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Nigel Trevor Plews (5 September 1934 – 19 October 2008) was a cricket umpire, who stood in first-class and international level matches. He was born in Nottingham.

Plews was unusual for a top-level English umpire, in that he was one of only four umpires who have stood in Tests in England since World War II who did not play first-class cricket. He stood in 11 Test matches between 1988 and 1995.

He took up umpiring full-time after retiring from a 25-year career with the Nottingham city police force, where he was a detective sergeant – he was nicknamed "Serge" on the field – in the Fraud Squad.

He also stood in 16 One Day International matches and officiated at 11 Tests before retiring. Plews died of renal cancer on 19 October 2008.

= = = Kalamazoo Animation Festival International = = =

The Kalamazoo Animation Festival International (KAFI) is an organization that encourages and educates animation artists, promotes Kalamazoo's animation industry, and provides community entertainment. KAFI is a project of Kalamazoo Valley Community College. In addition to a biannual festival, KAFI sponsors events such as film screenings and workshops throughout the year.

KAFI's first festival, spearheaded by a local animation artist, drew 235 submissions and nearly 1,000 attendees in 2002. A second festival was held in 2003. Since then, an every-other-year schedule has been adopted, and KAFI has developed into one of the top 20 animated film festivals in the world. The 2007 festival attracted over 500 entries from 37 countries. In addition to an animated film competition with $15,000 in prizes awarded, the festival features events for students, artists, educators, filmmakers and the general public. Past KAFI award winners include Bill Plympton, Karen Aqua, Chris Landreth and John Canemaker.

The last festival seems to have been held in 2009.

= = = Cyril Ornadel = = =

Cyril Ornadel (2 December 192422 June 2011) was a British conductor, songwriter and composer, chiefly in musical theatre. He worked regularly with David Croft, the television writer, director and producer, as well as Norman Newell and Hal Shaper. He was awarded the Gold Badge of Merit by the British Academy of Songwriters, Composers and Authors for services to British Music and won a total of four Ivor Novello Awards.

Ornadel was born in London, England, into a middle-class Jewish family, and studied at the Royal College of Music. During the 1950s, he was famous for conducting the orchestra for the hit TV show "Sunday Night at the London Palladium". This followed as a musical director for a number of major West End shows, including the first London production of "My Fair Lady", and at the London Palladium the hit shows "The Sound of Music" and "The King and I" starring Yul Brynner. He composed several musicals of his own, including "Pickwick" (1963, lyrics by Leslie Bricusse), starring Harry Secombe, from which came the hit song "If I Ruled the World", which won an Ivor Novello Award; "Great Expectations" (1975) starring John Mills, both adapted from Charles Dickens; and "Treasure Island " (1973) adapted from Robert Louis Stevenson and starring Bernard Miles and Spike Milligan. "Great Expectations" and "Treasure Island" (both with lyrics by Hal Shaper) were designated Best British Musical at the Ivor Novello Awards.

He also penned the song "Portrait of My Love" (lyrics by Norman Newell), a hit for Matt Monro in 1960, which also won the 1960 Ivor Novello award for Best Song Musically and Lyrically. "At My Time of Life" from "Great Expectations" was recorded by Bing Crosby in 1976.

Ornadel's contribution to music for television includes scores for the remake of "Brief Encounter" (1974) starring Richard Burton and Sophia Loren, "Edward the Seventh" (1975), which won a BAFTA, starring Timothy West as Edward VII, and the music for the British television science-fiction series "Sapphire & Steel" (1979). He also conducted music with the London Symphony Orchestra for "The Strauss Family", by the eponymous composers and was presented with a gold disc for sales. A highlight of his career included conducting the London Symphony Orchestra at Wembley Arena with music from "The Strauss Family" in 1973. His film work included "Some May Live" (1967), "Subterfuge" (1968), "Wedding Night" (1970), "Not Now Darling" (1973), and many Pete Walker films including "Man of Violence" (1969), "Cool It Carol!" (1970), "Die Screaming, Marianne" (1971), "The Flesh and Blood Show" (1972) and "Tiffany Jones" (1973).

Ornadel's autobiography, "Reach for the Moon", was published by the Book Guild in 2007.

Ornadel died on 22 June 2011, aged 86.

