title: Norma Bailey

text:
Norma Bailey (born 1949, in Gimli, Manitoba, Canada) is a Canadian film writer, producer, and director whose work is rooted in feminist and intersectional film theory. Bailey has directed several films, both in English and French and in various different genres, including fiction and non-fiction films. Her prolific career within the film industry has awarded her various awards and professional accolades including being named to the Order of Manitoba in 2010.

Career

Norma Bailey graduated from the University of Manitoba and began her film career as a production assistant on David Cronenberg’s Rabid. She joined the National Film Board of Canada, and her first short, The Performer (1980), made for the Canada Vignettes series, won a jury prize for short film at the Cannes Film Festival. Bailey has since then had an extensive career writing, producing, and directing numerous shorts, documentaries, features, and television dramas including The Sheldon Kennedy Story for CTV, Cowboys and Indians: The Killing of J. J. Harper for CBC and the Genie Award–winning Bordertown Café in 1992 which was an adaptation of a play by Kelly Rebar. Norma Bailey also served as a producer for the ground-breaking four-part series Daughters of the Country about aboriginal women's interactions with white society.

Works

Feminism
As a female Canadian director and producer Norma Bailey can be ranked among the greats. Her cinematic style is concisely centred around strong,  independent, and mature female characters. Bailey's distinct style showcasing strong female characters can be found in several of her films such as Nose and Tine (1980), The Wake (1866), and Ikwe (1986). It is through Bailey's dedication to showcasing female characters as powerful, ambitious, and independent that she can be considered as a feminist filmmaker in cinema. Female characters and women are not extensively portrayed beyond the stereotypical representations often used to describe womanhood and the feminine existence in the film and television industry. Therefore, Bailey's interpretation of women onscreen in inherently a feminist act of rebellion against the typical patriarchal values implemented in film and television.

Feminist film making is a cinematic art govern by feminist politics and theories rooted in social justice and most generally associated with the second wave of feminism. It is common for feminist filmmakers to create cinematic works based on the lived experiences of women and the feminist ideological framework of womanhood. Moreover, feminist filmmaking can be considered an act of liberation for women and a way to diffuse feminist ideologies to a wider audience of people. Norma Bailey stands out as a feminist filmmaker for her contributions in creating more realistic female representation and by repositioning the female voice and gaze throughout her films. A prime example of Norma Bailey's dedication to reshaping the ways in which women are represented in film and television is through her 1986 film The Wake, which was a part of The Daughters of the Country series.

The Wake
The Wake was set in the 1980s in rural Alberta and told the story of a Métis woman named Joan and her love affair with a Royal Canadian Mounted Police officer named Jim. The film showcased Joan's experiences as a member of the Métis community and the effects cultural differences have on individuals.  Norma Bailey reimagined the experiences of Indigenous women from what had been previously showed through film and television and focused on creating a main character that was strong, independent, flawed, and relatable.

Throughout the film maternity and motherhood played an important role as Joan is a single mother of her own children and also takes on the role of caretaker for other children. Joan's character does not exemplify the idealized version of motherhood that is often perpetuated through mainstream cinema. She is flawed and makes mistakes which realigns the narrative towards a more feminist one that embraces motherhood as a constant state of difficulty and imperfection for most women which is perfectly normal. Women do not have a biologically predisposition that allows them to great mothers instantly and consistently and Joan demonstrates the reality of motherhood. Furthermore, motherhood is not Joan's only characteristic. She is portrayed to be a strong independent woman who desires to love and be loved. Therefore, dispelling the patriarchal idea that motherhood somehow converts women into non sexual beings to be fetishized by men. This cinematic rendering of women and motherhood creates this underlining feminist narrative throughout the film which contributes to the feminist filmmaking movement and to Norma Bailey's position within feminist filmmaking.

Furthermore, The Wake is centred in the genres of romance, drama, and western all of which typically position white people as being the main character and the hero. Bailey rejects this archetypal contextualization of her white character Jim and instead positions Joan, a Métis woman, as the sympathetic main character. Indigenous women are rarely depicted in the film and television industry and when they are it often plays into negative stereotypes. However, Bailey evokes the narrative that Indigenous woman can be fully developed relatable characters who fulfill all of the facets required for representation female characters in cinema.  The character of Joan in The Wake is actually the morally superior character between her and all of the white male characters which is highlighted throughout the film by her strong voice and judgment.

