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Yeardley Smith

Martha Maria Yeardley Smith is a French born American actress and artist. She is known for her long-running role as Lisa Simpson on the animated television series The Simpsons. Smith became an actress in 1982 after graduating from drama school and moved to New York City in 1984, where she appeared in the Broadway production of Tom Stoppard's The Real Thing, she made her film debut in 1985's Heaven Help Us, followed by roles in The Legend of Billie Jean and Maximum Overdrive. She took a recurring role in the television series Brothers. In 1987, Smith auditioned for the Simpsons shorts on The Tracey Ullman Show. Smith intended to audition for the role of Bart Simpson, but the casting director felt her voice was too high, she was cast as Bart's sister Lisa. In 1989, the shorts were spun off into The Simpsons. For her work on The Simpsons, Smith received a Primetime Emmy Award for Outstanding Voice-Over Performance in 1992. Alongside The Simpsons, Smith appeared in the sitcom Herman's Head as Louise, had recurring appearances as Marlene on Dharma & Greg and Penny in two episodes of Dead Like Me.

She has appeared As Good as It Gets. In 2004, Smith performed an off-Broadway one-woman show entitled More at the Union Square Theatre in New York City. Aside from The Simpsons, Smith has recorded few voice-over parts, only commercials and the film We're Back! A Dinosaur's Story. Smith starred in and served as executive producer for the independent romantic comedy Waiting For Ophelia, which had its world premiere at the Phoenix Film Festival in April 2009. Smith was married to actor Christopher Grove from 1990 to 1992 and Daniel Erickson from 2002 to 2008, she enjoys painting. During the first season of Herman's Head, Smith taught herself to paint by copying other artists, she released a children's book titled I, Lorelei in 2009 and her story "The Race" was included in the book Just Humor Me. Smith was born in Paris on July 3, 1964, her father, Joseph Smith, worked for United Press International in Paris and moved to Washington, D. C. in 1966, where he became The Washington Post's first official obituary editor.

Her mother, Martha Mayor, was a paper conservator for the Freer and Sackler Galleries at the Smithsonian Institution. Smith's parents divorced. Smith labeled her family "upper crust and reserved"; as a child, Smith was teased because of her unusual voice. Smith has stated: "I've sounded pretty much the same way since I was six. Maybe a little deeper now." She made her acting debut in a sixth-grade play. Smith became a professional actress in 1982 after graduating from drama school. After appearances in a number of school plays, she joined the local Arena Stage theater group on an apprenticeship, featuring in their production of Peter Pan, she went on to star in several other plays in Washington. She moved to New York City in 1984 and appeared in the Broadway production of Tom Stoppard's play The Real Thing alongside Jeremy Irons and Glenn Close. Smith's first film role came in Heaven Help Us, she played Putter in The Legend of Billie Jean. The film was a box office bomb and critically panned, although Smith "thought it would be the movie that launched my career.

And it was out at the box office about 10 days before it died." When filming was over, she rejoined The Real Thing before being out of work for six months. Smith worried. However, the following year, she played Connie in Stephen King's Maximum Overdrive, noting it was "truly a dreadful film, but I had a great part in it."Smith moved to Los Angeles in 1986 on the "semi-promise" of a part in a TV film. After the audition, the role was given to another actress. Smith realized ``. It's not malicious, they just don't realize how much impact they have on an impressionable actor – and all actors are impressionable." From on, she decided to "just sort of build a wall around myself", to cope with the disappointment of not getting a part. In Los Angeles, Smith appeared in theatrical productions of Living on Salvation Street, for which she was paid $14 for each performance and Girls/Men and Women, How the Other Half Loves, played the recurring role of Louella Waters on the Showtime series Brothers, she appeared in the films The Legend of Billie Jean and Ginger Ale Afternoon as "trailer-park girls".

