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Spalding County, Georgia

Spalding County is a county located in the west central portion of the U. S. state of Georgia. As of the 2010 census, the population was 64,073; the county seat is Griffin. The county was created December 20, 1851 and named for former United States representative and senator Thomas Spalding. Spalding County is included in GA Metropolitan Statistical Area. According to the U. S. Census Bureau, the county has a total area of 200 square miles, of which 196 square miles is land and 3.1 square miles is water. The western portion of Spalding County, west of a line from Sunny Side through Griffin to Orchard Hill, is located in the Upper Flint River sub-basin of the ACF River Basin; the eastern part of the county is located in the Upper Ocmulgee River sub-basin of the Altamaha River basin. As of the census of 2000, there were 58,417 people, 21,519 households, 15,773 families living in the county; the population density was 295 people per square mile. There were 23,001 housing units at an average density of 116 per square mile.

The racial makeup of the county was 66.50% White, 31.05% Black or African American, 0.23% Native American, 0.67% Asian, 0.02% Pacific Islander, 0.65% from other races, 0.88% from two or more races. 1.62% of the population were Hispanic or Latino of any race. There were 21,519 households out of which 34.00% had children under the age of 18 living with them, 50.30% were married couples living together, 18.20% had a female householder with no husband present, 26.70% were non-families. 22.30% of all households were made up of individuals and 8.50% had someone living alone, 65 years of age or older. The average household size was 2.67 and the average family size was 3.12. In the county, the population was spread out with 27.30% under the age of 18, 9.20% from 18 to 24, 29.40% from 25 to 44, 22.50% from 45 to 64, 11.70% who were 65 years of age or older. The median age was 35 years. For every 100 females, there were 93.20 males. For every 100 females age 18 and over, there were 88.90 males. The median income for a household in the county was $36,221, the median income for a family was $41,631.

Males had a median income of $32,347 versus $22,114 for females. The per capita income for the county was $16,791. About 12.40% of families and 15.50% of the population were below the poverty line, including 21.30% of those under age 18 and 11.30% of those age 65 or over. As of the 2010 United States Census, there were 64,073 people, 23,565 households, 16,869 families living in the county; the population density was 326.1 inhabitants per square mile. There were 26,777 housing units at an average density of 136.3 per square mile. The racial makeup of the county was 62.7% white, 32.8% black or African American, 0.9% Asian, 0.3% American Indian, 0.1% Pacific islander, 1.6% from other races, 1.6% from two or more races. Those of Hispanic or Latino origin made up 3.8% of the population. In terms of ancestry, 23.3% were American, 7.6% were Irish, 6.9% were English. Of the 23,565 households, 36.2% had children under the age of 18 living with them, 46.3% were married couples living together, 19.4% had a female householder with no husband present, 28.4% were non-families, 23.5% of all households were made up of individuals.

The average household size was 2.67 and the average family size was 3.12. The median age was 37.2 years. The median income for a household in the county was $41,100 and the median income for a family was $49,640. Males had a median income of $37,976 versus $30,684 for females; the per capita income for the county was $19,607. About 17.2% of families and 21.2% of the population were below the poverty line, including 30.4% of those under age 18 and 14.0% of those age 65 or over. The Griffin-Spalding County School District has 11 elementary schools, 4 middle schools, 2 high schools, 4 complementary programs. Griffin Sunny Side Orchard Hill East Griffin Experiment National Register of Historic Places listings in Spalding County, Georgia County website Spalding County Genealogy Doc Holliday Biography and Photos

Robin Pingeton

Robin Renee Pingeton is the head coach of the University of Missouri's women's basketball team. She was hired in April 2010 to replace former head coach Cindy Stein. Pingeton graduated in 1990 from Saint Ambrose University, she remains the school's all-time leading scorer with 2,502 points. She earned All-America honors in softball and basketball. Pingeton played three seasons of professional basketball in the Women's Basketball Association. Before coming to Missouri, Pingeton was the head women's basketball coach at Illinois State University, she was the head coach at her alma mater, Saint Ambrose University. Pingeton and her husband, have two children, a son born in 2006 and a son born in 2011

