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Zoran Mirkovi?

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Zoran Mirkovi?
Personal information
Fullname
Zoran Mirkovi?
Dateofbirth
September 21, 1971 (1971-09-21) (age37)
Placeofbirth
Belgrade, SFR Yugoslavia
Height
1.82m (5ft 11+1?2in)
Playing position
Defender (retired)
Youth career
Rad
Senior career1
Years
Club
App (Gls)*
1989-19901990-19931993-19961996-19981998-20002000-20032004-2006
Radni?ki SvilajnacRadPartizanAtalantaJuventusFenerbah?ePartizan
01500(0)06200(1)08200(1)05100(0)02700(0)07100(3)04600(2)
National team
1994-2003
Serbia and Montenegro
05900(0)
1 Senior club appearances and goalscounted for the domestic league only.* Appearances (Goals)
Zoran ata Mirkovi? (Serbian Cyrillic: ????? ???? ????????) (born September 21, 1971 in Belgrade, Serbia, then SFR Yugoslavia) is a former Serbian footballer.
Contents
1 Football career
2 Career statistics
3 Outside the field
4 Honours
5 References
6 External links
//
Football career
FK Rad is the club where Mirkovi? began his professional career on March 3, 1991 (Proleter 2:1 Rad). But even before that he and his team mates won the Yugoslav title in the under 21 category, the biggest success this club ever had. Mirkovi? spent three seasons in Rad as a professional player, and all together played 62 games (five in 1990/1991 season, 26 in 1991/1992 season and 31 in 1992/1993 season), scoring a goal. His talent didn't go unnoticed by Partizan officials and they invited him to defend black and white colors.
Mirkovi? always describes the three years he spent in Partizan as the most beautiful years of his career and says Partizan is the club he loves the most. In those three years he established himself as a player, became a first choice player in Yugoslav national team and won three titles (Yugoslav Championship 1993/1994 and 1994/1995 and Yugoslav Cup 1993/94). He wore the number 2 jersey. He became a hero of Partizan fans because he is such a fighter, because of all the Crvena Zvezda players he had beaten up and because he, in those difficult times (war and sanctions) upheld his obligations towards Partizan and stayed for all three years stipulated in his contract. He played 82 games in Partizan jersey (26 in 1993/1994 season, 29 in 1994/1995 season and 27 in 1995/1996 season), scoring one goal.
Mirkovi? spent two seasons with Atalanta Bergamo. He got injured in the first game in Serie A league and had to take a three month break. He played a role of midfielder/defender and his performance was so good that the then Juventus coach Marcello Lippi invited him to join Juve. He was very popular among the Atalanta fans and when the club wanted to sell him to Fiorentina hell almost break loose.
Mirkovi?'s career in Juventus can be divided in two different periods. Under coach Lippi, Bata played 19 Serie A games, scoring one goal. He also played UEFA Champions League matches. When Carlo Ancelotti took over in spring of 1999, Mirkovi? was no longer a first choice Juve player, playing mostly UEFA and Italian Cup matches.
Mirkovi? signed a three year contract with Fenerbah?e. It proved to be a very smart decision indeed. In his first season in Istanbul he won a Turkish League title and was a finalist in Turkish Cup. In his second season in Turkey he played Champions League and came second in Turkish League. His third season in Fenerbah?e was not so successful. Three coaches and problems in the club caused Fenerbah?e to end the season in the sixth place.
Then in January 2004, following a 6-month break from football, Mirkovi? became Partizan player again. He signed a contract for two and a half years.
Mirkovi? was a first choice player for Serbia and Montenegro where he usually played right back position and wore the number 2 jersey. He played 59 games with the national A team. He was a participant in the 1998 World Cup in France but a three-game ban by UEFA prevented him from participating in Euro 2000.
On March 6, 2006, Mirkovic announced his retirement due to a recurring back injury at the age of 34.
Career statistics
Club performance
League
Cup
Continental
Total
Season
Club
League
Apps
Goals
Apps
Goals
Apps
Goals
Apps
Goals
Yugoslavia
League
Cup
Continental
Total
1990-91
Rad
First League
5
0
1991-92
26
0
1992-93
31
1
1993-94
Partizan
First League
26
0
1994-95
29
0
1995-96
27
1
Italy
League
Coppa Italia
Europe
Total
1996-97
Atalanta
Serie A
21
0
1997-98
30
0
1998-99
Juventus
Serie A
19
...(and so on)

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German Armed Forces Badge of Marksmanshi...

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Schzenschnur
German Armed Forces Badge for Weapons Proficiency
Awarded by the Federal Republic of Germany
Type
Military Lanyard
Eligibility
Soldiers of the German armed forces and Allied nations
Awardedfor
Marksmanship
Status
Currently awarded
Description
Comes in three classes: gold, silver and bronze
Statistics
Established
July 16, 1954
The German Armed Forces Badge for Weapons Proficiency (German: Schzenschnur) is a decoration of the Bundeswehr, the armed forces of the Federal Republic of Germany.
The decoration is awarded to all German military personnel, but is only allowed to be worn by enlisted members. Under the German armed forces regulations officers are not permitted to wear the award, but they may qualify for and receive it as a keepsake only. Foreign military members also may be awarded the badge, the German military regulation on officers still applies, permitting only the enlisted members to wear the badge.
In the United States military the German Armed Forces Badge for Weapons Proficiency (Schzenschnur) is one of the few approved foreign awards.
To earn the award one must successfully shoot the German service rifle (G36), pistol (P8) and machine gun (MG3). The awarded grade is determined by the overall score.
Classes / Grades
German Armed Forces Badge for Weapons Proficiency in Bronze (Schzenschnur in Bronze) is awarded for shooting with the rifle and the pistol with a score in at least bronze.
The category of heavy weapons (most commonly the machine gun) is not mandatory to earn the bronze badge. Rifle an Pistol have to have at least a score in bronze.
German Armed Forces Badge for Weapons Proficiency in Silver (Schzenschnur in Silber) is awarded for shooting with all of the weapons with a score at least in silver
German Armed Forces Badge for Weapons Proficiency in Gold (Schzenschnur in Gold) is awarded for shooting with all or one of the weapons with a score at least in gold
Design
The Army and Air Forces version of the award is a silver colored rope with a round metal badge on a flat end near the top of the rope, on its center it displays the German eagle surrounded by a wreath of oak leaves.
The Navy version of the award looks the same except the rope's color is navy blue.
See also
Order of Merit Cross of the German Federal Republic
Bundeswehr Crosses & Medal of Honor
German Armed Forces Service Medal
German Armed Forces Flood Service Medal
German Armed Forces Badge for Military Proficiency
German Parachutist Badge
German Sports Badge
Categories: Military awards and decorations of Germany(and so on)