She spoke of her regrets of appearing in the latter in her one-woman show More. Smith's longest-running role is voicing Lisa Simpson on The Simpsons, she has voiced Lisa beginning with The Simpsons shorts on The Tracey Ullman Show. Smith had been asked to audition for the role of Lisa's brother Bart, but casting director Bonita Pietila thought her voice was too high. Smith recalled "I always sounded too much like a girl, I read two lines as Bart and they said,'Thanks for coming!'" Smith was given the role of Lisa, instead. She denies rumors that she turned down the role, though admits she had never planned a career in voice-over work. Pietila stated that, having seen her in Living on Salvation Street, Smith was always her preferred choice. Smith lifts her voice up to perform the role. Lisa is the only regular character voiced by Smith, although in some earlier episodes, she provided some of Maggie's squeaks and occasional speaking parts. Smith has only voiced characters other than Lisa on rare occasions, with those characters being some derivative of Lisa, such as Lisa Bella in "Last Tap Dance in Springfield" and Lisa, Jr. in "Missionary: Impossible".

Smith spends two days a week recording the show. Until 1998, Smith was paid $30,000 per ep

Under the Roofs of Paris

Under the Roofs of Paris is a 1930 French film directed by René Clair. The film was the earliest French example of a filmed musical-comedy, although its dark tone differentiates it from other instances of the genre; this was an early example of sound film in France, along with L'Age d'Or. However, Under the Roofs of Paris was the first French production of the sound film era to achieve great international success. In a working-class district of Paris, Albert, an impecunious street singer, lives in an attic room, he meets a beautiful Romanian girl and falls in love with her. One evening Pola dares not return home and she does not feel safe, she spends the night with Albert who, reluctantly remaining the gentleman, sleeps on the floor and leaves his bed to Pola. They soon decide to get married, but fate prevents them when Émile, a thief, deposits with Albert a bag full of stolen goods, it is discovered by the police, Albert is sent to prison. Pola finds consolation with Louis. Émile is caught in his turn and admits that Albert was not his accomplice, which earns Albert his freedom.

Fred has just got back together with Pola who has fallen out with Louis, in a jealous fury at Albert's return Fred decides to provoke a knife fight with him. Louis rushes to Albert's rescue and the two comrades are re-united, but their friendship is clouded by the realisation that each of them is in love with Pola. Albert decides to give up Pola to Louis. Albert Préjean as Albert Pola Illéry as Pola Edmond T. Gréville as Louis Bill Bocket as Bill Gaston Modot as Fred Raymond Aimos as "un gars du milieu" Thomy Bourdelle as François Paul Ollivier as the drunken customer in the café Jane Pierson as the fat woman with a purse The arrival of synchronised sound in the cinema in the late 1920s provoked mixed reactions among French film-makers, some of the masters of silent film technique were pessimistic about the impact it would have. In 1927 before The Jazz Singer had been shown in Paris, René Clair wrote: "It is not without a shudder that one learns that some American manufacturers, among the most dangerous, see in the talking picture the entertainment of the future, that they are working to bring about this dreadful prophecy".

Elsewhere he described the talking picture as "a redoubtable monster, an unnatural creation, thanks to which the screen would become poor theatre, the theatre of the poor". It was therefore an irony that it was Clair who would produce the French cinema's first big international success with a sound picture in Sous les toits de Paris. Clair accepted the inevitability of the talking picture but at first retained specific views about the way that sound should be integrated into film, he was reluctant to use dialogue or sound effects naturalistically, maintained that the alternate use of the image of the subject and of the sound produced by it - not their simultaneous use - created the best effect. In 1929, the German film company Tobis Klangfilm established a studio at Épinay near Paris, equipped for sound production; this studio inaugurated a policy of making French-speaking films in France rather than importing French performers to make French versions of films in Germany. The company concentrated on prestigious productions, they recruited René Clair to undertake one of their first French projects with Sous les toits de Paris.

René Clair filmed Sous les toits de Paris at Épinay between 2 January and 21 March 1930. The setting of the film was defined by the elaborately realistic yet evocative set which Lazare Meerson devised to depict a street of Parisian tenements, populated by familiar archetypes of'ordinary life': the young newly-weds, the pickpocket, the street singer; the film begins with a long crane shot which starts among the rooftops and descends along the street closing in on a group of people gathered around a singer, whose song swells up on the soundtrack. This is the first of many ways in which Clair affirms his loyalty to the style and techniques of silent cinema while creating a distinctive role for the new element of sound. Elsewhere, a conversation is cut off by the closing of a glass door and has to be followed in dumb-show; such devices are not only imaginative but amount to a satire of the sound film. Among the other members of Clair's team on the film were Georges Lacombe as assistant director and Marcel Carné handling script continuity.