2007–08 Atlantic Coast Conference men's basketball season

The 2007–08 Atlantic Coast Conference men's basketball season was the 55th season for the league. The North Carolina Tar Heels won both the conference titles; the ACC sent four teams to the NCAA tournament: North Carolina, Duke and Miami. Throughout the conference season, the ACC offices name a rookie of the week. North Carolina's Tyler Hansbrough broke the ACC single-season record for player of the week honors during the 2007–08 season with eight awards; the record had been seven, held by J. J. Redick and Antawn Jamison; the MVP of the ACC Tournament is the automatic winner of the final ACC player of the week of each season. ACC Conference awards were handed out at the conclusion of the regular season. Tyler Hansbrough was the unanimous choice for ACC player of the year, while Virginia Tech's Seth Greenberg won conference Coach of the Year honors for guiding the Hokies to a fourth-place finish after being picked tenth in the preseason. Duke swept the remaining individual honors as Kyle Singler and DeMarcus Nelson won Rookie of the Year and Defensive Player of the Year respectively.

Tyler Hansbrough, North Carolina Kyle Singler, Duke Seth Greenberg, Virginia Tech DeMarcus Nelson, Duke First Team Tyler Hansbrough, Jr. North Carolina Tyrese Rice, Jr. Boston College Sean Singletary, Sr. Virginia DeMarcus Nelson, Sr. Duke Jack McClinton, Jr. MiamiSecond Team Greivis Vásquez, So. Maryland James Gist, Sr. Maryland Wayne Ellington, So. North Carolina A. D. Vassallo, Jr. Virginia Tech K. C. Rivers, Jr. ClemsonThird Team Kyle Singler, Fr. Duke Cliff Hammonds, Sr. Clemson Toney Douglas, Jr. Florida State James Johnson, Fr. Wake Forest Greg Paulus, Jr. DukeHonorable Mention: Ty Lawson, So. UNC. NCSU. Florida State Tyrelle Blair, Sr. Boston College Marcus Ginyard, Jr. North Carolina James Gist, Sr. MarylandHonorable Mention: Cliff Hammonds, Sr. Clemson. VT.

Khairtabad Ganesh

Khairatabad Ganesh is one of the tallest Lord Ganesh Idol installed during Ganesh Chaturthi at Khairatabad, India. Devotees participate in the 11-day festival and thousands of people visit Khairatabad Ganesh Utsav Mela from other parts of the state, from other states of India. On the 11th day the idol is immersed in Hussain Sagar lake. In 2013, a 59 feet Ganesh idol was installed to mark the completion of 59 years and a 4200 kg laddu was kept in the palm, made in a village named Tapeswaram located in East Godavari district of Andhra Pradesh; the Khairatabad Ganesh laddu in 2015 was a massive 6000 kg in weight. This laddu as usual was prepared at Tapeswaram, by vendor Mr. Malli Babu, in the business for the past few years. Starting in 2018; the Ganesh Utsava Committee agreed to switch from plaster of Paris to an eco-friendly clay idol. The avatar of 2019 Khairtabad. Idol sculptor is Rajendran. Utsava committee chairman - Sudarshan; the face of the idol looked like the Sun, with 12 heads, 24 hands, adorned with 12 serpents and riding a chariot with seven horses.

On the right side idols of Sri Maha Vishnu and Ekadasha Devi were arranged in a separate small mantap. On the left side, idols of Goddess Durga along with idols of Vishnu and Brahma are installed

Polyvinyl siloxane

Polyvinyl siloxane called poly-vinyl siloxane, vinyl polysiloxane, or vinylpolysiloxane, is an addition-reaction silicone elastomer. It is a viscous liquid that cures into a rubber-like solid, taking the shape of whatever surface it was lying against while curing; as with two-part epoxy, its package keeps its two component liquids in separate tubes until the moment they are mixed and applied, because once mixed, they cure rapidly. Polyvinyl siloxane is used in dentistry as an impression material, it is used in other contexts where an impression similar to a dental impression is needed, such as in audiology or in industrial applications. Polyvinyl siloxane was commercially introduced in the 1970s. To create the material, the user mixes a colored putty with a white putty, the chemical reaction begins. PVS with a wide variety of working and setting times is available commercially. Final set is noted when the product rebounds upon touching with a sharp instrument; this reaction gives off hydrogen gas and it is therefore advisable to wait up to an hour before pouring the ensuing cast.