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Montana Meth Project

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The Montana Meth Project (MMP)(also known as the Montana Myth Project) is a Montana-based organization founded by billionaire Thomas Siebel which seeks to reduce methamphetamine abuse by using propoganda techniques popularized by the Nazi party in 30's, particularly among teenagers. The main venture of the MMP is a saturation-level advertising campaign of television, radio, and print ads which very graphically and overdramatically depict the consequences of methamphetamine use. Common elements are the deterioration of each teenage subject's health and living conditions, amphetamine psychosis, moral compromise, and regret. The effectiveness of the campaign at reducing methamphetamine use is disputed.
Contents
1 Effectiveness
1.1 Office of National Drug Control Policy report
1.2 Prevention Science critical review
2 Government funding and expansion
3 Television ads
3.1 2005-2006: Directed by Tony Kaye
3.1.1 Wave I
3.1.2 Wave II
3.2 2007: Directed by Darren Aronofsky
3.2.1 Wave III
3.3 2008: Directed by Alejandro Gonzez I?ritu
3.3.1 Wave IV
4 References
5 External links
5.1 Press
//
Effectiveness
The Meth Project Foundation (MPF) claims that since the inception of the program in 2005, Montana has seen a 45% decrease in teen methamphetamine use, a 72% decrease in adult methamphetamine use(disputed, the advertising campaign cannot claim to be the direct cause when so many other variables are involved..i.e. stricter guidelines, lack of precursor availability, etc), and a 62% decline in methamphetamine-related crimes (bias. any crime committed, whether or not methamphetamines were a direct cause, if they were present or if known individuals involved had meth related history, is considered a "meth-related crime".) The Meth Project most recent survey shows that teen/young adult usage of meth increased and has remained above the 2005 baseline usage level. From the MMP's Use & Attitudes Survey of 2008:
2005
2006
2007
2008
2%
6%
4%
3%
Office of National Drug Control Policy report
In November 2006, the Office of National Drug Control Policy (ONDCP) published a report, Pushing Back Against Meth: A Progress Report on the Fight, highlighting the impact of recently enacted State and Federal laws, such as the Combat Methamphetamine Epidemic Act (CMEA) of 2005, that restricted transactions for the over the counter drugs that can be used to manufacture methamphetamine. Based on the results of Quest Diagnostics' preliminary review of workplace drug tests conducted during the first five months of 2006, the nationwide adult usage of meth declined by 12% when compared to the same period in 2005. Quest provided state-level results: on the state level, results varied according to the strictness and duration of the states' laws. "Montana methamphetamine precursor law went into effect July 1st 2005. The Montana law is stricter than the CMEA in several important respects." Montana workplace drug testing results showed a 69.4% decrease in positive tests for amphetamine. Montana's Attorney General and the MMP attribute Montana's decrease in adult meth usage to the MMP. However, the ONDC reported: "The primary reason for this positive trend is the enactment of various State laws...which implemented restrictions on transactions involving products containing certain chemicals (primarily, ephedrine and pseudoephedrine) that can be used to make methamphetamine."
Prevention Science critical review
A critical review of the Montana Meth Project's advertising campaign was published in the peer-review journal Prevention Science in December 2008. The review examined the Meth Project's statistical methodology and data reporting. The review found that the Meth Project had selectively reported their research findings (very obviously....doing bad in the name of good is still doing bad), focusing on unrepresentative positive findings and ignoring data suggesting that the campaign may be associated with harmful outcomes. The review found that the Meth Project's data suggests that exposure to the graphic ads may lead to an increase in the percentage of teenagers who believe that taking meth is socially acceptable and not dangerous. Such 'boomerang' effects in response to persuasive, graphic ads are not uncommon, and are predicted by the theory of psychological reactance.
Government funding and expansion
Many in the Montana state legislature hailed the project as an unprecedented success, and moved to fund the previously privately-funded project with tax dollars. The move to provide public funding for the Meth Project was opposed by some legislators and drug prevention and treatment professionals, who asserted that the Meth Project's effectiveness is unproven and that research shows that these type of media campaigns are...(and so on)

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Ana Boulain

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Ana Boulain was born in Lisbon, Portugal. She lived in Madrid, Spain, between 1983 and 1997.
In Madrid, she had the opportunity of being closely involved with the work of some illustrious Portuguese painters, namely Lena Liz, Luis Pinto Coelho, Jacinto Luis and Celeste Maia, who had a marked influence in her growth as a painter as well as technique.
Ana Boulain attended the Art Academy of the Spanish Master, Manuel Arjona, with whom she worked closely. She participated in several collective exhibitions and won several awards which included a First Prize of the Academy. At this stage, her main focus was on oil painting.
In 1997 Ana moved to South Africa. Two years later she attended the Open Window Art Academy in Pretoria where she explored many techniques within the fields of Fine Arts and Printing. In 1999 and 2000, her works were selected to be part of the annual collective exhibitions that took place in the Academy Art Gallery.
A totally new range of influences soared into her style, coming mainly from lecturers and other South African artists she had the opportunity to meet with. Artists such as Chris Diedericks, Diane Victor, Siobhan McCuster, Michelle Krieke, the illustrator Sonija Hendrikse and the renowned South African artist from the Northern Cape Penelope Siopis had a strong influence on her work.
Ana works are shown in several private and public collections around the world. Portugal, Brazil, Spain, Mozambique, South Africa, Guatemala, Guinea-Bissau, Norway and now are already in the United States of America.
One of her most recent commissions was a special work dedicated to Nelson adiba Mandela. The work entitled ife is displayed at the elson Mandela Institute by the request of the Embassy of Portugal as a contribution from the Portuguese Community residing in South Africa.
Since coming to the United States in August 2004, Ana continues her work and is excited by the new challenges and callings that the American Art market presents.
Artist's Perspective
Her artwork translates her journey throughout the world.
In Portugal, where Ana Boulain started to paint, she was fascinated with the clean, simple lines of traditional architecture of the churches and chapels of the south of Portugal where the white and blue are the predominant colors.
Then in Spain she started to approach the human figure which captivated her for being so much alive. The opportunity to express feelings, movements and color, encouraged her to keep painting. By always focusing on the best techniques, this would aid her in expressing what she could see through human nature and the circumstances in which it exists.
While in South Africa, these turned to be even more intriguing. She loves to paint the African skin and explore their rich color and the texture and shape of their hair. Being in the heart of Africa, her approach to the African reality touched her sensibility and she decided to paint their struggle through life.
Now in the United States of America, she is looking forward to new challenges.
Education
2008 Marketing, Sales and Project Management Jodi Walsh www.jodiart.com
2007 Watercolor an abstract approach with Steve Fleming (artist and teacher at the Torpedo Factory art School) Alexandria, Virginia. www.steveflemingartist.com
2006 Image transfer workshop with Steve Frost (artist and teacher at the Corcoran School of Art). www.thebeautifulmachine.com
2005 Acrylic painting workshop with Franklyn White (artist and teacher at the Corcoran School of Art). www.liquitex.com/50thAnniversary/white.html
1999 and 2000 Open Window Art Academy, in Pretoria, South Africa.
1987 to 1995 Art Academy of the Spanish Master, Manuel Arjona, Madrid, Spain.
Exhibitions
2008 Exhibition at the Katzen Museum, Washington D.C.
2008 Art Display at the Embassy of Portugal, Washington D.C.
2008 Collective exhibition at Roger Washington Art Show, Bethesda, Maryland.
2007 Art Auction at the Art Museum of the Americas, Remarte 2007, Washington D.C.
2007 Collective exhibition at Smith Parada Gallery, Washington D.C.
2006 Collective Art Auction at Palcus, Manhattan, New York.
2006 Individual Art show at Morais Center, Manassas, Virginia.
2006 Collective exhibition at the Embassy of Venezuela, Washington D.C.
2006 Champagne Art Auction at GRACE, Reston, Virginia.
2006 Collective exhibition at Collector Gallery in GRACE (Great Reston Arts Center, VA).
2005 Collective Auction at Palcus, Newark, New Jersey.
2005 Collective exhibition in GRACE, Reston, Virginia.
2004 Collective exhibition in Uni?o Cultural in Johannesburg, South Africa.
2003 Ana Boulain Atelier ole exhibition, South Africa.
2002 Ana Boulain Atelier Sole exhibition exhibitions, South Africa.
2001 Ana Boulain Atelier...(and so on)