During the last weeks of filming, the art director Lazare Meerson hired a 23-year-old Hungarian as a replacement in his team, Alexandre Trauner, who went on to work as designer on many major French films of the following decades. Sous les toits de Paris was the first of four successful sound films that Clair made for Tobis, all in collaboration with Meerson and Périnal, it was the sixth and last of Clair's films which featured the actor Albert Préjean. When it was shown in Paris, the cinema gave Préjean star billing in its advertisements which led the two men to fall out. Clair commented: "I think that the star system is immoral and unjust for everyone, the artists and technicians, who work on a shared project"; the future film director Edmond T. Gréville appeared as an a

William Turner Davey

William Turner Davey was an English artist and engraver, best known for his reproductions of a number of celebrated Victorian works of art. Born in St Pancras, Davey was baptised on 17 January 1819 at St Pancras Old Church, he was the son of William Davey and Eliza Davey, who were married in St Martin-in-the-Fields church on 14 September 1817. Davey was a pupil of the engraver Charles Rolls, it was Davey's reproductions of historical paintings which brought him to prominence: such as Eastward Ho! August 1857 by Henry Nelson O'Neil, its companion Home Again, the acclaimed large engraving in mixed mezzotint of Lady Butler's painting Return from Inkerman, he exhibited 13 pieces at the Royal Academy between 1859 and 1884. Among his many other works are: The Pytchley Hunt,, they lived in north London until 1857. William and Sarah had eight children, shown with them on the 1861 census in Portsmouth Road, Long Ditton. By 1871 William and Sarah had separated. From 1881 to 1888 William and Jane were living at 103 Mill Hill Road in Acton.

By 1891 they had moved to 6 Florry Cottages in Kent. One of his children: Frank Davey was a famous illustrator and photographer California and Hawaii. William Turner Davey died in Ramsgate on 25 July 1900, aged 81. R. Treble, Great Victorian Painters, 1978 pp. 62–63 R. K. Engen, Dictionary of Victorian Engravers Grove Dictionary of Art

Gulder Ultimate Search

Gulder Ultimate Search is a Nigerian reality television series and sponsored by Nigerian Breweries Plc to promote the Gulder Lager Beer. The first season premiered in 2004; the GUS series is the first 100% local content reality television programme in Nigeria and it is a survival type reality programme that highlights the struggle of Contestants, their struggles against themselves and the wild i.e. nature and their search for a hidden treasure that brings to the last person standing instant fame and fortune. The Winner of the last season in 2012 took home a 10 million naira cash prize and an SUV; the series is produced by a Nigerian based producer, Olakunle Oyeneye and Executive Producer Oluseyi Siwoku of Jungle Filmworks. GUS 1 was produced on the Snake Island in Lagos State; the theme was'The Legend of Captain Kush' and the Mr.ugo Egwuagwu made history as the first winner of the reality show took home the Star Prize of 3 Million Naira. Obudu Hills, Calabar Cross River played host to the 2nd Season'The Lost Helmet of General Maxmllian' and Mr. Lucan Chambliss took home the Star Prize of 5 Million Naira.

NIFOR, Benin Edo State was the venue of'The Brew Master’s Secret' and Mr. Hector Joberteh won the grand prize of 5 Million Naira and a Ford Explorer SUV; the now deceased Hector was shot dead at his apartment in Lagos on the morning of 3 September 2017. The Shere Hills of Jos was the venue of'The Search for the Golden Age' and the athletic Dominic Mudabai outpaced his contemporaries to claim the title that year. A contestant Anthony Ogadje, drowned in a lake in Jos Plateau State in GUS 4 during the shoot. In the stormy hills of Mmaku in Awgu, Enugu. Mr Michael Nwanchukwu found'The Lost Chronicle' and exchanged it for the 5 million naira and a brand new SUV. GUS 6 was taken to the western part of Nigeria in the deserted Omodo Forest of Aagba in Osun State and'The Horn of Valour' was found by Mr. Uche Nwaezeapu; the celebrity edition was the GUS series was launched in 2010 and location was Lacapagne Tropicana Epe Lagos.'The Goldern Goblet' was found by the Ace Nollywood Actor Emeka Ike and he goes home with the sum of seven million naira.

