The Trans-Hudson orogeny or Trans-Hudsonian orogeny was the major mountain building event (orogeny) that formed the Precambrian Canadian Shield and the North American Craton (also called Laurentia), forging the initial North American continent. It gave rise to the Trans-Hudson orogen (THO), or Trans-Hudson Orogen Transect (THOT), (also referred to as the Trans-Hudsonian Suture Zone (THSZ) or Trans-Hudson suture) which is the largest Paleoproterozoic orogenic belt in the world. It consists of a network of belts that were formed by Proterozoic crustal accretion and the collision of pre-existing Archean continents. The event occurred 2.0–1.8 billion years ago.
The Trans-Hudson orogen sutured together the Hearne-Rae, Superior, and Wyoming cratons to form the cratonic core of North America in a network of Paleoproterozoic orogenic belts. These orogenic belts include the margins of at least nine independent microcontinents that were themselves sections of at least three former major supercontinents, including Laurasia, Pangaea and Kenorland (ca. 2.7 Ga), and contain parts of some of the oldest cratonic continental crust on Earth.  These old cratonic blocks, along with accreted island arc terranes and intraoceanic deposits from earlier Proterozoic and Mesozoic oceans and seaways, were sutured together in the Trans-Hudson Orogen (THO) and resulted in extensive folding and thrust faulting along with metamorphism and hundreds of huge granitic intrusions.
The THO is a right-angled suture zone that extends eastward from Saskatchewan through collisional belts in the Churchill province, through  northern Quebec, parts of Labrador and Baffin Island, and all the way to Greenland as the Rinkian belt and Nagssugtodidian Orogen. Westward it goes across Hudson Bay through Saskatchewan and then extends 90 degrees south through eastern Montana and the western Dakotas, downward through eastern Wyoming and western Nebraska, and is then cut off by the Cheyenne belt - the northern edge of the Yavapai province (see Trans-Hudson Orogen map and the THOT Transect map. To the south, the orogen contributed to the subsurface Phanerozoic strata in Montana and the Dakotas that created the Great Plains. The Trans-Hudson orogeny was the culminating event of the Paleoproterozoic Laurentian assembly, which occurred after the Wopmay orogeny (West of Hudson Bay, ca. 2.1-1.9 Ga.).  The Trans-Hudson orogeny resulted from the collision of the Superior Craton of eastern Canada with the Hearne Craton in northern Saskatchewan and the Wyoming Craton of the western United States, with the Archean microcontinent Sask Craton trapped in the THO western interior. Similar to the Himalayas, the Trans-Hudson orogeny was also the result of continent-continent collision along a suture zone.  Only the roots of this mountain chain remain, but these can be seen in northeastern Saskatchewan and in the Black Hills of South Dakota.  The Trans-Hudson orogeny and the consequent upheaval of the continental crust in the middle Proterozoic eon caused the area around the Great Lakes to become a flattened plain, which in turn led to the creation of the intracontinental basin and the interior and central plains of the United States (the Great Plains are the westernmost portion of North America's Interior Plains, which extend east to the Appalachian Plateau).
The Black Hills of South Dakota is one of the few remaining exposed portions of the Trans-Hudson orogenic belt. The peaks of the Black Hills are 3,000 to 4,000 feet above the surrounding plains, while Black Elk Peak - the highest point in South Dakota - has an altitude of 7,242 feet above sea level.  These central spires and peaks all are carved from granite and other igneous and metamorphic rocks that form the core of the uplift. The nature and timing of this portion of the THO event in southern Laurentia is poorly understood, when compared to the exposed northern segments in Canada. The Black Hills offer the only surface exposure of the deformed and metamorphosed belt of Paleoproterozoic continental margin rocks in the collisional zone between the Archean Wyoming and Superior provinces. Based on geophysical evidence, this zone has been broadly interpreted to be the southern extension of the THO that was later truncated by the ~1.680 Ga. Central Plains orogen.<PIC> Marine evidence indicates that the area initially opened to form an ocean called the Manikewan Ocean. Faulting, sedimentary and igneous rocks all indicate that divergence formed a rift valley that continued to spread until it resulted in a passive margin in which there was no tectonic activity. Shallow marine deposits formed on the continental shelves, and oceanic crust formed on the margins of the continental cratons as the divergence continued. Eventually the divergence stopped, then reversed direction, and collision occurred between continental land masses. During the Wopmay orogeny, subduction occurred as oceanic crust of the Slave Craton was subducted beneath an eastward moving continental plate. Likewise, during the Trans-Hudson orogeny, rifting at first separated the Superior craton from the rest of the continent. Then the Superior Craton reversed its direction and the ocean basin began to close. A subduction zone formed as the oceanic crust of the Superior Craton was subducted beneath the Hearne and Wyoming Craton with the Sask Craton in the middle. Volcanic arcs developed as the cratons collided, eventually resulting in the THO mountain building (orogeny). The Northwestern hinterland zone is a complex tectonically deformed region that includes the Peter Lake, Wollaston, and Seal River domains, and other parts of the Cree Lake Zone, now included in Hearne Province. The Reindeer zone to the north is a 500 km wide collage of Paleoproterozoic (1.92-1.83 Ga) arc volcanic rocks, plutons, volcanogenic sediments, and younger molasse, divisible into several lithostructural domains. Most of these rocks evolved in an oceanic to transitional, subduction-related arc setting, with increasing influence of Archean crustal components to the northwest. The zone overlies Archean basement exposed in structural windows that are now recognized as the Sask craton. The Wathaman-Chipewyan batholith is an Andean-type continental-margin, magmatic arc emplaced 1.86-1.85 Ga. The Flin Flon domain is in the center of the Trans-Hudson Suture Zone and extends over the border of the Manitoba-Saskatchewan segment east and west.  It is west of the Superior Craton, south of the Kisseynew Domain, and east of the Glennie Domain. The Superior Boundary zone is a narrow, southeastern, ensialic foreland zone bordering Superior Craton, comprising the Thompson Belt, Split Lake Block, and Fox River Belt. The Flin Flon greenstone belt is one of the largest Proterozoic volcanic-hosted massive sulfide (VMS) districts in the world, containing 27 Cu-Zn- (Au) deposits from which more than 183 million tonnes of ore have been mined. Most of mined VMS deposits in the Flin Flon belt are associated with juvenile arc volcanic rocks providing a powerful focus for future explorations. Gold mineralization has been less studied, but at Reed Lake has been shown to be associated with late brittle-ductile shear zones that follow peak tectonic and metamorphic activity within the Trans-Hudson Orogen. At Snow Lake, preliminary investigations suggest a long history of gold mineralization with at least some gold introduced prior to metamorphism.