Norma Bailey did a majority of her pure feminist filmmaking in the 1980s which was an important and radical time for the feminist movement. The 1980s were a time of radical social change were feminist ideologies and activists were publicly addressing sexism alongside re-examining the movements internal racism and classism. The films Bailey wrote, produced, and directed in the 1980s showcased this ideological re-working of the feminist movement through her treatment and dedication to creating serious and respectful Indigenous led content. Bailey consciously tried to redirect and dispel any connotations of racism, sexism, and classism while creating cinema surrounding colonial oppression in Canada. A variety of her 1980s era films highlight the shifting ideological framework of the feminist movement towards intersectional feminism while working against cycles of colonial oppression within the film industry.

Taking into consideration the example of The Wake alongside a variety of her other films, it is easy to categorize Norma Bailey has an important feminist figure in the cinematic industry. Bailey has a distinctive perception of womanhood and the various roles women inhabit within society and portrays them onscreen to be representational of lived female experiences. She does not shy away from depicting true femininity and beautifully represents women as independent human beings who are capable of character and moral superiority over men and the patriarchal views, values, and ideals of womanhood commonly represented through cinema.

Decolonization
Settler colonialism has implemented heteronormative and patriarchal norms that directly oppress many traditional Indigenous expressions, structures, and kinships regarding gender. Western ideologies are the social norm and liberally expressing any kind of variation from the mainstream is punished through social isolation and ridicule. Colonialism is therefore, a naturally sexist structural institution creating a gendered hierarchy which is forced upon societies that differ from their heteronormative view on gender roles. An example of the link between colonialism and sexism would be the 1876 Indian Act, which forced a patrilineal social structure onto the traditional Indigenous matrilineal organization of society.

Decolonization is an inherently feminist act because it is centred around dismantling an facet of the ancient and oppressive social hierarchy designed to enact racism and sexism within society.  Therefore, in order to make progress within the feminist movement there must be a collective understanding of colonial oppression and the violent trauma it has caused within Indigenous communities and among the generations of Indigenous peoples. Feminists and decolonization activist are fighting back against the same systems of social hierarchal oppression so, both movements are interconnected.

Throughout her extensive career Norma Bailey has written, produced, and directed several films that represent narratives other than her own, such as the experiences of Indigenous people and communities in Canada. However, Bailey avoids representing Indigenous peoples within the racist stereotypes commonly associated with them by colonial society. Such stereotypes include but are not limited to the dirty squaw, the noble savage, and finally the Indian princess. There is this important element of sympathy for the consequences inflicted upon Indigenous peoples, especially Indigenous women, by colonization and its hierarchal structures that enforce inequality and injustice within her movies. For example, in Bailey's 1986 film The Wake she resists judging the Indigenous female characters in the film for their wrongdoings and instead fixates on the condemnation of the white men who participate in oppressing these women. Although, Ikwe (1986) is arguably the film in Bailey extensive repertoire that best represents the relationship between colonial oppression and sexism, and the need for decolonization and feminist movements.

Ikwe
Ikwe is a part of the Daughters of the Country short film series produced by Norma Bailey in 1986. The film is set in 1770 and follows the story of a young Ojibwa girl named Ikew who marries a Scottish fur trader, named Angus, and her journey leaving her home and tribe for the Georgian Bay shores with her husband.  Although the arranged union is potentially beneficial to her tribe, it results in a difficult life for Ikwe as her and her husband are never able to peacefully merge their cultures and create a unified home for themselves or their children. Traditional values and customs are in a constant state of clashing for Ikwe, though she believes her daughter has to power to create a new way of life using both of her parents cultures. Norma Bailey tells the story of conflicting cultures through they eyes of a young Indigenous woman and does not offer the perspective of settlers in the unfair realm of trade culture and the new hybrid culture it eventually created.