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Captain Scarlet and the Mysterons

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Captain Scarlet and the Mysterons
North American DVD release
Format
Supermarionation Science Fiction Adventure
Created by
Gerry and Sylvia Anderson
Starring
Francis Matthews
Country of origin
United Kingdom
No. of episodes
32 (List of episodes)
Production
Running time
25 minutes
Broadcast
Original channel
ITV
Original run
September 29, 1967 May 14, 1968
Captain Scarlet and the Mysterons, often referred to as simply Captain Scarlet, is a science fiction television series produced by the Century 21 Productions Television company of Gerry Anderson, John Read, Reg Hill and Sylvia Anderson. It was first shown in the United Kingdom (originally on ATV Midlands, but later the whole of the UK) between September 1967 and May 1968. It used puppetry (Supermarionation) and scale model special effects.
The series is one of several of popular science-fiction TV adventure series the Andersons produced in the 1960s, beginning with Supercar and followed by Fireball XL5, Stingray, Thunderbirds, Captain Scarlet and the Mysterons, Joe 90, and the little-seen The Secret Service. Captain Scarlet and the Mysterons was the first series made after the international success of Thunderbirds in 1964-66.
Contents
1 Synopsis
2 Characters
2.1 Spectrum personnel
3 Puppets
4 Title sequence and closing credits
4.1 Closing credit lyrics
4.2 Paintings
4.3 Alternative versions
5 Episode list
6 Series storyline
7 Later productions
7.1 Gerry Anderson's New Captain Scarlet
8 Original novels
9 Manga
10 Stations
11 References
12 See also
13 External links
//
Synopsis
On a mission to Mars in 2068, a Mysteron installation is attacked and destroyed by a team of three Earth explorers, including Captain Black, leading the Mysterons to declare a "War of Nerves" on Earth. The Mysterons have the ability to replicate and then control any person or object they first kill or destroy, through their power of "retro-metabolism". They use this power to conduct a war of terror against Earthrimarily aimed at the world leaders, major cities, industrial and defence establishments, and, of course, "Spectrum" and its airborne Cloudbase headquarters. The Mysterons are never seen; their presence is indicated by two circles of light tracking across the scene. Their actions on Earth are always through their replicated intermediaries with the possible exception of Captain Black whose death is never portrayed and who may simply have been "turned" as their first agent whilst still on Mars. Although this distinction is never made in the series, the accompanying book states that Black was killed and revitalised by the Mysterons in much the same way as their other victims throughout the series.
Captain Scarlet becomes Spectrum's principal weapon at the forefront of the battle with the Mysterons after the events of the first episode, "The Mysterons". In that episode, Scarlet (whose real name is Paul Metcalfe) is one of two Spectrum agents (the other being fellow Spectrum agent Captain Brown) killed by the Mysterons in a rigged car crash and then replaced with a duplicate under their control; for reasons never explained in or out of the series, however, when the duplicate falls 800 feet from a tower the personality of Paul Metcalfe reasserts itself in the duplicate, who is immune thereafter to Mysteron control. Not only that, but Scarlet's new body has two new powers: it allows him to sense the presence of other Mysteron duplicates nearby, and if he should be injured or even killed, retro-metabolism will re-create him as good as before. ("Self-repairing" might be a more accurate way to describe this than the "indestructible" that the series uses, since it is established that Scarlet feels all the pain associated with any injuries he suffers.) This allows Scarlet to employ suicidally reckless options in order to foil the Mysterons, confident that while he will still experience the pain of the experience, he will fully recover from whatever injury results. This advantage is kept secret outside Spectrum, and even Captain Blue is often heard saying "But Captain, you'll be killed!" Later in the series, the Mysteron duplicates are discovered to be vulnerable to high-voltage electricity, implying that the same could permanently destroy Scarlet.
Characters
Spectrum personnel have military ranks and colour based code names (hence Captain Scarlet), and they are headed by Colonel White. Other characters include Captains Blue, Ochre, Grey, and Magenta, Lieutenant Green, and the five female fighter pilots, who have a different collective codename the Angels and are individually Destiny, Symphony, Melody, Rhapsody, and Harmony.
Spectrum personnel
Code name
Real name
...(and so on)

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New Austrian Tunnelling method