Mississippi's first art museum, the Lauren Rogers Museum of Art is located in Laurel, Mississippi, United States. It was founded in 1923 in memory of Lauren Eastman Rogers. The building's architect was Rathbone DeBuys of New Orleans, Louisiana.
The museum has an extensive collection of Native American baskets. It also has a selection of American art by Winslow Homer, Albert Bierstadt, and John Singer Sargent. It receives 32,000 visitors a year. The Lauren Rogers Museum of Art was opened in 1923 as a memorial to Lauren Eastman Rogers, the only son and only grandson of two of the town's founding families. Lauren died at the age of 23 in 1921 from complications of appendicitis, just months after marrying Lelia Hodson Rogers. After his death, Lauren's father, Wallace Brown Rogers, and his maternal grandfather, Lauren Chase Eastman, created the Eastman Memorial Foundation "to promote the public welfare by founding, endowing and having maintained a public library, museum, art gallery and educational institution, within the state of Mississippi." The museum opened its doors on May 1, 1923 in a building that was originally being constructed to be Lauren and Lelia's private residence.
The Eastman, Gardiner and Rogers families had migrated to Laurel, Mississippi, from Clinton, Iowa, in the 1890s for timber resources. Their influence was fundamental in the formation of the city of Laurel. The Rogers family built large residences on broad avenues in Laurel, and the family helped lay the foundation for public parks and schools that served the city for many generations. Lauren Rogers was being groomed by his parents and grandparents to take over the family lumber business and continue the families philanthropic legacy in Laurel. The Rogers and Eastman families did not let Lauren's legacy die with him. Instead, they created Lauren's legacy for him through the establishing of this museum in his honor.
Throughout the years the museum has served various purposes. The original building not only served as an art gallery, but it also housed the town library. The first collection featured in the museum gallery was a large basket collection that was donated in 1923 by Lauren Rogers' great-aunt, Catherine Marshall Gardiner. A new wing was completed in 1925 giving the museum five art galleries on the first floor and space for the Laurel Library Association on the lower level, where they stayed until 1979. These new galleries were eventually filled with nineteenth- and twentieth-century paintings that were donated by the Rogers and Eastman families. This collection which includes works by famous artists such as Winslow Homer, Albert Bierstadt, Jean-Baptiste-Camille Corot, and Jean-François Millet became a part of the museum's permanent collection and can still be seen today. In 1953 Lelia Rogers added a Reading Room and filled it with furniture from her in-laws home and a portrait of her deceased husband, Lauren.
The building itself is a piece of art that has stood the test of time. The building's architect was Rathbone DeBuys of New Orleans, Louisiana. The interior was designed by the Chicago firm of Watson and Walton. The walls are paneled in quarter-sawn golden oak, accented by hand-wrought ironwork by Samuel Yellin, and a ceiling of hand-molded plaster done by master craftsman Leon Hermant. The original museum floors were cork and has been continued throughout the various additions. The collection of the Lauren Rogers Museum of Art consists of five specialized collections: American art, European paintings, Native American baskets, Japanese Ukiyo-e prints, and British Georgian silver.
American Art
One of the largest of these is our collection of American paintings, sculptures, and works on paper. The core of the collection is a group of 19th and 20th-century paintings donated by Lauren Chase Eastman, the grandfather of Lauren Rogers, in the 1920s and 1930s. Some of our most important works came from this astute collector, and many other important works were donated by Lauren Rogers’ parents, Nina and Wallace B. Rogers. These collectors focused on the landscape and portraiture traditions which have been such an important part of the history of American art. Most of the works are intimate in size, reflecting their origins in private collections, which were on display in private homes.
Landscape paintings in the Museum collection date primarily from the late 19th century onward. The Museum owns late examples of Hudson River School painting, the first group of painters to exclusively focus on and celebrate the American landscape. Artists such as John Frederick Kensett and Albert Bierstadt, whose works are on display in the American gallery, are typical of this movement. These artists were inspired by the Romantic movement in art and literature and strove to glorify the wonders of nature through their art. The American Impressionists of the early 20th century used the image of the landscape as a means of personal expression as well as a vehicle for exploring the medium of painting itself. Artists like John Henry Twachtman chose to portray intimate settings and quiet places in his pictures, some of which border on the abstract in their painterly quality and emphasis on color and light over form and drawing. Since the 1930s, the Museum has added more modern landscape paintings, particularly by Mississippi artists like Marie Hull and William Dunlap. We continue to build on this fine collection of American landscapes.
British Georgian Silver
Most of the works in the British Georgian Silver Collection were donated to the Museum by the late Harriet and Thomas Gibbons. From the mid-1920s until 1959, Mr. Gibbons was the publisher of the Laurel Leader-Call, and Mrs. Gibbons was the editor. Both had a passion for silver which resulted in a magnificent and well-focused collection of silver luxury goods, most used in relation to English “high tea.”
The term “Georgian” refers to the period between 1714 and 1830 when four King Georges in a row ruled England. This time span saw a change in style; during the early 18th-century, English silver featured the abundant ornamentation of the Baroque and Rococo periods. By the end of the Georgian period, a restrained Neo-Classical style held sway, inspired by Classical forms and designs from ancient Greece and Rome.
European Art
The Museum owns approximately 65 European works of art, dating from the 17th to the 20th centuries. The core of the collection are 24 works donated by the Eastman and Rogers families during the early years of the Museum’s existence. These include important, internationally known works like Jean-François Millet’s First Steps, an 1856 pastel which later inspired Vincent van Gogh; Landscape Near Paris (c.1885) by Jean-Baptiste-Camille Corot, considered one of the first modernist painters; and other influential early 19th-century painters.
The earliest work in the collection is an etching by Rembrandt van Rijn entitled Virgin and Child with Cat (1654), which depicts Mary and the infant Jesus in domestic interior. According to legend, the cat of the Madonna produced a litter of kittens in the stable where Christ was born; the cat of legend crouches next to the Madonna, as Joseph looks in through a window. This tiny etching is one of many Biblical illustrations produced by Rembrandt.
Japanese Woodblock Prints
The Japanese Gallery contains examples of ukiyo-e woodblock prints from the Edo Period (1600-1868). The term ukiyo-e means “images of the floating world.” This is a reference to the theater and entertainment districts of urban Japan, especially those in Kyoto and Tokyo (then known as Edo). The most popular subjects were those of leisure and pleasure: images of courtesans and actors, of erotica and of the Kabuki theater. Later, artists would adapt the ukiyo-e style that had been honed on these subjects to the depiction of landscapes, as in Hiroshige’s album of prints, Thirty-Six Views of Fuji (c.1828-33).
Native American Art
Around 1900, Catherine Marshall Gardiner of Laurel, Mississippi, read an article about Native American baskets and found herself tempted by the possibility of collecting them. Her husband, George Schuyler Gardiner, encouraged her to “go as far as she liked.” The Gardiners, the great-aunt and great-uncle of Lauren Rogers, moved to Laurel in the 1890s to establish a lumber company after the lumber business in their home state of Iowa had begun to slow. At first she planned to collect only contemporary baskets, but, she said, “the lure of old and fine work specimens soon gained the ascendancy.” When she embarked on this project, she little realized she would become one of the premier collectors of the period, often called “the golden age of basket collecting.” Mrs. Gardiner’s quest for fine specimens led her to contact and visit basket dealers, other collectors, officials and teachers on reservations, and weavers, eventually becoming part of a national network of other basket aficionados.
By 1923, when she donated her collection of almost 500 baskets to the Lauren Rogers Museum of Art, she had amassed one of the most representative collections of North American Native basketry in the Southeastern United States. Over ten years later, Mrs. Gardiner wrote, “It has been a work of great charm.” In the intervening decades, the Lauren Rogers Museum of Art has added to the collection, particularly with baskets from the Southeast, but Mrs. Gardiner ’s vision has remained the foundation of the collection.
Humans have been making baskets for thousands of years; it is a craft that is common to all cultures. Today’s Native American basket makers work within a tradition that is centuries old. For example, there are Choctaw weavers in Mississippi who are fifth generation basket weavers, following a tradition passed down from mother to daughter over many decades.<PIC> As the city of laurel has grown and changed so has the Museum grown and changed over the years. In the last 35 years the museum has received a few updates in architecture, as well as, in artistic holdings. In 1983 the museum received an addition designed by Micheal Foil, that included a new gallery for visiting collections and beautiful grand staircase made from Tennessee black marble. In more recent years, a large Chihuly piece has been added above this staircase. Another addition was completed in 2013 adding the Sanderson Gallery.
The museum continues to serve the community through various events and ongoing educational programs. The museum has several events such as the annual Blues Bash and Museum Gala. During the summer months the museum holds art camps and free family art days. In addition to events on museum property, the museum also goes to various places in the community such as city centers and holds Artreach art camps.
In 2018, the Lauren Rogers Museum of Art celebrated its 95th year of operation. The museum strives daily to continue the legacy that the Rogers, Eastman, and Gardiner families began in 1923. This, however, would not be possible without the continued support of donors and patrons. Admission to the museum is free, but donations are encouraged. Please visit the museum website for details on current exhibitions and upcoming events.


The Riftwar Cycle is the name given to the series of books authored or co-authored by Raymond E. Feist that revolve around the fantasy worlds of Midkemia and Kelewan.<PIC> The majority of Feist's works are part of The Riftwar Universe, and feature the worlds of Midkemia and Kelewan.  Human magicians and other creatures on the two planets are able to create rifts through dimensionless space that can connect planets in different solar systems.  The novels and short stories of The Riftwar Universe record the adventures of various people on these worlds.
Midkemia was originally created as an alternative to the Dungeons and Dragons (D&D) role-playing game. When Feist studied at the University of California, San Diego, he and his friends created a new role-playing game based on their own original world of Midkemia. They called themselves the Thursday Nighters, because they played the Midkemia role-playing game every Thursday evening. After some time, when the group changed and began meeting on Fridays, they became known as the Friday Nighters.  The original group have since formed a company called Midkemia Press, which has continued publishing campaigns set in that universe.
Feist acknowledges that the Tekumel setting from M. A. R. Barker's Empire of the Petal Throne was the source for much of Kelewan. The original D&D campaign which he based his books on had an invasion of the Midkemia world by Tekumel. As a result, much of the background of Kelewan - the Tsurani Empire, the lack of metals and horses, the Cho'ja, the pantheons of 10 major and 10 minor gods - comes from Tekumel. Feist claims to have been unaware of this origin when he wrote Magician. Most Riftwar novels' stories occur in chronological order following the publishing order, with a few exceptions. The Empire Trilogy starts during Magician and concludes after A Darkness at Sethanon. The Riftwar Legacy occurs between the Riftwar Saga and Krondor's Sons. The Legends of the Riftwar novels occur between Magician and Silverthorn.
Novels are grouped into their respective series, with series ordered by the publishing date of the first novel in the series. Magician (1982), later republished in two parts in the United States as Magician: Apprentice (1986) and Magician: Master (1986)
Silverthorn (1985)
A Darkness at Sethanon (1986) Daughter of the Empire (1987) with Janny Wurts
Servant of the Empire (1990) with Janny Wurts
Mistress of the Empire (1992) with Janny Wurts Prince of the Blood (1989)
The King's Buccaneer (1992) Shadow of a Dark Queen (1994)
Rise of a Merchant Prince (1995)
Rage of a Demon King (1997)
Shards of a Broken Crown (1998) Krondor: The Betrayal (1998)
Krondor: The Assassins (1999)
Krondor: Tear of the Gods (2000)
Jimmy and the Crawler (2013) - a novella replacing the cancelled novels Krondor: The Crawler and Krondor: The Dark Mage. Honoured Enemy (2001) with William R. Forstchen
Murder in LaMut (2002) with Joel Rosenberg
Jimmy the Hand (2003) with S. M. Stirling Talon of the Silver Hawk (2002)
King of Foxes (2003)
Exile's Return (2004) Flight of the Nighthawks (2005)
Into a Dark Realm (2006)
Wrath of a Mad God (2008) Rides a Dread Legion (2009)
At the Gates of Darkness (2010) A Kingdom Besieged (2011)
A Crown Imperiled (2012)
Magician's End (2013) Profit and the Grey Assassin (1982) in Fantasy Book (Journal)
The Wood Boy (1998) in Legends
The Messenger (short story) (2003) in Legends II On February 2, 2022, Six Studios, a production company started by Jeff Huang and Carl Choi, announced it would develop the first six books in The Riftwar Saga into a TV series. Hannah Friedman, Jacob Pinion and Nick Bernardone are attached to write.