In the same year when the Celebrity Edition was done, the GUS series moved to Omo Forest, J4 Ogun State for season 7 and'The Ultimate Hero' was Mr. Oyekunle Oluwaremi; the Kukuruku Hills, Egbetua Quarters, Akoko-Edo Edo State won't recover from'The Contest of Champions' when Mr. Chris Okagbue stunned the world by winning the 8th season. 2012 was the year that the search moved to Usaka, Obot Akara, Akwa Ibom where'The Gatekeeper’s Fortune' was found by Paschal Eronmose Ojezele. GUS 9 was directed by Laszlo Bene, the American Director/Producer living in South Africa. In the forest of Usaka, Akwa Ibom, Mr. Dennis Okike found'The Tenth Symbol' and exchanged it for the 10 million naira and a brand new Mitsubishi Pajero. GUS 10 was directed by Laszlo Bene, the American Director/Producer living in South Africa GUS 11 was in Aguleri forest in Anambra state, where'The General’s Helmet' was found by Chinedu Ubachukwu, he was rewarded with a brand new Ford Explorer car. Produced by Jungle Filmworks Producer: Olakunle Oyeneye Executive Producer: Oluseyi Siwoku Creative Director: Chima Okenimkpe Task Master: Taiwo Aliu Production Managers: Johnbull Odedede Roli Okusanya Production Accountatnt: Yemi Ebiwonjumi Gaffer: Oluwole Olawoyin Grip: Samson Fadairo The End Gulder Ultimate Search Gulder Ultimate Search 5 winner from Naijapals https://archive.is/20130129220049/http://www.newswatchngr.com/editorial/prime/bob/10628132051.htm Gulder Ultimate Search on IMDb

Robert T. Brown Nature Sanctuary

Robert T. Brown Nature Sanctuary is a 19-acre sanctuary located in Houghton County, Michigan, it is preserved by the Michigan Nature Association. The late Dr. Robert Thorson Brown, for whom the sanctuary is named, was Professor of Biological Sciences at Michigan Technological University until his retirement in 1983, he was an expert in the identification of plants and lichens, which his research involved. He enjoyed teaching the complex interactions between organisms and took his students on many field trips. Shortly before he died, Dr. Brown assisted in the selection of the site, now this sanctuary; the Brown Sanctuary is a northern wetland surrounded by a small pond and bordered by a black spruce and white cedar swamp. Several shrubs can be found in the sanctuary, including leather leaf, bog-rosemary, Labrador tea, both small and large cranberry. Many carnivorous plants can be found in this fen, such as pitcher plant, round leaved sundew, hidden fruited bladderwort; these unique plants digest insects and other food to obtain the necessary nutrients.

Http://www.michigannature.org

Ibrahim Eissa

Ibrahim Eissa is an Egyptian journalist and TV personality best known for co-founding the popular Egyptian weekly Al-Dustour. He is editor-in-chief of Al Tahrir, which he co-founded in July 2011. Ibrahim Eissa was born in November 1965 in Quesna in the Monufia Governorate in Egypt, his father was an Arabic teacher. At 11 years old, he published his first magazine, Al Haqiqa, which he arranged to print himself and distributed by hand to local schools and newsstands; when he was 17, during his first year at the Cairo University School of Journalism, Eissa began working for the magazine Rose al-Yūsuf, becoming its youngest editorial secretary. Although a state-run magazine, it was reputed for its openness to taboo topics as well as its leftist and nationalist opposition to the Muslim Brotherhood and the Gamaa Islamiyya. However, when Eissa refused to support the 1990 Iraqi invasion, he was forced to resign within a year from his political editorship and assume the literary editor position. A private publisher named Essam Fahmi Ismail approached Eissa's coworker Adel Hammouda about starting a journalistic enterprise of some kind but was rebuffed.

