern taxa. Sori may be linear, they may be randomly. Their location may set away from the margin on the frond lamina; the presence or absence of indusium is used to identify fern taxa. Sorocarp DiversityOfLife – Fern identification tool. Encyclopædia Britannica: sorus 2007. Encyclopædia Britannica Online.

Retrieved 20 November 2007

Walsh Flats/Langworth Building

The Walsh Flats/Langworth Building was located in downtown Davenport, United States. It was listed on the National Register of Historic Places in 1984; the Langworth Building was a rare combination of automobile showroom on the main floor and apartments located above. The building reflects two new trends in building types that appeared in Davenport at the turn of the 20th-century; the first trend was the construction of multiple family apartment buildings with Neoclassical features and composition. The second trend is the appearance of showrooms for auto dealers and garages in response to the arrival of the automobile. Walsh Flats is noteworthy as the residence of Dr. C. L. Barewald. Barewald was a Socialist who lost by only a few votes. However, two other Socialists, George Peck and Walter Bracher, were elected aldermen from two predominately German wards. In 1920 Barewald was elected mayor; the two Socialist aldermen were returned to office. His election may have come about because German voters were dissatisfied with the Democratic party's war stance and the Republican party's prohibition stance.

During his term in office several public works projects were begun. They include the extension of Kirkwood sewer and the construction of a municipal natorium on the riverfront, his term in office, was marked by office and fiscal upheaval. His policies put hundreds of unemployed people back to work, but his spending to accomplish this was not sanctioned by a fiscally conservative electorate. Barewald and the two aldermen were voted out of office in 1922; the building itself exemplifies Barewald's austere lifestyle and symbolic of the Socialist's populist political stance. The automobile dealership moved to the north side of the city, but an auto repair shop remained in the back. Walsh Flats-Langworth Building was located between the Scott County Courthouse and Davenport City Hall. Several years after it was torn down the Davenport Police Department headquarters were built on the property; the Neoclassical style building was designed by Davenport architect Gustav Hanssen and completed in 1910. It was four stories tall and the exterior was composed of brick and stone that were placed over a metal frame.

It featured a 20-bay main facade. There were four stairhalls that were indicated by two windows and a decorative panel that were grouped vertically beneath a round keystone arch; the stairhalls indicate the four-part arrangement of both the salesroom area and the apartments on the upper floor. Plate glass filled the shopfront fenestration

Cap'n Jazz

Cap'n Jazz was an American emo band formed in Chicago in 1989 by brothers Tim and Mike Kinsella, who were joined by Sam Zurick and Victor Villarreal. After a number of name changes and the addition of guitarist Davey von Bohlen, the band began to earn a cult following in the Chicago area and the Midwest. Cap'n Jazz recorded several singles for independent labels in the early 90s as well as contributing to several compilations. In 1995, the band released its only full-length album, Inspiration Point, Fork Balloon Sports, Cards in the Spokes, Automatic Biographies, Kung Fu, Banana Peels We've Slipped On and Egg Shells We've Tippy Toed Over on the Man with Gun label; the album is sometimes referred to as Shmap'n Shmazz, printed on top of the CD. The band broke up in July 1995, shortly after Shmap'n Shmazz's release, on the night of a show at Little Rock's Das Yutes a Go-Go. In 1998, Jade Tree assembled a double-disc Cap'n Jazz retrospective titled Analphabetapolothology which compiles the band's complete recorded works: Shmap'n Shmazz, early singles, material from split releases, compilation tracks, unreleased demos and outtakes and several tracks from their farewell performance in Chicago.

The band's lineup was Tim Kinsella. Cap'n Jazz reunited at The Empty Bottle on Friday, January 22, 2010, as part of Joan of Arc's Don't Mind Control Variety Show. After playing that short, impromptu set in Chicago, the band played its first official reunited show at the annual Forecastle Festival in Louisville on July 10, 2010, a hometown reunion show a week at the Bottom Lounge, supporting the vinyl re-release of Analphabetapolothology on Jade Tree Records, where they gained success. Due to the show selling out in about 48 hours, a second show was added the next night, it was announced that they would be playing reunion shows across the United States during the summer and fall of 2010. Most Cap'n Jazz was included in the lineup for the 2017 FYF Fest in Los Angeles' Exposition Park; this marks the band's first show since 2010. The FYF appearance was followed by shows in San Francisco, New York and London, including an appearance at Riot Fest 2017 in Chicago. Cap'n Jazz have influenced a number of bands.