Andreas Samaris (Greek: Ανδρέας Σάμαρης; born 13 June 1989) is a Greek professional footballer who plays as a midfielder.
After winning Superleague Greece with Olympiakos in 2014, he signed with Benfica in Portugal for €10 million. With them, he has won four Primeira Liga, one Taça de Portugal, two Taça da Liga and two Supertaça Cândido de Oliveira.
A full international since 2013, Samaris represented Greece at the 2014 FIFA World Cup.  Samaris started his career in Gamma Ethniki side Panachaiki in 2006, making a total of 37 league appearances and scored three goals for the club. On 10 April 2007, he signed his first professional contract with Panachaiki, where he was coached by future Australia national team manager Ange Postecoglou. On 11 January 2010, Samaris moved to Panionios.
Samaris joined Olympiacos in 2012 but spent the season on loan at Panionios. In 2013, he returned to Olympiacos and scored his first goal with the club on 23 November 2013, in an away 4–1 victory against Panthrakikos. Samaris ended the league with 38 appearances and scored four goals en route to the Greeks' 41st title. On 22 August 2014, Samaris moved abroad and joined Portuguese champions Benfica on a five-year contract for a transfer fee of €10 million and with a €45 million release clause. He made his debut for Benfica on 12 September against Vitória Sétubal.
At the end of the 2014–15 season, Samaris mentioned that the Portuguese language was a barrier in his first year with the club. The Greek international stressed the importance of learning it by stating, "I liked to learn Portuguese because I became closer to my colleagues. The most important is to understand what my coach says because there was an idea of game and I had to adapt faster than the others."
On 29 August 2015, in the second day of 2015–16 Primeira Liga, Samaris, after an assist from Greek teammate Kostas Mitroglou, scored with a right-footed shot from outside the box to the bottom left corner, the second goal giving the lead to his club in a 3–2 win against Moreirense. It was his first goal in the Primeira Liga. On 1 April 2016, he scored his second goal in the Portuguese league, with a direct free kick, in a 5–1 home game against Braga. On 4 March 2017, in a 1–0 away game against C.D. Feirense, Samaris reached 100 appearances with the jersey of Benfica. In that season, he also played in the Taça de Portugal final, which Benfica won over Vitória de Guimarães (2–1).
On 11 March 2019, Samaris scored a volley in a league match, giving his team a two-goal lead in an eventual 2–2 home draw to Belenenses. It was his first goal in the 2018–19 season in all competitions. On 14 May, he extended his contract with Benfica until 2023.
On 21 July 2021, Andreas Samaris starts training with Benfica’s B team today. The 32-year-old Greek international midfielder is not part of Jorge Jesus’ plans and has refused all Benfica’s attempts to negotiate a mutually agreed termination of the contract that runs until 2023. Eventually on 31 August 2021, Samaris agreed with the club for the termination of his contract.<PIC> On 19 November 2021, Fortuna Sittard announced the acquisition of Andreas Samaris until the end of the season. The 32-year-old international midfielder was released last summer and was looking for the next stage of his career, finding a football home in the Eredivisie, has signed a link valid until the end of the current season. The Dutch club in its announcement does not mention anything about a purchase option.  On 27 November 2021, he made his debut with the club as a late substitute in a frustrating 1–4 loss against FC Groningen. Samaris is a former Greece under-19 international. He made his debut in a 2008 European Under-19 Championship qualifier against France. In October 2013, he was called up to the Greek senior side by manager Fernando Santos and made a substitute appearance in the final group qualifier against Liechtenstein, also coming off the bench in the two play-off matches against Romania. After a strong season with Olympiakos, Santos opted to select Samaris to his final 23-man squad for the 2014 FIFA World Cup.
On 24 June 2014, in his first appearance in a final tournament of the World Cup and against the Ivory Coast, Samaris opened the scoring after capitalizing on Cheick Tioté's defensive mistake in the 42nd minute in an eventual 2–1 victory; Samaris came on as an early replacement for the injured Panagiotis Kone.  As of match played 17 April 2022
Includes Taça da Liga and Supertaça Cândido de Oliveira As of match played 11 June 2019 Olympiacos
Super League Greece: 2013–14
Benfica
Primeira Liga: 2014–15, 2015–16, 2016–17, 2018–19
Taça de Portugal: 2016–17
Taça da Liga: 2014–15, 2015–16
Supertaça Cândido de Oliveira: 2016, 2017


László Tihanyi (born 21 March 1956) is a Hungarian composer and conductor.<PIC> László Tihanyi was born in Budapest, Hungary on March 21, 1956, and pursued musical studies at the Franz Liszt Academy of Music, Budapest, where he studied composition with Rezső Sugár and conducting with András Kórodi. Since 1979, Tihanyi serves as a devoted professor at the Academy of Music, where he acted also as vice-rector between 2000 and 2005.
He regularly conducts at home and abroad, typically 20th century classical and contemporary programmes. He appeared with all major Hungarian orchestras and significant European contemporary music ensembles, as Ensemble Modern, Contrechamps and MusikFabrik. In 1991, he participated in the production of  Maderna's Hyperion at the Festival D'Automne à Paris and the subsequent European tour. In 2002, Péter Eötvös asked him to be second conductor of his opera Three Sisters for the 2002 production for the Wiener Festwochen (besides Eötvös being first conductor himself).
In 1985, founded his own instrumental ensemble, the Intermodulation, dedicated to 20th and 21st Century music, and has been the artistic director since then.
Tihanyi is the winner of prestigious awards, including the Erkel prize and the Bartók-Pásztory prize.
Beside being the "composer-in-residence" of the Ensemble Intermodulation, his works are performed all over Europe: the Hungarian Radio commissioned Irrlichtspiel, for violin and ensemble (a "pocket" concerto) in 1991. Then the Componensemble premiered Winterszenen (a work based on Schubert’s Winterreise). In 1992, Summer Music was dedicated to and premiered by the Ensemble Contrechamps in 1992, one of the as yet most performed chamber setting by Tihanyi. In 1994 L’Épitaph du Soldat (a short sequel to Stravinsky's A Soldier's Tale) was commissioned by Radio France, and Serenata for four instruments by Rainbow over Bath in 1996. Schattenspiel was composed for members of the Forrás Chamber Music Workshop in 1997, and premiered in its original, four-movement version in the same year in Vienna. In 1998, two Swiss foundations, Pro Helvetia and the Zuger Kulturstiftung Landis & Gyr commissioned Matrix for four hands. Atte was premiered in 1999 in Berlin by the UMZE Ensemble. The soloists were Csaba Klenyán (clarinet) and György Déri (cello). In 2002, Musikfabrik premiered Kosmos, and a number of further commissions followed, one of which was the 20 Night Meditations for 8 soloists and orchestra with double strings, that had its western hemisphere premiere in February 2007 at The Juilliard School, New York.
His commission by the Opéra National de Bordeaux and the French state for his first opera Genitrix, based on the novel by François Mauriac, premiered on November 25, 2007 in Bordeaux. 2002 - Klaus Martin Ziegler prize of the city of Kassel, Germany
2001 - Bartók-Pásztory prize
1999 - "Merite culturel" prize from the Polish Minister of Culture and Science
1997 - Erkel prize
1986, 1988, 1989, 1992, 1993, 1998 - Artisjus prize
1988 - Special prize of the Association of Hungarian Musicians
1981 - Szirmai Albert prize 2012: Clausula No. 4. - for alto flute, viola, cello and piano
2012: Rundherum - for piano and string quartet
2011: 50 misure a S. (50 Bars for S.) for violin and viola, Op. 56
2011: Two Imaginary Dialogues - for ensemble
2011: Preludie, Invocation and Postlude - for violin, viola and cello
2010–2011: Nyolc invokáció a Hold fázisaihoz (Eight Invocations to the Lunar Phases) for viola and piano, Op. 53
2010: Arnis - for harp solo and ensemble
2009: Passacaglie for viola and orchestra, Op. 49
2009: Epilegomena (Jan Jansson on the Milkyway) - for flute solo and orchestra
2008–2009: Genitrix – 1. szvit - for tenor and orchestra
2008: 8 Scenes from the Genitrix - for Ms, tenor, bariton and orchestra
2001–2007: Genitrix - Opera in two acts, based on the novel by François Mauriac, libretto by László Tihanyi and Alain Surrans, text in French
2002: 20 Night Meditations - for 8 solo instruments and orchestra
2002: Matrix/Kosmos - for piano four hands and ensemble
Jan 2001 - Jun 2002: Linos - for harp
2001: Nächtliche Klauseln - for organ
1999: Atte - for clarinet, violoncello and ensemble
1998: Pimpalin’s Gown - A musical play for a speaking voice and six instruments, based on a tale by Alíz Mosonyi, in Hungarian
1998: Matrix - for piano four hands
1997: Schattenspiel - for clarinet in A, violoncello and piano
1996: Serenata - for four instruments
1995 - 1996: The Passing of the Neptune - for piano
1995: Triton - for bassoon and ensemble
1994: Epitaph of the Soldier - for seven instruments
1992, rev. 1994: Tra duzioni - for double symphony orchestra, two small string orchestras and six female voices
1992: Summer Music - for six instruments
1991: Winter Scenes - for ensemble
1991: Night Scene - for four instruments
1989: Arkhé - for orchestra
1987, rev. 1995: Jan Jansson’s Journey from Denmark to Denmark (A Transcendent Musical Travel in Five Scenes) - for flute
1986: Enodios - for orchestra
1986: Ductus for viola solo, Op. 3
1984 - 1985: Krios (The Month of Ram) - for small orchestra
1984: Silence of the Winds - for ensemble
1984: Szirom (Petal) - for an optional (keyboard) instrument
1977: Deux sonates à Olivier Messiaen (Two Sonatas for Olivier Messiaen) - for violin and piano


Jelena McWilliams (née Obrenić; born July 29, 1973) is a former Chairman of the Federal Deposit Insurance Corporation. She was nominated to the position and to the FDIC Board of Directors by President Donald Trump,  and the Senate confirmed her appointment on May 24, 2018. She was sworn in as Chairman on June 5, 2018. Previously, McWilliams was executive vice president and chief legal officer of Fifth Third Bank in Cincinnati, Ohio. She resigned from her position as Chairman of the Board of the FDIC on February 4, 2022.<PIC> Born Jelena Obrenić (Serbian Cyrillic: Јелена Обренић) in Belgrade, Serbia, in the former Yugoslavia, McWilliams traveled to the United States at age 18 as part of a high-school exchange program. She attended the University of California at Berkeley for college. She funded her education by working a series of minimum-wage jobs. She wrote her thesis on the war in her native Yugoslavia. McWilliams graduated with highest honors with a Bachelor of Arts in political science and went on to earn her law degree from the UC Berkeley School of Law. McWilliams began practicing law working with tech firms at Morrison & Foerster LLP in Palo Alto, California and then moved to Hogan & Hartson LLP, now Hogan Lovells LLP,  in Washington, D.C.
From 2007 to 2010, McWilliams worked as a lawyer at the Federal Reserve Board of Governors, where she focused on a proposal for rules meant to make it easier for consumers to dispute mistakes on their credit reports and to understand their mortgages.
McWilliams worked in the United States Senate for six years, first as assistant chief counsel for the Small Business and Entrepreneurship Committee and then as chief counsel and deputy staff director for the Committee on Banking, Housing and Urban Affairs. At the banking committee, McWilliams worked with chairpersons Senator Richard Shelby (R, Alabama) and Senator Mike Crapo (R, Idaho) on, among other issues, the implementation of and efforts to rework or repeal the 2010 Dodd-Frank banking-regulation reform act.
McWilliams served as executive vice president, chief legal officer, and corporate secretary for Fifth Third from January 2017 until May 2018. On November 30, 2017, the White House press secretary issued a release announcing the President's intention to nominate McWilliams to serve as chairperson of the FDIC. McWilliams had been under consideration for the appointment since July 2017, when James Clinger withdrew his nomination for the position.
By year-end 2017, Fifth Third determined that if McWilliams were confirmed as FDIC head, it would not move to have her return the $300,000 signing bonus the bank had paid her when she joined its staff.
Before McWilliams' confirmation, The Wall Street Journal previewed the proposed change in leadership at the FDIC, along with changes at the Federal Reserve and the Office of the Comptroller of the Currency, saying banks "can expect to see significant further relief" from postcrisis rules under the new leadership. In that context, the article referenced Dodd-Frank, The Volcker Rule, the Community Reinvestment Act, small-dollar loans ("Trump officials have said they want to encourage banks to offer loan products that compete" with payday lenders), new banks (from 237 new banks approved by the FDIC in 2005, two were approved in 2016 and seven in 2017; "McWilliams has said she wants to speed up new-bank approvals"), fintech,
leveraged lending (loans to heavily in debted companies), cybersecurity ("McWilliams cited cybersecurity as one of her priorities during her Senate testimony"), and capital, liquidity and overall and supplementary leverage rules.
In December of 2021, McWilliams announced her resignation from the FDIC. Following the election of President Joe Biden, Democrats controlled all the seats on the FDIC except for the one she held. She resigned after expressing her frustrations in an essay published in the Wall Street Journal with what she called the erosion of agency norms at the FDIC and a "hostile takeover" by the other directors. McWilliams, who is a single mother, has one daughter. She moved her parents from Yugoslavia to the United States after saving enough money to do so.