= = = Word mark (computer hardware) = = =

In computer hardware, a word mark or flag is a bit in each memory location on some variable word length computers (e.g., IBM 1401, 1410, 1620) used to mark the end of a word. Sometimes the actual bit used as a word mark on a given machine is not called "word mark", but has a different name (e.g., "flag" on the IBM 1620, because on this machine it is multipurpose).

The term "word mark" should not be confused with group mark or with record mark, which are distinct characters.

= = = Lower Similkameen Indian Band = = =

The Lower Similkameen Indian Band or Lower Smelqmix, is a First Nations band government in the Canadian province of British Columbia. Their office is located in the village of Keremeos in the Similkameen region. They are a member of the Okanagan Nation Alliance.

The band's registered population is 500 with 209 band members living off-reserve.

Indian reserves under the band's administration are:

= = = LaborNet = = =

LaborNet is an AFL–CIO-backed online network focused on the labour movement.

LaborNet was launched following the 1990 NAFTA which created an interest to develop stronger union networks across borders to grow leverage against multinational corporations. Several bulletin board services were set up. Aside from LaborNet, SoliNet was created in Canada and La Neta in Mexico.

The LaborNet internet network was created in 1991 (or 1990) by the AFL–CIO (or the IGC/APC) to give a new boost to the labor movement. LaborNet was organized around industrial lines, allowing workers from different unions to communicate with each others.

The intent of LaborNet was to develop a labor-focused social network for activism. It was AFL-CIO's first two-way communication tool. Users had access to forums and could upload pdf files.

By 1992, LaborNet migrated its hosting to CompuServe. By 1995, LaborNet had 1000 subscribers, including 35 community labor councils. It moved to its own independent website in 1999. The plan was to further develop the social features of the website. By the end of the 1990s, LaborNet had 1,400 members. In 2001, LaborNet was established in Japan, where it held annual awareness events such as the "Labor Fiesta" and "Union, Yes!".

According to LaborNet's website, its "founders believe that the new communication technology must be put to use to revitalize and rebuild the labor movement." LaborNet aims to act as a syndicator for labor-related news and calls to actions

LaborNets are also set up in Canada, United Kingdom, Austria, Germany, Japan and Korea.

= = = Constant Janssen = = =

Dr. Jan Constant Janssen (18 September 1895 in Belgium, Vlimmeren – 15 April 1970 in Antwerp) was a Belgian physician and businessman. He was the third child (out of four) of Adriaan Victor Janssen (1854–1942) and Anna Catharina Eelen (1855–1929). He went to high school in Hoogstraten and studied medicine at the Catholic University of Leuven and the University of Ghent. On 16 April 1925, he married Margriet Fleerackers (Turnhout, 5 January 1897-Vosselaar, 23 September 1973), together they had four children. Their oldest son, Paul Janssen, would become one of the most successful scientists in pharmaceutics.

He started his career as a family physician in Turnhout, but in addition he was interested in business too. In 1921, he met Ladislas Richter in Vienna, who was the son of Gedeon Richter, who owned a pharmaceutical factory in Budapest, Hungary. In 1933, he acquired the right to distribute the pharmaceutical products of Richter, the Hungarian pharmaceutical company, for Belgium, the Netherlands and Belgian Congo. On 23 October 1934, he founded the "N.V. Produkten Richter" in Turnhout. In 1937 Constant Janssen acquired an old factory building in the "Statiestraat 78" in Turnhout for his growing company, which he expanded during World War II into a four-storey building. In 1938 he closed his practice as a family physician and concentrated his effort of the expansion of his pharmaceutical business. His wife managed the production, quality control, and the administration of the company.

Still a medical student, his son Paul Janssen helped with the development of Perdolan. After World War II, the brandname of the products was changed into "Eupharma", and later the company would evolve into Janssen Pharmaceutica.

= = = List of Degrassi soundtracks = = =

This is a list of "" soundtracks.

Songs from Degrassi: The Next Generation is a soundtrack album from the television series "". It was released as a digital download on 1 November 2005, following the , and as a CD on 8 January 2007.

Released following the , in 2006, "The N Soundtrack" contains songs from "Degrassi: The Next Generation", including the first recording by "Degrassi" actor turned rapper Drake, and other shows airing on The N and CTV.

Music from Degrassi: The Next Generation is a soundtrack album from the television series "". It was released as a digital download on 2 December 2008, following the , and as a CD on 9 December 2008.

During the , in 2009, "" was released to coincide with the "Degrassi Goes Hollywood" film.