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"NATM" redirects here. NATM may also refer to Not Another Teen Movie or Night at the Museum.
The New Austrian Tunneling method (NATM) was developed between 1957 and 1965 in Austria. It was given its name in Salzburg in 1962 to distinguish it from old Austrian tunnelling approach. The main contributors to the development of NATM were Ladislaus von Rabcewicz, Leopold Mler and Franz Pacher. The main idea is to use the geological stress of the surrounding rock mass to stabilize the tunnel itself.
Contents
1 Principles
2 Philosophy and controversial names
3 Key features
4 See also
5 Further reading
6 External links
//
Principles
The NATM integrates the principles of the behaviour of rock masses under load and monitoring the performance of underground construction during construction. The NATM is not a set of specific excavation and support techniques.
There are seven features on which NATM is based:
Mobilization of the strength of rock mass - The method relies on the inherent strength of the surrounding rock mass being conserved as the main component of tunnel support. Primary support is directed to enable the rock to support itself.
Shotcrete protection - Loosening and excessive rock deformation must be minimised. This is achieved by applying a thin layer of shotcrete immediately after face advance.
Measurements - Every deformation of the excavation must be measured. NATM requires installation of sophisticated measurement instrumentation. It is embedded in lining, ground, and boreholes.
Flexible support - The primary lining is thin and reflects recent strata conditions. Active rather than passive support is used and the tunnel is strengthened not by a thicker concrete lining but by a flexible combination of rock bolts, wire mesh and steel ribs.
Closing of invert - Quickly closing the invert and creating a load-bearing ring is important. It is crucial in soft ground tunnels where no section of the tunnel should be left open even temporarily.
Contractual arrangements - Since the NATM is based on monitoring measurements, changes in support and construction method are possible. This is possible only if the contractual system enables those changes.
Rock mass classification determines support measures - There are several main rock classes for tunnels and corresponding support systems for each. These serve as the guidelines for tunnel reinforcement.
Based on the computation of the optimal cross section, just a thin shotcrete protection is necessary. It is applied immediately behind the Tunnel boring machine, to create a natural load-bearing ring and therefore to minimize the rock's deformation. Additionally, geotechnical instruments are installed to measure the later deformation of excavation. Therefore a monitoring of the stress distribution within the rock is possible.
This monitoring makes the method very flexible, even at surprising changes of the geomechanical rock consistency during the tunneling work, e.g. by crevices or pit water. Such (usual) problems are not solved by thicker shotcrete, but the reinforcement is done by wired concrete which can be combined with steel ribs or lug bolts.
The measured rock properties lead to the appropriate tools for tunnel strengthening. Therefore in the last decade NATM was also applied to soft ground excavations and to tunnels in porous sediments. The flexible NATM technique enables immediate adjustments in the construction details, but this requires a flexible contractual system, too.
Philosophy and controversial names
When tunneling engineers talk on NATM, they often mean different things because some of them define it as a special technique, but others as a sort of philosophy. Recently the scene has been complicated by new terms and even alternative names, when discussing certain aspects of NATM. This is partly caused by an increased use of the method in the USA, particularly in soft ground conditions (see External links).
Besides the official name New Austrian Tunneling Method other designations are used in the last years, e.g. Sequential Excavation Method (SEM), or Sprayed Concrete Lining (SCL). In Japan sometimes other names were used, e.g. Centre Dividing Wall NATM, or Cross Diaphragm Method (both abbreviated as CDM), and even Upper Half Vertical Subdivision method (UHVS). Evidently, the scientists and the tunneling industry cannot find a unified name for this wide-used method.
As defined by the Austrian Society of Engineers and Architects, the NATM constitutes a method where the surrounding rock or soil formations of a tunnel are integrated into an overall ring-like support structure. Thus the supporting formations will themselves be part of this supporting structure.
But many engineers already refer to as NATM, when shotcrete is proposed for initial ground support of an open-face...(and so on)

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Norma Desmond

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Norma Desmond
First appearance
Sunset Boulevard
Portrayedby
Gloria SwansonMiriam HopkinsMary AstorElaine PaigePatti LuPoneGlenn CloseDiahann CarrollLinda BalgordDebra ByrnePetula ClarkHelen SchneiderPia DouwesSimone Kleinsma
Information
Gender
Female
IMDb profile
Norma Desmond is a main character in Billy Wilder's film Sunset Boulevard.
An aging former star of silent movies, Desmond (Gloria Swanson) has withdrawn to her Gothic Beverly Hills mansion, off Sunset Boulevard, nursing dreams of a return to stardom while her grip on reality grows ever more tenuous over the years. Her one companion is Max (Erich von Stroheim), her butler, former director and we later learn, first husband, who serves as her protector and shields her from the outside world. Because he is still in love with her, he tells her she is still a star, and cuts her off from the news media to keep her from realizing that she has been completely forgotten by her beloved public.
One day Joe Gillis (William Holden), a young, unemployed screenwriter arrives at Desmond's with a flat tire on his 1946 Plymouth after being chased by two repo men. He parks the car inside the garage of the mansion and is summoned by Norma to the front door. She confuses him for an undertaker for her just deceased pet chimpanzee.
Norma finds out that Joe Gillis is in fact a writer and asks him to take a look at a manuscript she has been working for a while. It is the story of Salome, and she plans to star in it, though she is way past her prime.
Joe quickly sees a chance to milk money out of the delusional star; he promises to fix her a script for a star vehicle, and Norma agrees as she wants to send the manuscript to Paramount Pictures' famed director Cecil B. DeMille, with whom Desmond once worked. Desmond is elated; she sees in Gillis the chance to regain her youthful promise, and sets him up in style, buying his clothes and paying all his expenses. Max sees through Gillis immediately, but puts up with the charade because it makes his beloved "madame" happy. As time passes, however, Desmond becomes increasingly unstable when it becomes clear that there is no hit movie for her in the works, and increasingly jealous of and dependent upon Gillis. She professes her love for him at a New Year's Eve party, but he rejects her and leaves.
He attends another party, where he first flirts with screen writer Betty (Nancy Olson) and makes plans to move out of Norma's mansion. Norma makes a suicide attempt, and when Joe returns to comfort her, she seduces him.
Meanwhile, Paramount Studios calls repeatedly for Norma. She believes DeMille wants to produce her script. In actuality, Paramount just wants to use her vintage car in a film. While Norma visits DeMille on the set, Max learns that the calls were about the car. He tells Gillis but hides this from Norma. DeMille himself takes pity on her and tells her what she wants to hear.
Gillis begins writing a screenplay with Betty in secret, and Betty tells him she has fallen in love with him. When he hears Norma having a phone conversation with Betty, in an attempt to scare her away, he invites Betty to the mansion and confesses the situation, euphemistically "a older woman who's well-to-do" and a "young man who's not doing too well."
After driving away Betty, Gillis tells Norma he's leaving for good. Desmond snaps and shoots him to death, leaving his body floating in her pool and going into shock. When the police arrive, she thinks they are merely her adoring fans and the production crew for her movie. Elegantly striding toward a news camera, she utters the iconic line, "All right, Mr. DeMille, I'm ready for my close-up."
Actresses
Norma Desmond was played on screen by Gloria Swanson.
The actresses who were considered for the role of Norma Desmond in the 1950 screen version, but declined, were Greta Garbo, Norma Shearer, Pola Negri, Mae West, and Mary Pickford.
Miriam Hopkins and Mary Astor played the role in two separate t.v. productions based on the film.
In the Andrew Lloyd Webber stage musical, the role was played by Patti LuPone (in London's West End), Elaine Paige (in London's West End and on Broadway), Glenn Close (in Los Angeles and on Broadway), Betty Buckley (in London's West End and on Broadway), Rita Moreno (in London's West End), Diahann Carroll (in Toronto), Faith Brown in a 2001 UK tour revival, Debra Byrne, Maria Mercedes and Judi Connelli in the two separate Australian productions and Helen Schneider, Christina Grimandi, Sue Mathys and Daniela Ziegler in the German version of the musical; Pia Douwes and Simone Kleinsma played the role in the 2008 Dutch tour of the show. Petula Clark, who appeared in the London production and took the show on a lengthy tour throughout the US, has played the role more often than any other actress, with more than 2500 performances to her credit. In...(and so on)