Eusebio Bava (6 August 1790 in Vercelli – 30 April 1854 in Torino) was an Italian general who fought in the First Italian War of Independence.<PIC> Born at Vercelli, in 1806 he fought as a volunteer under the French flag against Prussia. He took part in the French campaigns in Spain and Portugal, and was captured by the British at Porto in 1805. After Napoleon's defeat, he returned to Piedmont where  king Victor Emmanuel I integrated  his troops in the Piedmontese army as the Cacciatori piemontesi battalion. In 1838 he was appointed as commander of the Turin division and two years later he became lieutenant general.
He commanded one of the two corps of the Piedmonese-Sardinian army under Charles Albert when the latter attacked Austria in Lombardy in the First Italian War of Independence; however, after the successful Five Days of Milan, the Piedmontese army did not attack the retreating Austrian forces at their most vulnerable point and only followed them up to the Mincio river. Despite this, he won the first success of the war at Pastrengo, and later suggested a plan to draw the enemy to battle; however, the plan was adopted with heavy modifications, which led to the defeat at Santa Lucia. Despite the war going relatively well, however, relationships between Bava and the rest of the leading commanders (the king himself, his Minister of War Antonio Franzini, and the other corps commander, Ettore Gerbaix De Sonnaz) were strained, as Charles Albert did not provide his commanders with a firm hand, and the animosity between his counselours made an effective command action very difficult; Bava's own short temper did not help in this regard.
When Josef Radetzky took the offensive, defeating the Tuscan division at Curtatone and Montanara, Bava managed to check his advance with the victory at Goito; however, this was not followed through yet again, and the Piedmontese command was lulled into inaction. Therefore, when Radetzky resumed his offensive, the Piedmontese Army was defeated at Custoza and retreated towards Lombardy; despite the fact that the losses were not particularly heavy, and the army had kept his cohesion, Bava was convinced that the campaign had been lost and remained bent on leading it back to Piedmont.
After an armistice was signed on 9 August, Bava, believing that the King had proved himself unequal to the task of commander in chief and should not lead the army again, remained de facto the head of the Piedmontese army, and was duly named Generale in Capo (General in Chief) on October 22. However, when Wojciech Chrzanowski was called by Charles Albert as Chief of Staff, Bava, seeing this as yet another sign of the King's meddling in the army, and seen by a portion of the public opinion as responsible for the unsuccessful campaign, published a scathing report on it to exonerate himself and declaring that Charles Albert's indecision had been the biggest factor in the defeat. This led to the King and the government to agree on Bava's dismissal, and on 16 February 1849 he was formally removed from his position, replaced by Chrzanowski (albeit ambiguously as Charles Albert's chief of staff).
Appointed Senator since 1848, Eusebio Bava died in Turin in 1854.
Italian military historian Piero Pieri observed about Bava that, despite his flaws, he was the best army commander available to Sardinia-Piedmont during the Risorgimento.


James "Big Jim" Healy (22 March 1898 – 13 July 1961) was an Australian trade unionist and communist activist. Healy served as General Secretary of the Waterside Workers' Federation of Australia from 1937 to his death in 1961, a period when the union recovered from its defeat in the 1928 waterfront strike to become one of the most powerful trade unions in Australia. Healy was one of the most prominent public representatives of the communist movement in Australia during the Cold War.<PIC> Healy was born at West Gorton in Manchester, the son of corporation labourer Dominic Healy and cotton-worker Mary Ellen, née Schaill. He attended St Francis of Assisi parish school and began assisting Labour Party canvassers at the age of 8. He enlisted in the 8th Battalion of the Argyll and Sutherland Highlanders in 1915; served until he was wounded in action on the Western Front in 1918 and discharged. On his return he moved to Scotland to work as a plate-layer in the tramways.
On 19 July 1919 Healy married woollen weaver Elizabeth McGowan at St Cuthbert's Catholic Church in Edinburgh. They and their three sons emigrated to Queensland in 1925, where Healy began work as a fireman and boiler attendant at Mackay. He became a wharf labourer in 1927 and the following year was elected to the management committee of the Waterside Workers' Federation (WWF) becoming branch president in 1929. Disappointed with the underperformance of various Labor governments in response to the Great Depression, Healy joined the Communist Party of Australia in 1934 after a tour of the Soviet Union.
Healy moved to Sydney in 1936 and in 1937 was elected general secretary of the WWF, a position he held until his death in 1961. He transferred the union head office from Melbourne in 1939, and is given credit for modernising the union and he was the founder and first editor of the WWF's national journal, the Maritime Worker. In 1937 and 1938 he campaigned in support of waterside workers' boycotts of Japan, and he continued to strengthen the WWF during World War II due to the industry's contribution to the war effort. From 1945 to 1949 he led a boycott on the Black Armada of Dutch ships, in order to support the Indonesian independence movement.
Healy oversaw the amalgamation of the WWF with the Permanent & Casual Wharf Labourers' Union (PCWLU), but the antagonism of many in the WWF towards the PCWLU weakened his position. In the 1949 Australian coal strike he was gaoled for contempt of court, having refused to disclose the whereabouts of money used to assist the strikers; sentenced to a year, he was released after apologising five weeks into his sentence. He was active in the campaign against the Menzies government's attempt to ban the Communist Party.
A committee of inquiry into the waterside industry was established by the Stevedoring Industry Act of 1954, in an attempt by the government to end the WWF's monopoly on wharf labour supply; the federation went on strike with the support of the Australian Council of Trade Unions (ACTU); the government went ahead with further reforms, but Healy was appointed to the ACTU executive in 1957.
Healy died of a cerebrovascular accident in 1961 at Darlinghurst and was cremated; he was farewelled in Sussex Street with a "comrade's farewell" (Healy was an atheist), attended by hundreds of mourners. The Internationale was played and the cortège stretched for almost a mile, blocking traffic for over an hour.


Natalio Félix Botana Miralles (Sarandí del Yí, September 8, 1888 – San Salvador de Jujuy, August 7, 1941), was an Uruguayan journalist and entrepreneur who founded the Argentine newspaper Crítica in 1913. Published until 1962, Crítica was the most widely circulated newspaper in Latin America.
Botana was a pioneer of sensationalist media in Argentina, and is considered one of the most influential personalities of the 20th century in that country.
He also presided over the Argentine Football Association during a brief period in 1926.<PIC> Botana was born into a family of landowners whose commercial activities were often affected by continued political wars that erupted between the country's political parties: White and Colorados.
When Botana arrived in Buenos Aires in 1911, he started to work in different newspapers until he was hired by La Razón, the main evening paper that sold 76,000 copies at the time. Two years later, at the age of 25, he founded his own newspaper, Crítica, which was a pioneer in the Argentine media with its sensationalist style. Crítica had also a wide coverage of news on the crime, focusing on information rather than opinion.
Crìtica became a huge success, reaching its peak in the 1920s and 1930s, where increased its daily circulation from 9,000 to 30,000 copies. The newspaper then added a new edition and two supplements, one covering sports and another covering culture, named Crítica Magazine. Among the contributing writers were Raúl González Tuñón, Roberto Arlt, Jorge Luis Borges, Enrique González Tuñón, Carlos de la Púa, and Bernardo Verbitsky.
The basement of his house in Don Torcuato, a Buenos Aires suburb served in 1933 as the site for Plastic Exercise by exiled Mexican muralist David Alfaro Siqueiros.
Botana died in a car accident in 1941. Botana was married to the writer Salvadora Medina Onrubia, and his daughter Georgina was the mother of comedian and writer Raúl Damonte Botana, known by the pseudonym of Copi, who was a successful artist in France with his strip La femme assise (the sit woman), published during ten years on Le Nouvel Observateur.
His nephew is the famous political scientist Natalio R. Botana, who has written articles for La Nación. Leopoldo Marechal, in his novel Adán Buenosayres, condemned Botana to live in the seven circle of hell, describing him as the absolute boss of a giant rotary machine whose rolls devore and smash men until turning them into paper. The novel also shows Botana confessing how he realised a match box contained one less unit than described on the packaging. After discovering that, he threatened the manufacturer to reveal it on the front page of Crítica. As a result, the owner of the factory paid a fortune to avoid that to be published.
In his biography Confieso que he vivido, Chilean poet Pablo Neruda tells an adventure which happened at the Botana's weekend house at Don Torcuato.
Argentine writer Ariel Magnus in El que mueve las piezas, tells a war novel where Botana lives with his grandfather.
Spanish writer Elena Fortún (who had met Botana during her exile in Buenos Aires) inspired on Botana to the character "the doctor" of her book Celia Institutriz en América, published in 1944.