Former members of the band continue to play music, most notably in Make Believe, The Promise Ring, American Football, Owls and Vodka, Joan of Arc and Owen. Burritos, Inspiration Point, Fork Balloon Sports, Cards in the Spokes, Automatic Biographies, Kung Fu, Banana Peels We've Slipped On and Egg Shells We've Tippy Toed Over – LP/CD. Sometimes if you stand further away from something, it does not seem as big. Sometimes you can stand so close to something you can not tell. – 7”. Boys 16 to 18 Years... Age of Action –. Analphabetapolothology – 2xCD, 2xLP. Achtung Chicago! Zwei! – compilation LP. Nothing Dies with Blue Skies – 7” split w/ Friction. How the Midwest Was Won – compilation 2x7”. Picking More Daisies – compilation 2x7”. It’s a Punk Thing, You Wouldn't Understand – compilation LP. Ghost Dance – compilation 2x7”. A Very Punk Christmas – compilation 2x7”. Punk TV – compilation LP. We’ve Lost Beauty – compilation LP. Ooh Do I Love You – compilation 2xCD. Jade Tree Records’ band page

Crime Does Not Pay (comics)

Crime Does Not Pay is the title of an American comic book series published between 1942 and 1955 by Lev Gleason Publications. Edited and chiefly written by Charles Biro, the title launched the crime comics genre and was the first "true crime" comic book series. At the height of its popularity, Crime Does Not Pay would claim a readership of six million on its covers; the series' sensationalized recountings of the deeds of gangsters such as Baby Face Nelson and Machine Gun Kelly were illustrated by artists Bob Wood, George Tuska, others. Stories were introduced and commented upon by "Mr. Crime", a ghoulish figure in a top hat, the precursor of "horror hosts" such as EC Comics' Crypt Keeper. According to Gerard Jones, Crime Does Not Pay was "the first nonhumor comic to rival the superheroes in sales, the first to open the comic book market to large numbers of late adolescent and young males." When Lev Gleason hired Bob Wood and Charles Biro to edit Daredevil and Silver Streak comics in 1941, he rewarded the two cartoonists with a profit-sharing program and creator credits on the covers of the comics.

In addition, Gleason urged the pair to create new titles for his company under the understanding that they would share in the profits. Biro and Wood discussed the matter and came up with a concept that would become Crime Does Not Pay, a comic book series chronicling the lives of murderers and gangsters based in part on real world people. Biro is reputed to have been inspired by a meeting with a kidnapper and pimp one night in a bar, although publisher Arthur Bernhard has stated that the entire concept was created by Gleason; the title was based on MGM film series. Heralded by ads in other Gleason tiles, Crime Does Not Pay took over the numbering of Silver Streak comics with issue 22 cover dated July 1942; the first issue featured articles and comic stories about real criminals and was written by Biro and Wood. Biro designed and drew the first cover and wrote stories about mobsters Louis Buchalter and "Diamond Joe" Esposito, gunfighter Wild Bill Hickok. Initial issues sold 200,000 copies each, a healthy number for the time, but by the end of World War II the title was selling 800,000 per issue.

When sales reached one million in 1948, the editors added the claim "More Than 5,000,000 Readers Monthly" to the cover, a reference to the pass-along effect of comics circulation. Written by Charles Biro, the stories in Crime Does Not Pay became known for their lurid detail, confessional tone, exceptional, violent artwork; the stories dealt frankly with adult relationships, drug use and sex, in addition to the depictions of physical violence and murder that were standard for every issue. Recurring features included "Officer Common Sense", beginning with issue 41, "Chip Gardner", issue 22, "Who Dunnit", puzzle mystery series with art by Fred Guardineer, beginning with issue 39. Issue 24 introduced the Biro-designed figure of Mr. Crime, the cartoon mascot of the series, who narrated and commented on the action depicted in the comics, addressing his readers in a joking, conspiratorial tone. Mr. Crime dressed in white sheet, his bizarre visage resembled a gremlin, with pointed ears and teeth. In many ways he was similar to the character of Mr. Coffee Nerves from a series of print ads for Postum designed by cartoonists Milt Caniff and Noel Sickles.

The character of Mr. Crime pre-dated the Horror Hosts of EC Comics and other publishers, his ghostly presence is similar to that effected by Rod Serling on The Twilight Zone television series and of Raymond Edward Johnson on the Inner Sanctum radio program. Mr. Crime's attitude toward the tales he narrated was ambivalent at best. In some panels he seemed to approve of and encourage the crimes of a story's miscreants, while in others he was contemptuous of criminals failing, as the story's protagonists met their end in the denouement, to remind readers that, as the title indicated, "Crime Does Not Pay"; the series remained alone in its choice of subject matter for most of the 1940s but inspired a host of imitators, including Jack Kirby and Joe Simon's Headline Comics and Real Clue for Hillman Periodicals, Marvel's Official True Crime Cases, DC's Gang Busters, Fox's Crimes by Women. In response and Biro ran attack ads in their own comics and launched a companion title to Crime Does Not Pay, called Crime and Punishment, in 1948.