During the , in 2010, "" was released to coincide with the "Degrassi Takes Manhattan" film.

Degrassi: The Boiling Point (Music from the Series) (simply Degrassi: The Boiling Point in Canada) is a soundtrack album from the television series "". It was released as a digital download on 1 February 2011, following the first half of the tenth season, and as a CD on 22 February 2011.

= = = The Union-Recorder = = =

The Union-Recorder is a daily newspaper published Tuesday - Saturday in Milledgeville, Georgia. It is owned by Community Newspaper Holdings Inc., who purchased it from Knight Ridder in 1997.

= = = Upper Similkameen Indian Band = = =

The Upper Similkameen Indian Band or Upper Smelqmix, is a First Nations band government in the Canadian province of British Columbia, whose head offices are located in town of Hedley in the Similkameen Country. They are a member of the Okanagan Nation Alliance.

The band's registered population in 2006 was 89, 20 of whom live off-reserve. Most of the band live on Chuchuwayha Indian Reserve No. 2.

Indian reserves under the band's jurisdiction are:

= = = Lenzerheide (Pass) = = =

Lenzerheide is the common name of a passage past a high mountain pass in the Alps in the canton of Graubünden in Switzerland, reaching summit at 1549 m between Valbella and Parpan, approximately 5 kilometers south of the resort of Lenzerheide.

The road connects Chur in the valley of the Rhine and Tiefencastel in the valley of the Albula, which is actually a tributary to the Rhine. The pass nevertheless offered a shortcut which additionally avoided the gorge "Schinschlucht" with its difficult terrain in the past. Nowadays most traffic to Tiefencastel would use the A13 motorway to Thusis to get to Tiefencastel on a main road.

The Lenzerheide road has a maximum grade of 11 percent and is open year-round, though road conditions frequently necessitate winter tires, especially between December and March.

Due to the local settlements nobody ever bothered to call the summit near Lenzerheide a mountain pass nor would an official document call it a pass. It will also not appear on road pass opening charts.

The mountain "Piz Scalottas" (el 2321 m.) offers a good view to overlook both routes via Lenzerheide or the Schinschlucht gorge. If you climbed the Lenzerheide pass road by mountain bike, the chairlift to Piz Scalottas will transport your mountain bike for free to the summit.

= = = LP record = = =

The LP (from "long playing" or "long play") is an analog sound storage medium, a phonograph record format characterized by a speed of  rpm, a 12- or 10-inch (30- or 25-cm) diameter, and use of the "microgroove" groove specification. Introduced by Columbia in 1948, it was soon adopted as a new standard by the entire record industry. Apart from a few relatively minor refinements and the important later addition of stereophonic sound, it has remained the standard format for record albums.

At the time the LP was introduced, nearly all phonograph records for home use were made of an abrasive (and therefore noisy) shellac compound, employed a much larger groove, and played at approximately 78 revolutions per minute (rpm), limiting the playing time of a 12-inch diameter record to less than five minutes per side. The new product was a 12- or 10-inch (30 or 25 cm) fine-grooved disc made of PVC ("vinyl") and played with a smaller-tipped "microgroove" stylus at a speed of  rpm. Each side of a 12-inch LP could play for about 22 minutes. Only the microgroove standard was new, as both vinyl and the  rpm speed had been used for special purposes for many years, as well as in one unsuccessful earlier attempt (by RCA Victor) to introduce a long-playing record for home use.

Although the LP was suited to classical music because of its extended continuous playing time, it also allowed a collection of ten or more pop music recordings to be put on a single disc. Previously such collections, as well as longer classical music broken up into several parts, had been sold as sets of 78 rpm records in a specially imprinted "record album" consisting of individual record sleeves bound together in book form. The use of the word "album" persisted for the one-disc LP equivalent.

The prototype of the LP was the soundtrack disc used by the Vitaphone motion picture sound system, developed by Western Electric and introduced in 1926. For soundtrack purposes, the less-than-five minutes of playing time of each side of a conventional 12-inch 78 rpm disc was not acceptable. The sound had to play continuously for at least 11 minutes, long enough to accompany a full reel of 35 mm film projected at 24 frames per second. The disc diameter was increased to 16 inches (40 cm) and the speed was reduced to revolutions per minute. Unlike their smaller LP descendants, they were made with the same large "standard groove" used by 78s.