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Destructo Trucks

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The introduction to this article provides insufficient context for those unfamiliar with the subject.Please help improve the article with a good introductory style.
Destructo Trucks are a brand of skateboard trucks. The trucks of a skateboard are metal axle assemblies, mounted to the underneath of the deck. They hold on the wheels and allow the board to turn.
Destructo Trucks uses weapon grade aluminum in the production of their trucks. A new advance they incorperate into their design is the use of hollow kingpins, which lowers the weight of the trucks; this, along with the weapons grade aluminum, makes the truck both light and strong.
They are skated by Tony Cervantes, Kenny Reed, Bam Margera, Mike Vallely, Drake Wiseman and many other pro skaters
External links
Destructo Truck Home Page

This skateboarding-related article is a stub. You can help Wikipedia by expanding it.
Categories: Skateboarding stubs | Skateboarding companies
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Tri-band

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(Redirected from Tri band)
Tri band phones (also known as tri-band or triband) are mobile phones that support three frequency bands. Having more than one frequency in one device is useful to enable roaming between different countries and continents. Tri-band technology is slowly becoming the norm among many manufacturers.
Contents
1 2G
2 3G
2.1 Devices
3 See also
4 External links
//
2G
Further information: GSM frequency bands
Various countries use different frequency bands for their mobile networks and a triband phone can be used on three of these bands, generally speaking, chosen to favour two of the home country's bands, and one for roaming in other countries.
GSM frequency bands used around the world:
850 MHz (In America)
900 MHz (In Africa, Europe, and many parts of Asia and Latin America)
1800 MHz (In Africa, Europe, and Asia and many parts of Latin America)
1900 MHz (In America)
2G Triband phones are mobile phones that support the GSM 900/1800/1900 MHz bands commonly sold in Europe, Asia and Africa, (for example the LG KE820 is a triband mobile phone that is sold in Europe, but works in big cities of America but not so well in suburbs and rural areas).Or alternatively the 850/1800/1900 bands (commonly sold in the Americas). The Motorola V300 formerly carried by Rogers Wireless used a rare combination of 850/900/1900. A 2G Quad band (850/900/1800/1900) offers more coverage and is now quite common.
3G
Further information: UMTS frequency bands
UMTS / HSDPA devices operate in UMTS frequency bands 850/1900/2100 or 850/1700/2100 MHz:
2100 (downlink) / 1900 (uplink) for Europe and Asia (usually referred simply as W-CDMA 2100)
1900 / 850 (independently, for both the uplink and downlink) for America (e.g. AT&T)
2100 (downlink) / 1700 (uplink) for America (e.g. T-Mobile)
850 for Australia (Telstra NextG)
UMTS / HSDPA / HSUPA is a further evolution.
Note that being UMTS / HSDPA / HSUPA tri band doesn't mean that phone is a GSM / GPRS / EDGE tri band. An HSUPA tri band might not be a GSM at all. However nearly all HSDPA or HSUPA tri band are EDGE quad band too.
A 3G Quad band offers more coverage.
Devices
Some UMTS / HSDPA 850/1900/2100 tri band are already available:
Apple - iPhone 3G
ASUS -
BandRich - BandLuxe C100
Gigabyte - GSmart MS820, MS808, MS804, MD800
Glofiish (E-Ten/Acer) - Glofiish V900
HTC HTC TyTN, HTC P3600, HTC Advantage X7500, HTC Shift (Ultra-Mobile PC), HTC S420, HTC S630, HTC P4550, HTC P6500, HTC Touch Cruise
Huawei E800 Data Card (ExpressCard)
i-mate JASJAM, Ultimate series 5150 6150 7150 8150 9150 (all five available alternatively in 850/1700/2100 bands)
Nokia - E90? N85 Nokia 6124
Motorola - Motorola Atila
Palm - Treo 750 (UMTS only), Treo Pro
RIM - Blackberry Bold
Samsung - Samsung BlackJack II (UMTS only), Samsung BlackJack III?, Samsung i900 Omnia
Sony Ericsson PC300, Z750, K850i, W760i, C902, MD300
UBiQUiO - 503G
Some UMTS / HSDPA / HSUPA 850/1900/2100 tri band are already available:
HTC - HTC Omni
Huawei E270 Wireless modem (USB)
Novatel Wireless Merlin X950D ExpressCard
Option GlobeTrotter Express HSUPA, GlobeTrotter GT MAX HSUPA, GlobeSurfer iCON HSUPA, GTM380
Sierra Wireless AirCard 880 and the AirCard 881 (PC Card), AirCard 880E and the AirCard 881E (ExpressCard) and MC8780 and the MC8781 (PCI Express)
Sony Ericsson EC400g (plus GPS)
See also
3GPP
Cellular frequencies
Dual band
GSM frequency bands
Quad band
Roaming
UMTS frequency bands
External links
Frequency world map
HSPA website
Categories: Global System for Mobile communications
Hidden categories: Articles lacking sources from January 2008 | All articles lacking sources(and so on)