He approached Eissa and the two created the weekly newspaper Al-Dustour under a foreign license in 1995. The paper took a critical approach towards the Egyptian regime, unique at the time in its focus on government corruption, quality of governance, Egypt's relationship with Israel; the paper contained contributions from all ends of the political and religious spectrum, including Marxists and Nasserists. As editor-in-chief, Ibrahim Eissa was a big part of the controversy; the paper was known for being colloquial and illustrated with cartoons. The paper was influential in the evolution of Egyptian press—it became popular for other papers to "destourize" their pieces by taking a stronger stance, its circulation reached around 150,000 copies per week. Eissa stated that the reason for its popularity was how the paper spoke to its core audience, the youth; the paper was shut down in February 1998 after it published a death threat from the Gamaa Islamiyya against three Coptic businessmen. Prior to its shutdown, three issues had been confiscated for their controversial nature.

According to Eissa, the paper was shut down after a personal appeal to President Hosni Mubarak by Naguib Sawiris, who complained about the paper's publication of the death threat. After Al-Dustour was shut down, Eissa tried nine times to open another newspaper; each of his attempts was rejected, under both party and foreign licenses, for both political and cultural publications. He tried to write under a pseudonym for the People's Democratic Party, but his efforts were met with government intervention, he reintroduced himself as a writer in the non-political arena. When Dream TV was started in 2001, Eissa was called on to host the current affairs show, Aala Al Qahwa. By 2003, the network was forced to drop Eissa due to the controversial nature of his program. During this period Eissa wrote the first of a number of novels, entitled Maqtal Al Rajul Al Kabeer. None of his novels were received well by critics, this one in particular was banned and confiscated by the government. In 2004, Eissa was offered two jobs.

The first was as editor-in-chief of the El-Ghad Party's newspaper. Ayman Nour, the party's leader at that time, wanted to hire Eissa because his popularity would build a larger base for the party. At the same time, he was approached by Essam Fahmi about restarting Al-Dustour. Although Eissa chose to work with the El-Ghad Party, the move was blocked when the security services made Mostafa Moussa fire Eissa during 2005 while Ayman Nour was in prison. Eissa became editor in chief at Al-Dustour. In 2005, he took over Fahmi's other newspaper, Sawt Al-Umma, made regular appearances on the TV show Min Awul Sadr. In June 2006, Eissa was convicted of defaming Hosni Mubarak in a piece that described a lawyer's attempt to take the president and his family to court for corruption, he was sentenced to a year alongside his lawyer Said Abdullah. The ruling was overturned in February 2007, Eissa instead had to pay a $3,950 fine; the suit was filed on behalf of Mubarak by a private citizen and proceeded in contravention of Egyptian judicial norms.

On 5 December 2007, Eissa faced trial in Algalaa' Court after he published an article about Mubarak's health problems. On 31 March 2008, he was found guilty of damaging the national economy after the Central Bank testified that $350 million in investments left Egypt in the days after the article was published. On 28 September 2008, the Boulak Abul Ela Appeals Court upheld the guilty verdict, but reduced Eissa's sentence to two months in prison, charging Eissa with reporting and publishing false information; the appeal was brought by state security prosecutors, who argued that the six-month term was too light. Eissa was quoted saying, "This sentence opens the gates of hell for the Egyptian press." NGOs such as Amnesty International and the Arabic Network for Human Rights Information denounced the verdict. On 8 October 2008, Eissa's sentence was pardoned by Mubarak. On 5 October 2010, Ibrahim Eissa was fired from his position at Al-Dustour after the paper was purchased by Sayyid Badawi, a businessman and member of the Egyptian Wafd party.

According to Eissa, Badawi's takeover of the paper was engineered to stop him from writing. The immediate reason was his desire to publish a piece by Mohamed El Baradei who opposed President Mubarak and was a potential presidential candidate. Earlier in the same y