Unlike conventional records, the groove started at the inside of the recorded area near the label and proceeded outward toward the edge. Like 78s, early soundtrack discs were pressed in an abrasive shellac compound and played with a single-use steel needle held in a massive electromagnetic pickup with a tracking force of five ounces (1.4 N).

By mid-1931 all motion picture studios were recording on optical soundtracks, but sets of soundtrack discs, mastered by dubbing from the optical tracks and scaled down to 12 inches to cut costs, were made as late as 1936 for distribution to theaters still equipped with disc-only sound projectors.

From 1928 onward, syndicated radio programming was distributed on 78 rpm discs. The desirability of longer continuous playing time soon led to the adoption of the Vitaphone soundtrack disc format. Beginning in about 1930, 16-inch  rpm discs playing about 15 minutes per side were used for most of these "electrical transcriptions". Some transcriptions were, like soundtrack discs, pressed with the commencement at the center of the disc and the needle moving outward (in the era of shellac pressings and steel needles, needle wear considerations dictated an 'inside start' for such a long recording); conversely, some commenced at the edge.

Longer programs, which required several disc sides, pioneered the system of recording odd-numbered sides inside-out and even-numbered sides outside-in so that the sound quality would match from the end of one side to the start of the next. Although a pair of turntables was used, to avoid any pauses for disc-flipping, the sides had to be pressed in a hybrid of manual and automatic sequencing, arranged in such a manner that no disc being played had to be turned over to play the next side in the sequence. Instead of a three-disc set having the 1–2, 3–4 and 5–6 manual sequence, or the 1–6, 2–5 and 3–4 automatic sequence for use with a drop-type mechanical record changer, broadcast sequence would couple the sides as 1–4, 2–5 and 3–6.

Some transcriptions were recorded with a vertically modulated "hill and dale" groove. This was found to allow deeper bass (because turntable rumble was laterally modulated in early radio station turntables) and also an extension of the high-end frequency response. Neither of these was necessarily a great advantage in practice because of the limitations of AM broadcasting. Today we can enjoy the benefits of those higher-fidelity recordings, even if the original radio audiences could not.

Initially, transcription discs were pressed only in shellac, but by 1932 pressings in RCA Victor's vinyl-based "Victrolac" were appearing. Other plastics were sometimes used. By the late 1930s, vinyl was standard for nearly all kinds of pressed discs except ordinary commercial 78s, which continued to be made of shellac.

Beginning in the mid-1930s, one-off 16-inch  rpm lacquer discs were used by radio networks to archive recordings of their live broadcasts, and by local stations to delay the broadcast of network programming or to prerecord their own productions.

In the late 1940s, magnetic tape recorders were adopted by the networks to pre-record shows or repeat them for airing in different time zones, but 16-inch vinyl pressings continued to be used into the early 1960s for non-network distribution of prerecorded programming. Use of the LP's microgroove standard began in the late 1950s, and in the 1960s the size of discs was reduced to 12 inches, becoming physically indistinguishable from ordinary LPs.

Unless the quantity required was very small, pressed discs were a more economical medium for distributing high-quality audio than tape, and CD mastering was, in the early years of that technology, very expensive, so the use of LP-format transcription discs continued into the 1990s. The "King Biscuit Flower Hour" is a late example, as are Westwood One's "The Beatle Years" and "Doctor Demento" programs, which were sent to stations on LP at least through 1992.

RCA Victor introduced an early version of a long-playing record for home use in September 1931. These "Program Transcription" discs, as Victor called them, played at  rpm and used a somewhat finer and more closely spaced groove than typical 78s. They were to be played with a special "Chromium Orange" chrome-plated steel needle. The 10-inch discs, mostly used for popular and light classical music, were normally pressed in shellac, but the 12-inch discs, mostly used for "serious" classical music, were normally pressed in Victor's new vinyl-based Victrolac compound, which provided a much quieter playing surface. They could hold up to 15 minutes per side. Beethoven's Fifth Symphony, performed by the Philadelphia Orchestra under Leopold Stokowski, was the first 12-inch recording issued. "The New York Times" wrote, "What we were not prepared for was the quality of reproduction...incomparably fuller."