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Best-case complexity

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(Redirected from Best Case Complexity)
Often when dealing with computer algorithms it is not only useful to know worst-case complexity, it is also important to know what is the best case for an algorithm. This complexity can be split into two fields. One is time complexity the other is space complexity. The definition using ?(g(n)), read Big Omega of g, can be applied to both time or space and as such, only one definition of best case complexity is required. Informally the best case complexity is the largest g(n) such that T(n) = ?(g(n)) (T(n) is in ?(g(n))).
Best-case complexity b = {inf(S) | S = \-/ f s.t there exist a c, B > 0 s.t \-/ n ? B g(n) ? cf(n) } where g(n) is your algorithm.
In plain English this means that the worst case complexity is the largest element in the set of all functions such that g is in ?(f(n)) for all n greater than B, which is the breaking point.
Best case complexity is not all the best measure of well an algorithm performs. More often computer scientists care more bout the worst case complexity and after that how well an algorithm will run on average. An algorithm that has a best case of ?(1) is pointless if its worst case is O(2n).
Contents
1 Time Complexity
2 Space complexity
3 See also
4 References
5 Further reading
//
Time Complexity
Best case time complexity is the least amount of time it would take for an algorithm to execute. Small differences such as built in commands, and variable accesses are ignored, but loops and recursion have a much more profound effect on runtime. A very trivial example of this would be the code in java which prints the numbers 0 through n in order:
public static void main(String[] args){
for (int i = 0;i < Integer.parseInt(args) ; i++){
System.out.println("" + i);
}
}
The worst case complexity for this algorithm is the same as its best case. This algorithm is in ?(n). In many cases however the best case does not equal the worst case. In these instances it is quite easy to find a g(n) such that T(n) = ?(g(n)), finding the tight bound however, ie. the inf(S), requires looking at possible sequences that yields the best results and proving there is no such sequence that yields a smaller g(n).
Another less trivial example of this is linear search in java:
public int search(A,x){
boolean found = false;
int c = 0;
int index = -1;
while ((c < A.size()) && (found == false)){
if A[c] = x {
found = true;
index = c;
}
}return index;
}
In this case clearly the worst case is O(n). This happens when you have to traverse the entire array. However with A = x the algorithm only needs to check the first element. This means the runtime of the algorithm at best no matter the size of the input is constant or O(1). Clearly there is no input in which this algorithm could do better then O(1) so this is the best case complexity.
Ie. for a Bubble Sort modified to check for a sorted list the worst case is n2 while the best case(a list already in sorted order) yields a best case of ?(n). Even though it's a trivial case, it must still be considered.
Space complexity
Space complexity is the measure of the amount of space, excluding the original data passed in, that it takes an algorithm to execute on an input. Any algorithm that must always store at least all of the data at a time runs in &Omega:(n) of space complexity. If however an algorithm only needed to store a counter of some kind its space complexity would be log(n) where n is the final value of the counter. This is the reason as it only takes log2(n) bits to store a number.
See also
Average-case complexity
Worst-case complexity
Big O notation
Computational complexity theory
References
Katoen,Joost-Pieter Introduction to Algorithm Analysis Lecture Notes,2002.
Further reading
Paul E. Black, "?", in Dictionary of Algorithms and Data Structures [online], Paul E. Black, ed., U.S. National Institute of Standards and Technology. 14 August 2008. Retrieved Feb. 20/09. Available from: http://www.itl.nist.gov/div897/sqg/dads/HTML/omegaCapital.html .
Michael Sipser (1997). Introduction to the Theory of Computation. PWS Publishing.
Joachim Ziegler,The LEDA Tutorial 2004. - section 2.2.3
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Repeating crossbow

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Chinese repeating crossbow
A repeating crossbow (Chinese: ?? or Lian-nu) is a crossbow where the separate actions of stringing the bow, placing the bolt and shooting it can be accomplished with a simple one-handed movement, all the while keeping the crossbow stationary. This allows the bow to shoot at a faster rate compared to a normal crossbow. A magazine containing a number of bolts is present on top of the bow and the mechanism is worked by moving a rectangular lever forward and backward.
Contents
1 History
2 Usage
3 In popular culture
4 References
5 See also
6 External links
//
History
The Chinese repeating crossbow (Chinese: ???; pinyin: Zh?g? n?; Wade-Giles: Chu-ke nu; literally "Zhuge crossbow"; sometimes misspelled as Chu-ko-nu) is a device with a simple design. It is commonly believed to have been invented by the Chinese strategist Zhuge Liang (181-234 A.D.) of the Three Kingdoms period. However, this belief is false as the earliest repeating crossbows (found in Tomb 47 of Qinjiazui, Hubei province) were dated to the 4th century BC. Zhuge Liang improved the design of the repeating crossbow, and made a version which shot two to three bolts at once and was used in massed formations, and for this reason, it was named after him. The repeating crossbow saw its last serious action in the China-Japan war of 1894-1895, where photographs show repeating crossbows as common weapons among Manchurian troops. The basic construction of this weapon has remained very much unchanged since its invention, making it one of the longest-lived mechanical weapons.
The repeating crossbow was introduced into Korea by King Sejong, who during a trip to China saw the weapon and was impressed by its mechanism. In Korean it was called sunogung (Hangul: ???; Hanja: ???).
A larger device similar to the Chinese repeating crossbow was described in the works of the Greek engineer Philon of Byzantium. This device, a repeating ballista, was called a Polybolos and was reputedly invented by Dionysius of Alexandria in the 3rd century BC. Two flat-linked chains were connected to a windlass, which by winding back and forth would automatically fire the machine's arrows until its magazine was empty. The machine features the earliest recorded chain link drive.
Heron of Alexandria also tapped into Philon's work and made the Cheiroballistra, which was a semi-automatic version of the Polybolos.
Usage