Prison rape or jail rape refers to sexual assault of people while they are incarcerated. The phrase is commonly used to describe rape of inmates by other inmates, or to describe rape of inmates by staff. In February 2021, BBC News reported eyewitness accounts of systematic rape of Uyghur women in the Xinjiang internment camps.
Multiple women who were formerly detained in the Xinjiang internment camps have publicly made accusations of systemic sexual abuse, including rape. Sayragul Sauytbay, a teacher who was forced to work in the camps, told the BBC that employees of the camp in which she was detained conducted rapes en masse, saying that camp guards "picked the girls and young women they wanted and took them away". She also told the BBC of an organized gang rape, in which a woman around age 21 was forced to make a confession in front of a crowd of 100 other women detained in the camps, before being raped by multiple policemen in front of the assembled crowd. Tursunay Ziawudun, a woman who was detained in the camps for a period of nine months, told the BBC that women were removed from their cells "every night" to be raped by Chinese men, and that she was subjected to three separate instances of gang rape while detained. Qelbinur Sedik, an Uzbek woman from Xinjiang, has stated that Chinese police sexually abused detainees during electric shock tortures, saying that "there were four kinds of electric shock... the chair, the glove, the helmet, and anal rape with a stick". Sexual violence against political prisoners is prevalent in Iran. It is allegedly ignored or even facilitated by authorities.
Reports issued to the United Nations allege that rape has been used by interrogators in Iran for decades. During the 1980s, following the Iranian Islamic Revolution, the rape of female political prisoners was so prevalent that it prompted Hussein-Ali Montazeri, Supreme Leader Ayatollah Khomeini's then-deputy, to write the following to Khomeini in a letter dated 7 October 1986: "Did you know that young women are raped in some of the prisons of the Islamic Republic?" Two prominent members of Iran's human rights community, the feminist lawyer and journalist Shadi Sadr and the blogger and activist Mojtaba Saminejad published essays online from inside Iran saying prison rape has a long history in the Islamic Republic.
In the 2009 Iranian presidential election protests, opposition groups reported thousands were arrested and tortured in prisons around the country, with former inmates alleging mass rape of men, women and children by the Islamic Revolutionary Guards, in prisons such as Kahrizak and Evin.
Following the 2009 presidential election, Iranian presidential candidate Mehdi Karroubi said several protesters held behind bars in Evin Prison had been savagely raped, according to a confidential letter to former president and cleric Akbar Hashemi Rafsanjani. Karroubi said this was a "fragment" of the evidence he had and that if the denials did not stop, he would release even more.
On 9 August 2009, in a letter to the Chairman of the Expediency Discernment Council of Iran, Mehdi Karroubi demanded investigation of Iranian prisons for possible torture and, in particular, sexual harassment of men and women. On 19 August, he wrote to parliament speaker Ali Larijani, asking to meet with him, President Mahmoud Ahmadinejad, judiciary chief Ayatollah Sadeq Larijani, former president Akbar Hashemi Rafsanjani and the state prosecutor to "personally present my documents and evidence over the cases of sexual abuse in some prisons specially Kahrizak." Ali Larijani and Sadeq Larijani (Judiciary committee) both officially rejected his claims and Ali Khamenei's representatives, and Vice Chairman of National Security Commission of the parliament demanded Karroubi's arrest. Human Rights Watch and Amnesty International have both released reports of widespread rape and abuse of prisoners in Turkey spanning multiple decades. Kurdish prisoners have also been specifically targeted for rape and other forms of sexual violence. Rape is regularly used in prisons across the wider Middle East. Sexual abuse of detained women, children and men is rampant in UAE, Saudi and Bahraini prisons. In the United States, the overwhelming majority of prison rape cases involve men who are raped by other men. This is due in part to the fact that in the United States the vast majority of incarcerated people are men. Sexual contact with inmates by prison staff is illegal, regardless of supposed consent.
Public awareness of common prison rape is a relatively recent development, and estimates of its prevalence have varied widely over the past several decades.  In 1974, Carl Weiss and David James Friar wrote that 46 million Americans would one day be incarcerated; of that number, they held that 10 million would be raped.
According to a US Department of Justice report from 2013, an estimated 5.0% of people incarcerated in state and federal prison, and 3.2% of those in jail, reported at least one incident of sexual victimization in the prior 12 months. However, advocates dispute the accuracy of the numbers due to under-reporting of sexual assaults in prison, especially among incarcerated youths.
In terms of individuals' risk over their entire incarceration, estimates from the 1980s and 1990s range widely. A 1992 estimate from the Federal Bureau of Prisons suggested that between 9 and 20% of inmates had been sexually assaulted. Similarly, studies from 1982 and 1996, concluded that the rate was somewhere between 12% and 14%. In New York State maximum security prisons, a 1986 study put the proportion at around 23%. By contrast, Christine Saum's 1994 survey of 101 inmates determined that 5 had been sexually assaulted.
The Prison Rape Elimination Act of 2003 was the first United States federal law passed specifically dealing with the sexual assault of prisoners. The bill was signed into law on 4 September 2003.<PIC>


UE 900 and UE 900S are noise-isolating ear phones manufactured and marketed by Logitech, under the Ultimate Ears brand. They are aimed at listeners who prefer neutral sound signature. They are rated as one of the best ear phones in its price range by CNET.
The ear phones received overall highly positive reviews. However, they were described as offering method of fitting that might be uncomfortable to some listeners.
The ear phones include four armature drivers - two for bass, one for midrange and one for treble. They come with variety of accessories that often accompany more expensive custom models.<PIC> UE 900 looks like a pair of custom earphones and provides a good fit that seals off the ear canals. There are two cables that are being provided: one in blue color that houses microphone and three-button remote control for iPhones, and one in black color for audio only. Both are 48 inches (120 cm) in length. It has four balanced armatures in each earpiece.
According to George Gill of Los Angeles Post-Examiner the UE900 utilizes a type of transducer that was originally designed for use in hearing aids and has been adapted for use in earphones." UE 900 received an "Excellent" rating from Tim Gideon of PC Magazine who noted: "The UE 900 sounds excellent overall, with a robust bass response and slightly boosted highs to match."
Steve Guttenberg from CNET commented that UE 900 is using separate bass, midrange and treble balanced armature drivers and is the best-sounding universal fit earphone in this price range.
Matthew Miller reviewed the UE 900 for ZDNet in an article named "You will swear you are listening to new music with the Logitech UE 900 earphones." In the summary of his review he wrote: "My favorite pair until now has been the UE Super.fi 5 Pro, but Logitech UE did it even better with the new UE 900s."
Meta review site Engadget wrote about the headset: "The UE 900s offer sound quality and a fit that comes close to what you'll get from UE's custom-fit in-ear models, with 9 sets of tips to fit just about any ears." However they noted that it is a relatively expensive product.
Michael Calore of Wired in an article "Ear Medicine" summarized his opinion about UE 900 as following: "The new flagship audiophile earphones from Ultimate Ears are just as awesome and perfect and beautiful-sounding as you’d expect from a $400 headset." He noted, that stunning audio quality may justify the high cost. However, he somewhat disliked the fit that he called "intrusive", commenting that it might not be for everyone.
BT Travel, a mainstream magazine for Business Traveling, noted that the noise isolation was very good during the test on a flight, however in his opinion it can also be a problem if someone would like to start a conversation with the listener.
IT News Africa's staff writer wrote that the sound "is delivered cleanly".
Mixmag, a British electronic dance and clubbing magazine, wrote about UE 900: "Logitech UE have released one of their most hi-def earphones ever."
PC Magazine wrote, that assigning armatures to different frequencies allows for more detail in each specific range, so that deep lows and crisp highs get their own driver. The lows are subtly lifted, "which allows instrumental and classical pieces, like John Adams' "The Chairman Dances," to retain a natural sound."
Wired was impressed by the audio quality and commented that UE 900s produce "some truly glorious sound, supremely rich from one end of the audio spectrum to the other. The bass is heavy and direct. Mid-range frequencies are perfectly represented, and the chiming highs are only slightly tempered at the very, very top end." The reviewer also noted an excellent clarity and ability to hear details he had never picked up on before.
ZDNET characterized the sound as clean, crisp, and authentic. The reviewer also noted that it seemed like he was in the recording studio with the bands and he has not heard sound this good before. While using UE900s with Beats Audio, that is introduced in a number of HTC smartphones, he noted a significant improvement in the music he was listening to.
Stereophile's writer Ariel Bitran related his opinion about the sound: "The earphones propelled the beat with confidence, discipline, punctuation, and control, accenting the chunkiness of the groove without being edgy." In his opinion the treble was chunky, resulting in a very non-fatiguing experience. Cymbals were somewhat grainy, while the midrange was ultra-clean. He could carefully discern instruments and follow them. Bass extended deep and he could hear normally inaudible or subdued whole-note bass synths in the chorus as warm and full-bodied for their entire duration. However, some highly compressed recordings such as the Red Hot Chili Peppers sounded "boxed".
He also noted: "Most importantly, the sound is realistic, controlled and involving. Instruments are rich with tone. Attacks are carefully restrained, but the high end is still involving with its texture. Music is presented cleanly in front of the listener."
Witchdoctor, a New Zealand's Web magazine, wrote: "The 900’s are able to walk the fine line between being very revealing and being too clinical."


The Princeton field-reversed configuration (PFRC) is a series of experiments in plasma physics, an experimental program to evaluate a configuration for a fusion power reactor, at the Princeton Plasma Physics Laboratory (PPPL). The experiment probes the dynamics of long-pulse, collisionless, low s-parameter field-reversed configurations (FRCs) formed with odd-parity rotating magnetic fields. It aims to experimentally verify the physics predictions that such configurations are globally stable and have transport levels comparable with classical magnetic diffusion. It also aims to apply this technology to the Direct Fusion Drive concept for spacecraft propulsion. The PFRC was initially funded by the United States Department of Energy. Early in its operation it was contemporary with such RMF-FRCs as the Translation Confinement Sustainment experiment (TCS) and the Prairie View Rotamak (PV Rotamak).
At PPPL, the experiment PFRC-1 ran from 2008 through 2011. PFRC-2 is running as of 2019. PFRC-3 is scheduled next. PFRC-4 is scheduled for the mid-2020s. The electrical current that forms the field-reversed configuration (FRC) in the PFRC is driven by a rotating magnetic field (RMF). This method has been well-studied and produced favorable results in the Rotamak series of experiments. However, rotating magnetic fields as applied in these and other experiments (so-called even parity RMFs) induce opening of the magnetic field lines. When a transverse magnetic field is applied to the axisymmetric equilibrium FRC magnetic field, rather than magnetic field lines closing on themselves and forming a closed region, they spiral around in the azimuthal direction and ultimately cross the separatrix surface which contains the closed FRC region.
The PFRC uses RMF antennae which produce a magnetic field which changes direction about a symmetry plane oriented with its normal along the axis, half-way along the length of the axis of the machine. This configuration is called an odd parity rotating magnetic field. Such magnetic fields, when added in small magnitude to axisymmetric equilibrium magnetic fields, do not cause opening of the magnetic field lines and overall topology is preserved. The critical threshold magnitude of 'odd parity' rotating magnetic field, which opens up the axisymmetric equilibrium magnetic field lines, and fundamentally changes field topology is rather high.  Thus, the RMF is not expected to contribute to transport of particles and energy out of the core of the PFRC.<PIC> In an FRC, the name s-parameter is given to the ratio of the distance between the magnetic null and the separatrix, and the thermal ion Larmor radius. That is how many ion orbits can fit between the core of the FRC and where it meets the bulk plasma. A high-s FRC would have very small ion gyroradii compared to the size of the machine. Thus, at high s-parameter, the model of magnetohydrodynamics (MHD) applies. MHD predicts that the FRC is unstable to the "n=1 tilt mode," in which the reversed field tilts 180 degrees to align with the applied magnetic field, destroying the FRC.
A low-s FRC is predicted to be stable to the tilt mode. An s-parameter less than or equal to 2 is sufficient for this effect. However, only two ion radii between the hot core and the cool bulk means that on average only two scattering periods (velocity changes of on average 90 degrees) are sufficient to remove a hot, fusion-relevant ion from the core of the plasma. Thus the choice is between high s-parameter ions that are classically well confined but convectively poorly confined, and low s-parameter ions that are classically poorly confined but convectively well confined.
The PFRC has an s-parameter between 1 and 2. Stabilizing the tilt-mode is predicted to aid confinement more than the small number of tolerable collisions will hurt confinement. Scientists from Princeton Satellite Systems are working on a new concept called Direct Fusion Drive (DFD) that is based on the PFRC. It would produce electric power and propulsion from a single compact fusion reactor. The first concept study and modeling (Phase I) was published in 2017, and was proposed to power the propulsion system of a Pluto orbiter and lander. Adding propellant to the cool plasma flow results in a variable thrust when channeled through a magnetic nozzle. Modeling suggests that the DFD might produce 5 Newtons of thrust per each megawatt of generated fusion power. About 35% of the fusion power goes to thrust, 30% to electric power, 25% lost to heat, and 10% is recirculated for the radio frequency (RF) heating. The concept has advanced to Phase II to further advance the design and shielding.