Unfortunately for Victor, it was downhill from there. Many of the subsequent issues were not new recordings but simply dubs made from existing 78 rpm record sets. The dubs were audibly inferior to the original 78s. Two-speed turntables with the  rpm speed were included only on expensive high-end machines, which sold in small numbers, and people were not buying many records of any kind at the time. Record sales in the US had dropped from a high of 105.6 million records sold in 1921 to 5.5 million in 1933 because of competition from radio and the effects of the Great Depression. Few if any new Program Transcriptions were recorded after 1933, and two-speed turntables soon disappeared from consumer products. Except for a few recordings of background music for funeral parlors, the last of the issued titles had been purged from the company's record catalog by the end of the decade. The failure of the new product left RCA Victor with a low opinion of the prospects for any sort of long-playing record, influencing product development decisions during the coming decade.

CBS Laboratories head research scientist Peter Goldmark led Columbia's team to develop a phonograph record that would hold at least 20 minutes per side. Although Goldmark was the chief scientist who selected the team, he delegated most of the experimental work to William S. Bachman, whom Goldmark had lured from General Electric, and Howard H. Scott.

Research began in 1941, was suspended during World War II, and then resumed in 1945. Columbia Records unveiled the LP at a press conference in the Waldorf Astoria on June 18, 1948, in two formats: in diameter, matching that of 78 rpm singles, and in diameter. The initial release of 133 recordings were: 85 12-inch classical LPs (ML 4001 to 4085), 26 10-inch classics (ML 2001 to 2026), eighteen 10-inch popular numbers (CL 6001 to 6018), and four 10-inch juvenile records (JL 8001 to 8004). According to the 1949 Columbia catalog, issued September 1948, the first twelve-inch LP was Mendelssohn's Concerto in E Minor by Nathan Milstein on the violin with the New York Philharmonic, conducted by Bruno Walter (ML 4001). Three ten-inch series were released: 'popular', starting with the reissue of "The Voice of Frank Sinatra" (CL 6001); 'classical', numbering from Beethoven's 8th symphony (ML 2001), and 'juvenile', commencing with "Nursery Songs" by Gene Kelly (JL 8001). Also released at this time were a pair of 2-LP sets, Puccini's La Bohème (SL-1) and Humperdinck's Hansel & Gretel (SL-2). All 12-inch pressings were of 220 grams vinyl. Columbia may have planned for the Bach album ML 4002 to be the first since the releases came in alphabetical order by composer. (Bach, Beethoven, Brahms, Dvorak, Franck and Gershwin appear in order in the first 25 LPs) However Nathan Milstein was a hot property in the 1940s so his performance of the Mendelssohn concerto was moved to ML 4001. There have been two repressings of this LP, one from Classic Records to celebrate the 50th anniversary of the LP in 1998 and one from HMV (England) celebrating the 70th anniversary of the LP in 2018. There is also a CD of this album on the market.

When the LP was introduced in 1948, the 78 was the conventional format for phonograph records. By 1952, 78s still accounted for slightly more than half of the units sold in the United States, and just under half of the dollar sales. The 45, oriented toward the single song, accounted for just over 30% of unit sales and just over 25% of dollar sales. The LP represented not quite 17% of unit sales and just over 26% of dollar sales.

Ten years after their introduction, the share of unit sales for LPs in the US was almost 25%, and of dollar sales 58%. Most of the remainder was taken up by the 45; 78s accounted for only 2% of unit sales and 1% of dollar sales. For this reason, major labels in the United States ceased manufacturing of 78s for popular and classical releases in 1956 with the minor labels following suit, with the final US-made 78 being produced in 1959.

Canada and the UK continued production into 1960, while India, the Philippines, and South Africa produced 78s until 1965, with the last holdout, Argentina, continuing until 1970.

The popularity of the LP ushered in the "Album Era" of English-language popular music, beginning in the 1960s, as performers took advantage of the longer playing time to create coherent themes or concept albums. "The rise of the LP as a form—as an artistic entity, as they used to say—has complicated how we perceive and remember what was once the most evanescent of the arts", Robert Christgau wrote in "" (1981). "The album may prove a '70s totem—briefer configurations were making a comeback by decade's end. But for the '70s it will remain the basic musical unit, and that's OK with me. I've found over the years that the long-playing record, with its twenty-minute sides and four-to-six compositions/performances per side, suits my habits of concentration perfectly."

Although the popularity of LPs began to decline in the late 1970s with the advent of Compact Cassettes, and later compact discs, the LP survives as a format to the present day. Vinyl LP records enjoyed a resurgence in the early 2010s. Vinyl sales in the UK reached 2.8 million in 2012. US vinyl sales in 2017 reached 15.6 million and 16.7 million for 2018.