However, 1948 saw more publishers enter the genre, with the result that, by one estimate "thirty different crime comics were on the stands by the end of 1948 and by 1949 one in seven comics was a crime comics." Although continuously popular in terms of sales, Crime Does Not Pay and other crime comics became the targets of concerned parents and other groups who were disturbed by the content of the comics and saw the stories as one of the root causes of a variety of societal ills, including illiteracy and juvenile delinquency. In the wake of books such as Dr. Fredric Wertham's Seduction of the Innocent and the investigations of the Senate Subcommittee on Juvenile Delinquency, many publishers, including Lev Gleason, censored their own comics and adopted a strict code administered by the Comics Code Authority; the sanitized Crime Does Not Pay that resulted lasted only a few issues before being canceled with issue #147 in 1955. The success of CDNP inspired Gleason and company to release Crime and Punishment which ran from 1948 until 1954.

The series ran for 74 issues and was overseen by the same creative team from CDNP, Charles Biro and Bob Wood. The series differed from CDNP in that it featured

Army of India Medal

The Army of India Medal was a campaign medal approved in 1851 for issue to officers and men of the British Army and the Army of the Honourable East India Company. A retrospective award following the precedent set by the Naval General Service Medal and the Military General Service Medal, it served to reward service in various actions from 1803 to 1826; the Army of India Medal was approved on 21 March 1851 as a retrospective award by the Honourable East India Company, who bore the cost of the medal, to survivors of various actions during the period 1803–1826. This period encompassed four wars: the Second Mahratta War, the Gurkha War, the Pindaree or Third Mahratta War, the First Burmese War, together with the siege of Bhurtpoor; each battle or action covered by the medal was represented by a clasp on the ribbon and twenty-one were sanctioned. While the maximum awarded to one man was seven, most medals were awarded with a single clasp; the medal was only awarded to survivors and, as such, there are fewer medals issued when compared with the number of men who served during this period.

This was due to the extreme lapse of time between the wars commemorated and the issue of the medal—forty-eight years had passed between the first battle commemorated —Allighur in 1803—and the date of issue, 1851. A total of 4,500 medals were awarded. While the medal was awarded to both British and Indian soldiers on the same basis, the clasp Ava was only awarded to Europeans, since the Honourable East India Company had awarded a medal for this Burma campaign to all native Indian soldiers present; the medal is circular, made of silver, 1.4 inches in diameter. It was designed by William Wyon; the obverse bears an effigy of a young Queen Victoria wearing a diadem. On either side of the effigy is the inscription VICTORIA and REGINA; the reverse bears and an allegorical representation of Victory holding a laurel branch in her right hand and a wreath in her left. In the foreground is a lotus flower, with a palm tree and trophy of arms in the background. Above is the inscription TO THE ARMY OF INDIA, below in the exergue 1799-1826..

British recipients had their name and unit impressed on the rim of the medal in block Roman capitals. Medals to Indians – which were named locally – had a number of different impressed and engraved styles; the pale blue ribbon is 1.25 inches wide. The following clasps were issued, they reading downwards from the top of the medal: John. Medals Yearbook 2015, Token Publishing Limited. ISBN 1-870192-66-4 Joslin, Edward. British Battles and Medals, Revised edition, Spink & Sons Ltd. London. ISBN 0-907605-25-7 Mayo, John Horsley. Medals and Decorations of the British Army and Navy, Volume 2. A. Constable, London. Army of India Medal Roll Naval recipients of the Burmah Medal 1824-1826 available via Ancestry London Gazette announcement of Army of India Medal, 28 February 1851

Bound on the Wheel

Bound on the Wheel is a 1915 American short silent drama film directed by Joe De Grasse and featuring Lon Chaney. The film is now presumed lost. Bound on the Wheel was a three act feature; the film is set in the east-side tenements of New York City. Elsie Jane Wilson plays the "embittered" Cora Getz and Lon Chaney plays the "drink-numbed'good-for-nothing'"; the Modesto Evening News described the film as a "close and accurate study of life in the poor district of a large city, like an Ibsen drama it looks squarely at life, omitting none of the sordid details. Elsie Jane Wilson as Cora Gertz Lon Chaney as Tom Coulahan Lydia Yeamans Titus as Mrs. Coulahan Arthur Shirley as Hans George Berrell Lule Warrenton as Mrs. Gertz Thomas Webster Bound on the Wheel on IMDb