Chinese repeating crossbow

Part of a Naval Battle Scroll from the Imjin War
The chu-ko-nu had a very simple and rugged design. The weapon was extremely easy to manufacture and use, and, in the hands of a trained soldier, could easily launch ten bolts in fifteen seconds. In comparison, an arbalest could only deliver about two bolts a minute. The chu-ko-nu however, had neither the power nor the accuracy of an arbalest. This gave it a shorter range, compensated for by using lightweight bolts instead of the heavy bolts of single-shot crossbows. Thus, the chu-ko-nu was not very useful against more heavily armored troops unless poison was smeared on bolts, in which case even a small wound may prove fatal. Since a chu-ko-nu was shot from the hip, accuracy was poor, but the aim could be adjusted very swiftly since the next shot was only a second or two away. To get past these limits often large numbers of men would use it on the battlefield, allowing for large numbers of bolts to be fired.
The chu-ke-nu was operated by moving a lever forwards and then backwards. In that one movement, a bolt would be dropped into place, the string tensioned, and then the bolt released. Another bolt would then be ready to take its place from the magazine above. This action however put the weapon's string under heavy wear since it had forces straining it from both above and below. The lifting of the magazine especially, put severe pressure on the string. Chu-ko-nu strings were therefore often reinforced with quills from bird feathers, preferably those from swans or ducks.
Alterations of chu-ko-nu included mountable siege crossbows with larger bolts and greater power which required two men to operate (a sighter and an operator). There was also a heavy version using two magazines, thus doubling the number of bolts discharged. The latter was used in extreme close-quarter combat because they had extremely short range. A larger version that required two hands to operate was sometimes mounted on top of castle walls. They proved to be effective in defending the gates and doorways of castles.
The chu-ko-nu can be considered a predecessor to modern automatic weapons. Its use was similar to the early hand-operated rapid fire firearms of the 19th century (see Gatling Gun).
In popular culture
In the game Civilization IV, the Cho-Ko-Nu is the unique unit of the Chinese civilization, replacing the crossbowman....(and so on)

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Samizu Matsuki

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Samizu Matsuki (b. 1936-03-16, Uryu, Hokkaid?, Japan) is a Japanese artist and educator who currently lives in Rockland, Maine, USA.

A Trumphal Return
She won the Gold Medal at the 1970 First New York International Art Show, * the Grand Prix at the 1971 Locust Valley Art Show * on Long Island, New York, and the Award of Excellence at the Abraham & Straus-Hempstead Art Show, "Long Island Art '74". for her explorations of classical realism. Samizu was first woman member of the Salmagundi Club.
Contents
1 Biography
2 Career
3 Other works
4 References
//
Biography
Born March 16, 1936 in Uryu, Hokkaid?, Japan to educators Satoru and Masue Matsuki. Her father Satoru's opposition to the Japanese War led to official reprisals forcing he and his family into hiding for most of World War 2. After the surrender of Japan, his known anti-war sentiments resulted in his being given an educational leadership post, where he applied the innovations of American educator Ruth Benedict & philosopher John Dewey to the Japanese educational system, earning him an award from Emperor Hirohito in 1970. The family lived in a number of locations on Hokkaid?, finally the resort city Noboribetsu, famed for its scenery and hot springs. Samizu's lineal ancestors had moved to southern Hokkaid? in the late 19th century.
Samizu was awarded a scholarship to the Women's College of Fine Art's Faculty of Western Painting. Tokyo. She graduated in 1958 with a Bachelor in Arts degree. Her graduation work aphne (oil, approximately 4 by 5'), is in the collection of the Noboribetsu Cultural Center, Hokkaid?, Japan. The painting suffered some notoriety for its sensuality; briefly pulled from view, it mysteriously reappeared on the display wall the next morning.

Samizu Matsuki, left, and 2 other teachers, Tokyo, 1960
Her two teaching jobs, one at an elementary school in Itabashi Precinct in 1959, the other at Shimura Daisan Junior High School in Tokyo in 1960, illuminated for her the malleability of children per the call of art critic and historian Herbert Read for originality and creativity.
An active member of the Tokyo Teachers Union, in 1960 the Teachers Union Monthly published a presentation and lecture Samizu gave in the swank Bunkyo Precinct in Tokyo, where , speaking on behalf of the teachers of the more working class Itabashi precinct, she called for adoption throughout the Japanese educational system of the education principles laid out by Reade in his book Education Through Art.
In 1961 Samizu married American airman Herman Berry at the American Embassy in Tokyo. They left Japan in 1962, and for the next seven years lived at airbases in Europe and the United States. When her husband was sent to Pakistan, Samizu spent eighteen months with Berry's relatives, where she painted portraits of residents of their remote Appalachian mountain community in western North Carolina.
Upon his return, they spent four years at the Spangdahlem Air Base in Germany. During this period 1964 to 1968, Samizu visited Rome and painted commissioned portraits for five Air Force officers and their wives, and was commissioned by the Officers Club of the 49th Tactical Squadron to paint a portrait of the recently deceased USAF fighter ace Richard Bong
Samizu became increasingly disillusioned with her spouse's violent jealousy, and in 1969 divorced Berry while they were living at Calumet Air Force Station in northern Michigan. Uterine cancer shortly caused her to get a hysterectomy at age 32. She spent that summer in Albany, Oregon, where she submitted the winning design for the logo of the 1969 Albany Jaycees Timber Carnival. This being the Carnival's 25th anniversary, the theme was "passing the torch." Samizu's drawing, shown here on the carnival's pinback button, depicts a young logger with hardhat and chainsaw and an elderly logger with wool cap and axe, standing behind a short bark-covered log. The young logger has an arm around the shoulder of his elder in comradely fashion.
Informed that six years would pass before she could be declared free of cancer, in 1970 she plunged into the New York fine arts cultural scene. By 1975 her explorations of classical realism had won her a gold medal at the 1970 First New York International Art Show, membership as one of the first woman artists in the hitherto men-only New York art club, the Salmagundi Club, the Grand Prix at the 1971 Locust Valley Art Show on Long Island, New York, and the Award of Excellence at the 1974 Abraham & Straus-Hempstead Art Show, "Long Island Art '74".
Becoming less concerned about a resurgence of cancer, Matsuki, who'd become known as "the shark", by friends for her seemingly never slowing down, then worked at a more leisurely pace, and stopped entering competitions. She returned to Oregon in 1980, where she taught at the Albany Art Center, worked...(and so on)

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Picnic table

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Picnic table
A picnic table (or sometimes a picnic bench) is a modified table with benches, expressly for the purpose of eating a meal outdoors (picnicking). Picnic tables are often made of wood, but modern tables can be made out of anything from recycled plastic to brushed metal. Picnic tables are used to sit and eat on. Food is kept on top with seating on the bottom platform. Picnic tables are generally found outside and in many parks.
A picnic table can be constructed using 2x4 or 2x6 wood. Some protection for the wood (stain, paint, or wood protectant that repels water) is considered necessary to protect it from the elements (cracking, warping, or rotting due to moisture).
The table-top and bench-top boards are attached to the trusses or beams using wood screws or nails. The legs can be secured with carriage bolts fastened by nuts and washers.
External links
Wikimedia Commons has media related to: Picnic table
Plans for Building Picnic Tables
How to make a picnic table
Categories: Furniture stubs | Tables (furniture)(and so on)