In dentistry, this material is referred to as having light or heavy body depending on specific usage. Dental impression Dentures

Horse brass

A horse brass is a brass plaque used for the decoration of horse harness gear for shire and parade horses. They became popular in England from the mid-19th century until their general decline alongside the use of the draft horse, remain a collectors item today. Phalera is the archaeological term for equivalent disks, which were popular in Iron Age Europe, including Ancient Rome. In ancient Rome, horse harnesses were sometimes embellished with horse brasses known as phalerae in bronze, cut or cast in the shape of a boss, disk, or crescent, most used in pairs on a harness. In medieval England, decorative horse brasses were in use before the 12th century, serving as talismans and status symbols, but extensive, original research by members of the National Horse Brass Society has shown that there is no connection whatsoever between these bronze amulets to the working-class harness decorations used in the mid-19th century which developed as part of a general flowering of the decorative arts following the Great Exhibition.

There are a great deal of die-hard, unfounded myths surrounding these decorations such as their usage as amulets to ward off the "evil eye". The most popular size is 3 × 3½ inches of flat brass with a hanger by which the brass is threaded onto a horse harness strap, known as a Martingale. In England many of these items of harness found their way into country public houses as the era of the heavy horse declined, are still associated today as a pub decoration. By the late 19th century heavy horses were decorated with brasses of all sizes. During this era working horse parades were popular throughout the British Isles and prize or merit awards were given, some by the Royal Society for Prevention of Cruelty to Animals. Horse brasses were highly prized by the "carters", who decorated their horse with them. Other horse brass subjects include advertising, royalty commemoration, in years, souvenir brasses for places and events, many of which are still being made and used today. Collecting horse brasses for their own sake other than as decorations for harness seems to have commenced around 1880, when women bought the newly issued, pierced-design, die-struck brasses which were used for pin-cushions.

A little these were used as fingerplates on doors which can be corroborated by accounts in the trade magazine and Harness by the veteran saddler William Albery or Horsham in Sussex. From 1890 onward, collecting the various types of brass, i.e. face-pieces and hame-plates, etc. became a popular pastime amongst the upper and middle classes. Indeed, the collecting of these humble brasses became popular amongst academics with many famous, early collections being formed by public schoolmasters and other prominent professionals, such as A. H. Tod, a Master at Charterhouse School and Dr Kirk of Pickering in Yorkshire, whose collection is still housed at the York Castle Museum in York; the writing about such items commenced c. 1890s and was dominated by much Victorian romanticism surrounding the supposed, esoteric origin and ancient, unbroken lineage of these decorations. Such myths include their origin as talismanic symbols being brought back to England by homecoming knights returning from the Crusades, or in years, by migrating Romani, once again no evidence has been offered in support of these theories.

Whatever the views of individual collectors as to when or where working-horse harness decoration first began in the British Isles, most collectors agree that cast brasses were the first to appear on the scene. Opinion is still divided as to how these, but once again, most collectors nowadays, are in agreement that the earliest decorations were simple, cast studs in a variety of shapes and sizes; the earliest types were even made locally by smiths or other skilled artisans but by the second half of the 19th century the production of such things had evolved from a local, decorative cult into a national fashion with the bulk of their production centred in and around the West Midlands. Stamped brasses on heavy horse harness appeared on the scene around 1880, with a small number occurring a decade or so earlier, it is likely that the process developed from one, established in the manufacture of carriage harness trappings and military insignia. However, production of these appears to have peaked shortly before the First World War, since the 1920s, a few types have been produced but their quality is rather poor being made from thinner gauge brass sheet.

Due to serious considerations of the sheer weight of cast harness decorations carried by working horses it is thought that the first stamped brasses were made as a lighter, alternative to cast brasses being exported throughout the British Empire. Unlike their cast cousins, stamped brasses were not made in moulds, but pressed out of rolled sheet brass 1/16 in thickness although other gauges of sheet than earlier examples. Due to the ease of their manufacture, many thousands of these stamped types were produced, but there are some that are rare; the production of both cast and stamped brasses has continued since the demise of the British working horse but their manufacture is centred on the souvenir trade, other specialist manufacturers who provide for the heavy horse world who still breed and show the various breeds. The National Horse Brass Society of England has members all over the world and provides publications for members and swap meets. National Horse Brass Society Museum of English Rural Life Horse Brass collection