General Sir Reginald John Thoroton Hildyard, KCB, CMG, DSO (11 December 1876 – 29 September 1965) was a British Army officer who saw active service in the Second Boer War and the First World War. He was Governor and Commander-in-Chief of Bermuda from 1936 to 1939.<PIC> The third son of General Sir Henry Hildyard, by his marriage to Annette, the daughter of Admiral James Charles Prevost, Hildyard's brothers were Harold Charles Thoroton Hildyard (born 1872) and Gerald Moresby Thoroton Hildyard (1874–1956). He also had one sister, Edith Mary Thoroton Hildyard. Hildyard was commissioned into The Queen's Own (Royal West Kent Regiment) in 1896. He was promoted captain in 1904, major in 1915, colonel in 1919, major general in 1929, lieutenant general in 1934, and general in 1938.
Hildyard served in South Africa during the Second Boer War of 1899–1902, receiving the Queen's Medal with four clasps and the King's Medal with two clasps; from 1900 to 1903 he was employed with the South African Constabulary and served as Aide-de-camp (ADC) to the lieutenant general commanding in South Africa, from 1904 to 1905, then as ADC to the General Officer Commanding, Africa, from 1905 to 1908. He was a General Staff Officer (3rd grade) at the War Office from 1911 to 1913, then Brigade-Major in the Southern Command, 1913 to 1914, and passed the Staff College. He served in the First World War of 1914–1918, was seven times mentioned in despatches, and was appointed a Companion of the Distinguished Service Order and a Companion of the Order of St Michael and St George. He was also appointed a Companion of the Order of the Bath in 1928 and appointed to command the 2nd Rhine Brigade later that year. He served as General Officer Commanding the 43rd (Wessex) Infantry Division, Territorial Army, from 1930 to 1934, and was appointed a Knight Commander of the Order of the Bath in 1936. From 1936 to 1939, Hildyard was Governor and Commander-in-Chief of Bermuda. He retired the service in 1939. Hildyard promoted the Bermuda Government's plans to establish birth control clinics on the island in order to "check the growth of the Negro population," because they represented "the biggest problem" of the "Colony's major difficulties" online archive. The 1939 census recorded 3,098 coloured, 124 white, and 64 Portuguese persons of illegitimate birth. Bermuda's population was undergoing rapid and accelerating growth at the time, with fears that it had already passed a sustainable level. In 1699, ninety years after settlement began, the population had been 5,862; by 1811 it had been 10,180; by 1871 it had been 12,101; by 1911 it had been 18,994; by 1931 it had been 27,789, and by 1939 was 30,799. This was partly down to high birth rates, which, as elsewhere in the world, were highest amongst the least affluent and privileged, who in Bermuda were disproportionately coloured (which, in Bermuda, designated anyone not entirely of European ancestry). There was also a long history of white fears over the changing ratio of coloured to white Bermudians, which had resulted in official barriers being placed against the immigration of free coloured people and the discouragement of the importation of enslaved coloured people (which had included Native Americans during the Seventeenth Century). Efforts had also repeatedly been made to compel the emigration of free, and to encourage the export of enslaved, coloured Bermudians. As coloured Bermudians lived cheek-by-jowl with the white, the different sub-groups of the population inevitably blended together. Although whites started with a clear majority, with every child of a coloured and a white parent added to the coloured total instead of the white, the coloured to population consequently grew faster, making up 2,247 of Bermuda's population of 5,862 in 1699, 4,919 of the 10,381 total in 1783, 5,596 of 9,930 in 1843, 12,303 of 18,994 in 1911, 16,436 of 27,789 in 1931, and 19,318 of 30,799. Since the end of slavery in 1834, the local government had encouraged white immigration through a number of methods, though the large Portuguese Bermudian demographic (2,622 in 1939) that was one of the results was treated as a third racial category, separate from whites. There had, however, also been considerable immigration since the end of the Nineteenth Century from British West Indian colonies which had added to the coloured population. On 23 November 1911, Hildyard married Muriel Mary Bonsor (1887–1975), the daughter of Sir Cosmo Bonsor, 1st Baronet, by his second marriage to Mabel Grace Brand.
Hildyard died on 29 September 1965 and at the time of his death was living at South Hartfield House, Coleman's Hatch, Sussex.


Cory Lamar Crossgill Burke (born 28 December 1991) is a Jamaican professional footballer who plays as a forward for the Philadelphia Union of Major League Soccer and the Jamaica national team.  Between 2013 and 2015, Cory Burke played three seasons for Rivoli United, where he totaled 25 goals and was second in goals in Jamaica's Red Stripe Premier League for the 2015–16 season. Burke's performance for Rivoli United sparked interest abroad and on 17 February 2016, he joined the newly formed Bethlehem Steel FC on a year-long loan. After registering 4 goals from 20 appearances during Steel FC's 2016 season, Burke's loan deal was made permanent by official transfer in November 2016.<PIC> After spending two seasons with Philadelphia Union's USL affiliate in Bethlehem, Burke was officially signed to the MLS team on 21 December 2017. Burke made his debut for the Union on 3 March 2018, as a substitute in the home opener against New England Revolution, registering an assist on the Union's second goal. Burke began to establish himself as a regular starter, culminating in being the joint top scorer on the season (alongside Fafa Picault) with 10 goals.
Due to an error in renewing his U.S. visa in May 2019, Burke was unable to play for the Union. At the time, he was also in the process of applying for a green card for permanent residency in the U.S. He officially returned to Philadelphia in October 2020 and made his first appearance in 18 months as a substitute against New England Revolution. Burke scored against the Revolution weeks later as the final goal of the Union's season, resulting in the team's first MLS Supporter's Shield title.
At the conclusion of the 2020 season, Burke signed a new two-year contract with the Union, with an option for a third year. On 4 September 2019, Burke was loaned to Portmore United whilst his ongoing visa issue were solved. During his time with Portmore, Burke found consistent scoring form leading the league's scoring with 11 goals (7 goals in 8 matches) midway through the season. Burke finish his time at Portmore with 11 goals in 20 matches.
On 6 February 2020, Burke moved to Austrian Bundesliga side St. Pölten on loan until June 2020 as a result of his visa issues. He scored his first goals for St. Pölten on 2 June, netting a hat-trick against Swarovski Tirol. Burke scored 4 goals from 11 appearances during his loan in Austria. In 2016, Burke made his senior team debut versus Haiti and scored his first international goal against Guyana. Burke's second international goal was scored against Suriname in the final group match of the 2017 Caribbean Cup qualification, sending Jamaica to the 2017 Gold Cup. Burke made five appearances during the 2017 Gold Cup, where Jamaica finished runner-up to the United States.
Burke scored four goals for Jamaica during the 2019–20 CONCACAF Nations League qualifying ultimately helping Jamaica earn a spot in League B of the inaugural competition.
During the 2021 CONCACAF Gold Cup, Burke was called up alongside Philadelphia Union teammates Andre Blake and Alvas Powell. He scored an equalizing goal against Guadeloupe during the group stage; marking his seventh national team goal. Making four appearances for the Reggae Boyz during the competition, Jamaica was ultimately knocked out during the quarterfinals against the United States.  Appearances in the USL Cup Playoffs
Appearances in the U.S. Open Cup
Appearances in the MLS Cup Playoffs
Appearances in the CONCACAF Champions League  Philadelphia Union
Supporters' Shield: 2020