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Media resource locator

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A media resource locator (MRL) is an URL used to uniquely identify and locate a multimedia resource. It is used by the VideoLAN and Xine media players, as well as by the Java Media Framework (JMF) API.
Media player
Examples
External link
VLC
dvd://[<device>][@<raw device>][@[<title>][,[<chapter>][,<angle>]]]vcd://[<device>][@{E|P|E|T|S}[<number>]]http://<server address>[:<server port>]/[<file>]rtsp://<server address>[:<server port>]/<stream name>
VLC MRL syntax
Xine
dvd:/[<DVD_image>|<device_name>][/<title>.<part>]vcd://[<CD_image>|<device_name>][@[letter]<number>]
Xine MRL grammar
This Internet-related article is a stub. You can help Wikipedia by expanding it.

v?d?eMedia players
Windows
1by1 ATunes Adobe Media Player Aqualung Audio Overload BS.Player Billy Boxee Connect Player CD Player The Core Pocket Media Player Crystal Player DBpoweramp DVBViewer Dell MediaDirect DivX Player DVD Player Dziobas Rar Player Adobe Flash Player foobar2000 GOM Player High Definition Compatible Digital ITunes InterActual Player Iriver plus 3 jetAudio Kantaris Ladybug Player Vista MPlayer MadCat Media Browser Media Center Media Player Media Player Classic MediaFrame MediaMonkey Miro Mod4Win MusicForMasses Musicmatch Jukebox MusikCube Passion audio player Pocket Player PocketMusic PocketOgg PowerDVD QuickPlayer QuickTime Quintessential Player QuuxPlayer RadLight RealPlayer Realtek Media Player SNESAmp SUPER Adobe Shockwave SimpleCenter Softsled Songbird SonicStage Sonique Spider Player The Core Media Player The KMPlayer Tuniac VLC media player Vidlizard VisiTunes Visonair WinDVD WinPlay3 Winamp Windows Media Center Windows Media Player XBMC Xiph QuickTime Components Yahoo! Music Jukebox Zinf Zoom Player
Mac OS X
Audio Overload Audion Boxee Centerstage Chroma Cog DVD Player DivX Player Adobe Flash Player Front Row ITheater ITunes MPlayer MediaFrame Miro Peel Perian Plexapp QuickTime RealPlayer SWF & FLV Player Adobe Shockwave Songbird VLC media player Windows Media Components for QuickTime Windows Media Player XBMC Xiph QuickTime Components
Linux
Amarok Aqualung Ario Audacious Media Player Audio Overload BMPx Banshee Baudline Beep Media Player Boxee Cactus Jukebox Canola Cmus Decibel Audio Player EMoviX FALF Adobe Flash Player Extended Module Player Freevo Gnome Music Player Client Helix JuK Kaffeine LinuxMCE Lsongs MPlayer MediaFrame Miro MoviX Mpg123 Mpg321 Muine Music Player Daemon Music on Console Noatun Ogle DVD Player Open Cubic Player Quod Libet RealPlayer Rhythmbox Songbird Totem Unix Amiga Delitracker Emulator VLC media player Winamp XBMC XMMS XMMS2 Xine Zinf
Technologies
Playlist Media resource locator Music visualization Internet radio Internet television Podcast Codec Container format
Related articles
Comparison of media players Video player HD media player Media center Portable media player
Categories: Media players | Internet stubs(and so on)

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Dougal Robertson

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Dougal Robertson (1924-1992) was a Scottish author and sailor born in Edinburgh. He joined the British Merchant Navy after attending Leith Nautical College. After leaving maritime life, Robertson began to raise a family and to work as a dairy farmer.
On January 27, 1971, Dougal departed from Falmouth, England on board Lucette, a 43-foot wooden schooner built in 1922 which the family had purchased with their life's savings. He was accompanied by his wife Lynn, daughter Anne, son Douglas, and twin sons Neil and Sandy. Over the next year and a half, they sailed across the Atlantic, stopping at various ports of call in the Caribbean. Anne retired from the voyage in the Bahamas.
During the their transit of the Panama Canal, the family members took aboard an inexperienced crew member named Robin Williams (no relation to the comedian of the same name), who was to accompany them on the next segment of their voyage to the Galapagos Islands and beyond to the islands of the South Pacific.
On June 15, 1972, Lucette was holed by a pod of killer whales and sank approximately 200 miles west of the Galapagos Islands. The group of six people on board escaped to an inflatable life raft and a solid-hull dinghy with little in the way of tools or provisions.
Using the dinghy as a towboat powered by a jury-rigged sail, the group made its way towards the doldrums, hoping to find rain there so they could collect drinking water. They did so successfully, while catching turtles, mahi-mahi and flying fish to eat. The inflatable raft became unusable after 16 days, so the six people crowded into the three-meter long dinghy with their supplies. They then continued to use the wind and current to their advantage, moving to the northeast towards Central America. By their 38th day as castaways, they had stored dried meat and fresh water in such quantities that they intended to begin rowing that night to speed their progress. However, they were sighted and picked up that day by a fishing trawler on its way to the Panama Canal. Robertson, who had been keeping a journal in case they were rescued, recounted the ordeal in the 1973 book Survive the Savage Sea, which served as the foundation for the 1991 film of the same name. The story was revisted in his son Douglas's book The Last Voyage of the Lucette..
Dougal went on to write "Sea Survival: A Manual", and continued to sail until his death in 1992.
References
Robertson, Dougal (1973), Survive the Savage Sea
Robertson, Dougal (1975), Sea Survival: A Manual
Robertson, Douglas (2005), The Last Voyage of the Lucette, ISBN 1-57409-206-5
Brinnin, John Malcom; Probst, Robert E; Anderson, Robert; Legett, John; Irvin (2000), written at United States of America, from "Survive the Savage Sea", Elements of Literature, First Course, Holt, Rinehart and Winston, p.456, ISBN 0-03-052058-4
External links
http://www.survivethesavagesea.com/SSS.html
http://imdb.com/title/tt0105499/
See also
Steven Callahan, survived a stint adrift for 76 days in the Atlantic
Maurice and Maralyn Bailey, survived 117 days adrift in the Pacific.
Rose Noelle, trimaran on which 4 people survived 119 days adrift in the South Pacific.
Poon Lim, who survived for 133 days adrift in the Atlantic.
Categories: Survival skills | English sailors | English non-fiction writers | Sailing books | Shipwrecks in the Pacific Ocean | Maritime incidents in 1972(and so on)

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