The film examines the relationship between Indigenous peoples and settlers in the fur trade and the consequences of those unfortunate alliances for the Indigenous women who were used as bargaining chips to ensure "fair" trades. Bailey showcases the settler characters as opinionated and ill-mannered opportunists in the early contact with Indigenous peoples and communities. Rightfully alluding to the eventual historical grotesque mistreatment and genocide of Indigenous peoples and cultures. While in a historic context Indigenous people did intentionally engage with the Europeans, they had no way of foreseeing the dangers that would accompany this decision would bring them and their future generations. Through Ikwe we are given a sense for foreshadowing to these dangers through the relationship between Ikwe and Angus, especially regarding the wellbeing of their children. The character of Ikwe is a by-product of her culture and she struggles throughout the film to adhere to colonial mainstream expectations of her as a woman, wife, and mother. She resists the Western patriarchal ideology that as a woman she must obey her husband and that his words and actions are law within the structure of their family. In many Indigenous cultures men and women complementary gender roles which are rooted in equality and mutual respect. However, colonial society gender roles were much stricter and were rooted in the belief and men were superior to women which denied women any right.

Norma Bailey pushed back from many colonial and sexist structures through the film Ikwe as she offered viewers a different version of colonialism and its historical impact then what is typically represented in film and television while creating an Indigenous centred perspective. Bailey worked within decolonization structures through her casting choices and use of traditional Indigenous language throughout the film. Ikwe used real Indigenous actors to play to roles of the Indigenous characters which was not common during the 1980s film industry when it was still socially tolerated to cast white actors and actresses in roles portraying the experiences of people of colour. By casting Indigenous people to play Indigenous characters Bailey was consciously underlining the importance of real Indigenous representation in the cinematic industry and clearly positioning herself as an ally to the larger decolonization movement. Furthermore, by using non-professional actors in the film and instructing them to be authentic in their portrayal of their Indigenous culture, values, and language Bailey encouraged a safe space for accurate historical representations from non-colonial perspectives. Even in a modern context it is uncommon for a settler filmmaker, like Norma Bailey, to use actual dialectic representation to ensure proper and distinct Indigenous characterization in the film and television industry. Bailey elicited a charismatic feeling throughout Ikwe by creating a film about the relationships forged through the fur trade by only offering viewers the opportunity to understand the experiences lived by an Indigenous woman. The performances in Ikwe gives a sympathetic dimension to Canadian and Indigenous history while highlighting the innate strength, power, and dignity of Indigenous peoples and Indigenous cultures that have been oppressed by colonial structures of racism and sexism.

Despite being non-Indigenous herself, Norma Bailey works tirelessly within the context of several of her 1980s era films to showcase Indigenous resilience against the oppressive colonial systems working to eradicate them from society. Bailey respectfully reserves her judgment of colonialism from her films and instead highlights the strength of Indigenous people and representation in cinema as an important factor in the decolonization movement. Through Ikwe Norma Bailey accomplishes depicting history through the perspective of the oppressed which is rarely done in colonial society and works towards messages of Indigenous sovereignty and Indigenous feminism. It is through this contextualization that Norma Bailey emerges as an ally in the movements of decolonization and Indigenous feminism.

Bailey encompassed Indigenous feminism in her films by examining how gender and western patriarchal ideologies of conceptions for gender impact historical and contemporary Indigenous peoples. Alongside the ideologies of Indigenous feminism through her a variety of her films, Bailey challenges stereotypes about Indigenous peoples and gender roles by creating cinematic content that is inclusive and representational. Within this framework Norma Bailey can be easily viewed as an ally to the Indigenous feminist movement and the broader decolonization movement. She does not hide behind her position as a white settler filmmaker but rather chooses to use her ability as a filmmaker to create films that showcase Indigenous peoples in a sympathetic yet powerful way that is rarely captured.