The GMA Network Center is the headquarters and broadcast complex of the GMA Network, a major radio and television network in the Philippines. It is located at EDSA corner Timog Avenue, Diliman, Quezon City. It is the network's main television and radio production center, and its main transmission facility for most of Metro Manila. The building houses Super Radyo DZBB 594 AM, Barangay LS 97.1 FM, GMA-7 and GTV-27.
GMA inaugurated the facility on June 14, 2000, the birthdate of GMA Network, as part of the kick-off of its year-round celebration of its 50th golden anniversary. While the first phase of the project has already been completed with the completion of the 17-storey high-rise building, the center has an option to upgrade the older, existing facilities in the GMA compound, as originally planned.
The center is equipped with MARC (Multiple Automated Recorder Cassette) System with a D3 format digital video recorder and a Broadcast Automation System that allows the network to manage live feeds and international feeds that will be carried out to GMA Pinoy TV, GMA Life TV and, GMA News TV International subscribers around the world.<PIC> GMA Network Center serves as the corporate office of the company. Most of the core departments of the company like the human resources, finance, and marketing are located in the building. The newsroom of GMA News and GMA News Online is located on the 2nd floor. The production offices and staff offices of GMA News and Public Affairs, GMA Entertainment Group, GMA Regional TV, and GMA International are also based on the building. The network's post-production unit, engineering department, program management, and talent development (Sparkle GMA Artist Center) are also located in the building.
Some of the network's subsidiaries are also based here. The GMA New Media, Inc. (NMI) and its subsidiary, Digify are located in the twelfth floor while the Worldwide division of the network is on tenth floor. Also, the management and staffs of GMA Network Films, GMA Music, and Script2010 are located here. The GMA Network complex has a total area of 17,184 square-meters (including the 4,053 sqm Studio Annex) located in EDSA corner Timog Avenue, Brgy. South Triangle, Diliman, Quezon City. The complex is the main headquarters and the main radio and television production hub of the network. It contains several building, including the GMA Network Center and GMA Network Studio Annex.
The network has held office in the complex since 1957 with its television broadcasts started in 1961, having moved from the Calvo Building in Escolta, Manila (where the network, then known as Loreto de F. Hemedes, Inc., later renamed Republic Broadcasting System, had its first studios and corporate offices since its inception in 1950).
The complex contains seven studios and various production hubs for its production arms, GMA News and Public Affairs and GMA Entertainment Group. It also houses radio studios for Super Radyo DZBB 594 kHz and Barangay LS 97.1, as well as recording studios for GMA Music. A convenience store, canteen, and ATM are also available serving the employees working in the complex.
The buildings between the Network Center and Studio Annex contains several studios and production offices, as well as the Kapuso Center, where the GMA Kapuso Foundation, the "Action Center" for Sumbungan ng Bayan, and the office of the public service show, Kapwa Ko Mahal Ko. One of the buildings here served as the studios and offices of Barangay LS 97.1 and Super Radyo DZBB before moving to the Studio Annex. This area is believe to become the site for the new building to be built in the complex.
On the Network Center's front, a sculpture called "Beyond Broadcasting" was built and designed by the artist, Eduardo Castrillo. GMA Network has seven studios in the complex. The studios were named Studios 1-7 (except German Moreno Studio) based on their size. Three of the studios (Studios 2, 3, and 5) are located in the GMA Network Center while Studios 1 and 4 are on the old GMA Building between the Network Center and Studio Annex. While German Moreno Studio and the Studio 7 are located on the GMA Network Studio Annex. Studios 2, 3, and 5 are currently used by GMA News and Public Affairs programs. While the remaining studios are being used by entertainment programs, with Studios 1 and 4 are for small production that needs no audience or just small audience and German Moreno Studio and Studio 7 are used by large production that needs large audience or big set. All the studios in the complex is in high-definition and considered state-of-the-art. Studios in the old GMA Building are currently being renovated.
• Studio 1 - is a studio located on the old GMA Building. It is one of the oldest and smallest studios in the complex. Some of GMA News TV's (now GTV) defunct programs are being taped here. Currently, this studio is under renovation.
• Studio 2 - is the second smallest studio in the complex. The studio is equipped with HD video systems and cameras, as well as audio systems like audio mixer and overrides. The studio is currently used by GTV's noontime newscast, Balitanghali, afternoon newsmagazine show, Dapat Alam Mo!, and State of the Nation. The green screen used on weather reports of GMA News' programs is also located here.
In 2022, the studio was renovated for the Eleksyon 2022, the 2022 Philippine national and local elections coverage of GMA News and Public Affairs. The newly renovated studio was designed by the Emmy award-winning US firm, FX Design Group and uses the latest technology from Vizrt and Red Spy. It features LED video walls, color-changing panels, and an open-floor space.
• Studio 3 - is the third smallest studio in the complex. It is the home studio of the Philippines' longest morning show, Unang Hirit.
• Studio 4 - is the fourth largest studio in the complex. It is located in the old GMA Building and one of the oldest studios in the complex. The studio is currently occupied by the Saturday morning talk and lifestyle show, Sarap, 'Di Ba?.
• Studio 5 - is the third largest studio in the complex. It is one of the most technologically advanced studio in the country. It is equipped with state-of-the-art broadcast equipment like HD video systems, audio systems, and cameras. In 2019, the studio was renovated. The renovation makes the studio equipped with augmented reality (AR) technology and immersive graphics by Vizrt. The studio has large video walls, video floors, and a lot of TV screens used by news programs. GMA's flagship newscasts, 24 Oras and its weekend edition, as well as the late night newscast, Saksi are being broadcast live in this studio.
• German Moreno Studio - formerly Studio 6, is the second largest studio of GMA. It is located in the GMA Network Studio Annex. The studio's total area is 638-square-meter that can accommodate an audience of more than 400. The studio was named after the late German "Kuya Germs" Moreno on its 85th birthday on October 4, 2018. Like other studios, it is also equipped with HD video systems, audio systems, and lighting system. It is the former home of Wowowin and Walang Tulugan with the Master Showman.
• Studio 7 - is a 1020-square-meter studio in the GMA Network Studio Annex that can accommodate up to 600 audience. It is the largest studio in the complex and one of the largest in the Philippines. The studio is equipped with HD video systems, lighting system, and state-of-the-art audio systems that can be used on musical shows and live concerts. It is the first studio in the country installed with aluminum truss motorized suspension system. It is used by various shows of GMA like All-Out Sundays, The Boobay and Tekla Show, Bubble Gang, and most of the reality and game shows produced by the network. GMA Network Studio Annex is a 4-storey television facility owned by GMA Network. It was built in a 4,308-square meter land that is part of the 17,184-square meter complex in the Brgy. South Triangle, Diliman, Quezon City. The structure costs as much as PhP1 billion. The construction was begun in 2006 and completed in 2008.
The building houses two state-of-the art HD studios, as well as offices for GMA Network's subsidiaries and departments. It also houses studio support facilities, set construction facilities, set and props storage, and facilities for broadcast equipment. Some production offices of GMA News and Public Affairs and GMA Entertainment Group are located on the third and fourth floor of the building. Aside from offices, the building has also rehearsal rooms, dressing rooms, and make-up room for the network's talents, as well as conference rooms and editing rooms for pre-production and post-production of programs. A bridge also connects the building to the rest of the compound.
On 2021, Radio GMA (RGMA Network), the owner of Super Radyo DZBB and Barangay LS 97.1, moved to the third floor of the building. The new office has two studios (one for the FM station and one for AM station), as well as technical rooms for radio and television broadcasting and office for anchors and management.
The GMA Network Studios was unveiled on October 17, 2008, with a red carpet event. The red carpet event was attended by President Gloria Macapagal-Arroyo, the country's president at that time and network's big stars. There are two studios in the building, the German Moreno Studio (formerly Studio 6) and the Studio 7. Both studios are equipped with HD video system, audio equipment, and lighting system, as well as self-climbing hoist that is used in big studios, theaters, and concert halls worldwide. Also, both studios are equipped with Digital Speaker Management systems that standardize digital feedback elimination, ensure accurate sound quality, and allow studio-to-studio link for multi-studio audio communication.
In terms of audio equipment, both studios are designed for musical shows and live concerts through their state-of-the-art audio systems.
The building is beside MRT Station and EDSA so loud noise from these is a major problem for the studios. As a solution, the network used box-in-a-box concept or room-in-a-room concept wherein the walls of the studios are located inside the building to block the noise from outside. The visible room is enclosed with a bigger room acting as a sound barrier. On March 24, 2014, GMA Network launched its own version of "Walk of Fame" outside Network Annex, over 190 celebrities and news & public affairs personalities received the plaque. The concept of this "Walk of Fame" was done by the late German "Kuya Germs" Moreno who was also behind the Eastwood City's Walk of Fame. GMA Network plans to construct a new building and state-of-the-art studios within the complex. The building was featured on the 2019 musical-comedy film, The Mall, The Merrier.


Portrait of Catharina Hooghsaet (1607–1685) is a 1657 painting by the Dutch Golden Age painter Rembrandt.<PIC> This painting was documented by Hofstede de Groot in 1915, who wrote:
652. CATHARINA HOOGHSAET (1607 -after 1657). Sm. 546. and Suppl. 32; Bode 247; Dut. 216; Wb. 234; B.-HdG.  454.
Full length; life size. She sits in an arm-chair, on which both her arms are stretched out; she is turned to the left and looks in that direction.
She holds a handkerchief in her right hand. She wears the black gown of a citizen's wife, with a plain flat white collar and a white cap, covering
her hair, which is smoothly combed back. Beside her. to the left is a table with a Turkish carpet having a red pattern. Above the table a
metal ring with a parrot hangs from a bracket fixed to the wall. In even daylight. Dark background.
Signed to the left at top on two labels on the wall-bracket, "Catrina Hooghsaet, out 50 jaer, Rembrandt 1657"; canvas, 49 1/2inches by 38 1/2 inches.
Mentioned by Vosmaer, p. 557; Bode, pp. 516, 590; Dutuit, p. 47; Michel, p. 558 [433]; Waagen, ii. 336; Moes, No. 3684.
Exhibited at the British Institution, London, 1851, No. 52; at the Royal Academy Winter Exhibition. 1873, No. 137, and 1899, No. 75 at the Grafton Gallery, London, 1911, No. 60.
Sale. Lord Le Despencer, London, 1831 (£178 : 10s.). In the possession of the London dealer Peacock, 1842.
Sales. E. Higginson of Saltmarsh Castle, London, June 4, 1846 1842 catalogue, No. 39 (£798, Turner, bought in).  E. Higginson, London, 1860 (£777, Farrer). In the collection of Lord Penrhyn, Penrhyn Castle.
The painting is unusual for a portrait as it features a pet. Catharina is looking at her pet parrot with a satisfied look that prompted Horst Gerson to remark that her lively commune with her pet bird would make an interesting subject for a book about Rembrandt and animals. The biography of Catharina Hooghsaet was written in 2014 and at the time the painting was made, she was aged 50 and living estranged from her husband.
Catharina is wearing the sober black dress of the Mennonite community but the silk sheen of her dress, pearl pin, hairpin, ring and gold cap support show off her wealth. The same year she commissioned the portrait she drew up her will and named several nieces and nephews and sums to the poor of both the Mennonite community and the Reformed community. The Rembrandt portrait was left to her brother along with 2000 guilders, and the parrot was to be left to Giertje Crommelingh. Genealogy experts from the Dutch Hoogzaad family paid a visit to the Rijksmuseum in 2007 when the painting was on loan there. The Hoogzaad family papers showed that Catharina or Catrina or Trijn was the granddaughter of Dirck Pietersz van Nierop, a man from a farm in Nieuwe Niedorp called Hoochsaet and that this is the origin of the Hoogzaad name. The painting had been on loan since November 2006 for the end of the Rembrandt year celebrated in Amsterdam. An article in the Noord-Hollands Dagblad mentions the Hoogzaad family's work and that the owners of the painting, the family Douglas-Pennant, were at that time negotiating a sale with the Rijksmuseum for €70 million. The NRC during the same period also remarked on the possible Rembrandt deal, but did not mention a price. The Rijksmuseum had earlier acquired the Jan Steen painting from the Douglas-Pennant family in 2004 called A Mayor of Delft and his Daughter. The painting was lent to the National Gallery in 2014 for an exhibition on Rembrandt's late works, travelled to the Rijksmuseum the following year. It was then owned by Penrhyn Castle and was sold shortly after. The painting was to be sold to a private collector outside the UK for £35 million in September 2015 but had not received an export license yet in October. Since 2016 the painting has been on display in the National Museum Cardiff.


Trinity High School is a public high school on a hilltop overlooking Washington, Pennsylvania, United States. Its bell tower has been a landmark in Washington County for over a century.
It is designated as a historic public landmark by the Washington County History & Landmarks Foundation.  The historic section of the school was once Trinity Hall School for Boys that operated from 1879 to 1906. The historic school grounds in North Franklin Township date back to the 1850s when Joseph McKnight built a home on top of a hill overlooking the then-borough of Washington, Pennsylvania.  This twenty-five room Italianate mansion called Spring Hill now functions as the district's administrative offices connected to Trinity High School.
Spring Hill was purchased by William Smith, a prominent Washington dry goods merchant, as the new home for his son. The Smith family hired Boston-based landscape artist Robert Morris Copeland to prepare the grounds along Catfish Creek before it was occupied by William Wrenshaw Smith and his wife Emma Willard McKennan Smith. Wrenshaw Smith was a cousin to Julia Dent, wife of President Ulysses S. Grant. Wrenshaw Smith also served as Grant's aide-de-camp during the Civil War and Grant visited the Spring Hill mansion on multiple occasions. William Wrenshaw Smith was a devout Episcopalian and longtime vestryman at Trinity Episcopal Church, then located on Beau Street near Washington and Jefferson College. During the 1860s, Smith worked alongside John Barrett Kerfoot, newly elected Bishop of Pittsburgh, to create a boys’ school following the curricular model of famed priest-educator William Augustus Muhlenberg.  In this model, “the school was to be like a large family with a priest as rector serving as father-figure in loco parentis.” Trinity Hall operated from 1870 to 1906 attracting members of prominent regional families including Heinz, Carnegie, Kammerer, and LeMoyne along with a grandson of President Grant.
In 1883, Trinity School for Boys began adopting elements of Muscular Christianity. This included a “military department” for purposes of exercise and a more generic Protestant Christianity in place of Muhlenberg's strictly Episcopalian church school model. Sometimes this leads to overemphasis on the military nature of the school and mistaken conclusions that Trinity Hall was a strict military academy. Various Episcopal priests served as school rector until the 1890s when patron William Wrenshaw Smith became lay rector, a change possibly due to declining enrollment and revenue. Trinity Hall closed in 1906, two years after Smith's death. Trinity Hall, a Smith family property, stood vacant for nearly two decades. In 1922, it was unsuccessfully considered as a site for relocating Presbyterian-affiliated Washington Female Seminary. Then in 1925 the townships of Amwell, Canton, North Franklin, and South Strabane purchased the Trinity Hall property to repurpose as a joint public high school. The sale nearly fell through. Amwell Township's secretary refused to sign documents until forced to do so by the Pennsylvania Supreme Court. The classroom block of Trinity Hall was used from 1883 until 2004. It was demolished in 2006. The Spring Hill section of Trinity Hall continues to serve as offices for Trinity Area School District.
Today, Trinity is a modern public school housing approximately 1,279 students in grades 9–12 on a campus-style setting. Trinity Area School District maintains a small Trinity Hall Museum open by appointment only. Trinity High School offers a wide variety of extracurricular activities and sports.  Football, baseball, basketball, soccer, cross-country, track, wrestling, volleyball, golf, rifle, lacrosse, ice hockey, swimming, softball, tennis, and cheerleading are available at Trinity.  They are in the WPIAL AAA and AAAA divisions for their sports.  The ice hockey teams compete in the PIHL Open Division.<PIC> Abraham Higginbotham, actor, comedian, and TV producer
Jesse William Lazear, yellow fever researcher
Joseph Albert Walker, American astronaut and test pilot


Timothy R. Coffin is a retired United States Army brigadier general who became the 33rd Commanding General of the White Sands Missile Range on 2 July 2014.
A graduate of Wheaton College, which he attended on an Army Reserve Officer Training Corps scholarship, Coffin was commissioned as an officer in the Quartermaster Corps in December 1981. He was the group supply maintenance officer and logistics plans officer at Army Special Operations Forces Europe from 1982 to 1985. He was watch commander at the United States Space Command and North American Aerospace Defense Command from 1996 to 1999, when he joined the United States Army Space and Missile Defense Command (USASMDC) staff as the G-4 (Logistics Officer) . He subsequently became commander of the 1st Space Battalion. He was deployed to Afghanistan in support of Operation Enduring Freedom as chief of the U.S. Strategic Command Forward Integration Team, Kandahar Air Field, from July 2010 to January 2011, and was Deputy Commanding General for Operations of USASMDC from 2011 to 2014.<PIC> Timothy R. Coffin attended Wheaton College in Wheaton, Illinois, from 1977 to 1981 on a four-year Army Reserve Officer Training Corps scholarship, graduating with a Bachelor of Arts in Communications. He was commissioned as an officer in the Quartermaster Corps in December 1981. He completed the Officer Basic Course, and was posted to Bad Toelz, Germany, where he served as the group supply maintenance officer and logistics plans officer at Army Special Operations Forces Europe from 1982 to 1985. Returning to the United States in 1985, Coffin completed the Quartermaster Officer Advanced Course, and was posted to Fort Hood, Texas, as the deputy materials officer and S-3 of the Armor Support Battalion. He then assumed his first command, of the 62nd Supply and Services Company, part of the 554th Supply and Services Battalion in the 13th Corps Support Command.
In 1989, Coffin went to Washington, D.C., where he was a recorder for Army promotion and selection boards in the  Army Secretariat. He was then assigned to the Joint Staff, working as an intern in J-4 for General Colin Powell. He attended the Command and General Staff College at Fort Leavenworth, Kansas, from 1992 to 1993, and then the School of Advanced Military Studies from 1993 to 1994. He became a division planner with 4th Infantry Division at Fort Carson, Colorado, and then executive officer of the 64th Forward Support Battalion until 1996.
Coffin then became an intelligence watch commander at the United States Space Command and North American Aerospace Defense Command. In 1999, he joined the United States Army Space and Missile Defense Command (USASMDC) staff as the G-4 (Logistics Officer) and subsequently became commander of the 1st Space Battalion. In 2001, he joined the Army staff as a space and aviation system integrator. He attended the Army War College from 2001 to 2002, receiving a Master of Science (M.S.) degree in Military Security Policy and Strategy, and became  Chief of the Space and Missile Defense Division on the Army Staff.
Coffin was the Director for Combat Developments in the USASMDC's Future Warfare Center until 2006, when he assumed command of the 1st Space Brigade. From July 2008 to February 2011, he was J3 and J7 of the Joint Functional Component Command for Space (JFCC SPACE). He deployed to Kabul, Afghanistan, in 2010 in support of Operation Enduring Freedom as chief of the U.S. Strategic Command Forward Integration Team, Kandahar Air Field, from July 2010 to January 2011.
From June 2011 to December 2012, Coffin was Deputy Commanding General for Operations of USASMDC. He was promoted to the rank of brigadier general in a ceremony at USASMDC Operations headquarters at Peterson Air Force Base, Colorado, on 6 June 2012, with Lieutenant General Richard P. Formica administering the Oath of Office. While his father Bernie looked on, his wife Kristy and daughter April pinned on his stars. He was Deputy Commander of JFCC SPACE until 2 July 2014, when he became the 33rd Commanding General of the White Sands Missile Range. This was Tim’s last assignment as he was retired in 2017. Coffin's  awards and decorations include the Defense Superior Service Medal, the Legion of Merit with two oak leaf clusters, the Defense Meritorious Service Medal and the Meritorious Service Medal with three oak leaf clusters. He has earned the Joint Staff Identification Badge, Army Staff Identification Badge, Master Space Badge, and both the United States and German Parachutist Badges. In November 2013 he was selected as a fellow of the American Institute of Aeronautics and Astronautics. Coffin, Major Timothy R. (1994). How Big Is the Canvas for Operational Art? (PDF). Fort Leavenworth, Kansas: School of Advanced Military Studies. Archived (PDF) from the original on 24 September 2015. Retrieved 19 July 2015.


Toshio Miyazaki (宮崎敏夫, Miyazaki Toshio, extra-December 18, 1899 – April 4, 1965) was a career officer in the Imperial Japanese Navy. He gained notoriety in the United States after his arrest and subsequent deportation for espionage activities. A protégé of Admiral Isoroku Yamamoto, during the Pacific War his anticipated promotion to the senior staff of the Combined Fleet was not realized due to Yamamoto’s death, and he ended the war with the rank of captain.<PIC> A native of Kobe in Hyogo Prefecture, Miyazaki graduated from the 48th class of the Imperial Japanese Naval Academy, rated 5th of his class of 171 cadets. His classmates included Tamotsu Oishi. He was commissioned as an ensign in 1921. After graduating from torpedo warfare school, he served as Torpedo Officer on the light cruiser Nagara and the heavy cruiser Kako.
During his term at the 30th class of Navy Staff College, Miyazaki came under criticism for sabotaging a war game exercise which was unfairly weighed so that the team playing the Japanese side would always defeat the team playing the American side. His actions were supported by Admiral Jisaburō Ozawa and he was allowed to graduate. Afterwards, as a lieutenant commander, he was sent to Stanford University in California from 1933 for further studies, but his real role was to work in naval intelligence to build a spy ring and gather information on American military activities on the west coast of the United States. Operating under the name of “Mr. Tanni”, he recruited former Navy yeoman Harry Thomas Thompson, in San Pedro, California in the run-up to World War II. Thompson agreed to board U.S. Navy ships dressed in a yeoman's uniform, for the purpose of gathering information from the crews. Through this and other methods, he was able to sell engineering, gunnery, and tactical information about the Pacific Fleet that was mainly based in nearby San Diego at that time. Unfortunately for Thompson, the Director of the Office of Naval Intelligence (ONI), Capt. William D. Puleston, took a personal interest in so-called language students like Miyazaki. His suspicions were borne out when Japanese coded radio messages were intercepted and deciphered. On Thompson’s arrest in 1936, Miyazaki fled back to Japan. The incident was highly publicized, including in a 1943 novel by Alan Hynd, Betrayal from the East:  The Inside Story of Japanese Spies in America which was subsequently made into a movie.
After returning to Japan, Miyazaki was promoted to commander on 1 December 1936. He was given command of the destroyer Usugumo from 15 December 1938 until 20 October 1939. At the start of the Pacific War, on 15 October 1941, Miyazaki was promoted to captain and served on the staff of the IJN 5th Fleet. He subsequently was promoted to captain and served as commander of Destroyer Division 17 in the Southwest Pacific from 17 June to 18 December 1943, followed by a posting as senior instructor at the Torpedo School in Oppama. He was then made captain of the aircraft carrier Amagi followed by Katsuragi. He was still captain of the Katsuragi when the war ended, and was retained until the end of 1946 to command the vessel as a repatriation ship, bringing back former Japanese soldiers, POWs, and civilians from southeast Asia and Australia.