Filmography
 L' artiste (1978)
 Chasing the Eclipse (1979)
 Rice Harvest (1980)
 Nose and Tina (1980)
 Bush Pilot: Reflections on a Canadian Myth (1980)
 It's Hard to Get It Here (1984)
 Discussions in Bioethics: Family Tree (1985)
 The Wake (1986)
 Ikwe (1986)
 Heart Land (1987)
 Martha, Ruth and Edie (1988)
 Women in the Shadows (1992)
 Bordertown Café (1992)
 The True Story of Linda M. (1995)
 My Life as a Dog - "Widgeon" & "The Fugitive" (1995)
 For Those Who Hunt the Wounded Down (1996)
 Nights Below Station Street (1997)
 The Sheldon Kennedy Story (1999)
 Les aventures de Shirley Holmes - " The Case of the Hidden Heart," "The Case of the Desperate Dancer." "The Case of the Falling Star," "The Case of the Vanishing Virus," "The Case of the Forbidden Mountain," "The Case of the Miracle Mine," "The Case of the Broken Oath," "The Case of the Doggone Cats," "The Case of the Exact Change," "The Case of the King of Hearts" (1997-2000)
 Secret Cutting (2000)
 Rivals (2000)
 Tessa, è la pointe de l'épée - "Betrayed" & "End of Days" (2001)
 Un bébé à tout prix (2001)
 2030 CE - "Strange Medicine" & "Free Jake" (2002)
 Mercy Peak - "To Kill a Minah Bird" & "Cruel to Be Kind" (2002)
 The Atwood Stories - "Isis in Darkness" (2003)
 Cowboys and Indians: The J.J Harper Story (2003)
 The Shields Stories - "Hazel" (2004)
 Séduction criminelle (2005)
 Ken Leishman: The Flying Bandit (2005)
 North of Hope (2005)
 8 jours pour mon fils (2006)
 Falcon Beach - "Permanent Collection," "Lovers and Cheaters," "Thirteen Minutes to Midnight," "Sins of the Father," "The Spins," "Desperados," "Trust This," "Summer Solstice," Getting to Know You" (2006-2008)
 The Capture of the Green River Killer - "Épisode #1.2" & "Épisode #1.1"(2008)
 Au-delà des apparence (2009)
 De L'espoir pour Noël (2009)
 L'énigme de la peur (2010)
 Méfiez-vous des apparences (2011)
 Sous l'emprise du pasteur: L'histoire vraie de Mary Winkler (2011)
 An Officer and a Murderer (2012)
 Un tueur au visage d'ange (2013)
 Cracked - "The Hold Out"(2013)
 Le médaillon de noël (2014)
 The Pinkertons - "Mudd and Clay" & "On Account of Huckleberries" (2015)
 La boutique des secrets - "Meurtres en 3 actes" (2016)
 Beauty and the Beast - "Beast of Times, Worst of Times," "Patient X," "Catch Me If You Can" (2014-2016)
 Les enquêtes de Murdoch - "Concocting a Killer" & "A Study in Pink" (2016)
 Heartland - "Sound of Silence," "Faking It," "Eclipse of the Heart" (2015-2017)
 Reign: La Destin d'une reine - "The Shakedown," "Strand Bedfellows," "Wedlock," "Fugitive," "Blood for Blood," "Dirty Laundry" (2014-2017)
 Outlander - "Crème de Menthe" & "A. Malcome" (2017)
 Frankie Drake Mysteries - "Summer in the City" (2017)
 Ransom - "The Client" (2018)
 Mary Kills People - "Girl Problems," "The Ket to Faith," "Ride or Die," "Twin Flames" (2018-2019)
 Anne with an E - "The Summit of My Desires," "A Hope of Meeting You in Another World," "The Determining Acts of Her Life" (2018-2019)
 Spinning Out - "Healing Time May Vary" & "Have a Nice Day!" (2020)
 Project Blue Book - "Broken Arrow," "Curse of the Skinwalker," "The Green Fireballs," "Foo Fighters" (2019-2020)
 Star Trek: Discovery - "Su'Kal" (2020)
 Batwoman - "Gore on Canvas" (2021)
 Superman & Lois - "Holding the Wrench" (2021)
 Home Before Dark - "The Smoking Gun" (2021)
 The Lost Symbol - "Order Eight" (2021)

Awards

American Indian Film Festival

Canadian Screen Awards, CA

Cannes Film Festival

Directors Guild of Canada

Gemini Awards

References

External links

 Norma Bailey at IMDb
 Watch films by Norma Bailey at the National Film Board of Canada

Canadian women film directors
1949 births
People from Gimli, Manitoba
Film directors from Manitoba
Living people
Canadian women television directors
Canadian television directors
Members of the Order of Manitoba
Canadian Screen Award winners


The 2015–16 UEFA Champions League qualifying phase and play-off round began on 30 June and ended on 26 August 2015. A total of 56 teams competed in the qualifying phase and play-off round to decide 10 of the 32 places in the group stage of the 2015–16 UEFA Champions League.

All times were CEST (UTC+2).

Round and draw dates
All draws were held at UEFA headquarters in Nyon, Switzerland.

Format
In the qualifying phase and play-off round, each tie was played over two legs, with each team playing one leg at home. The team that scored more goals on aggregate over the two legs advanced to the next round. If the aggregate score was level, the away goals rule was applied, i.e., the team that scored more goals away from home over the two legs advanced. If away goals were also equal, then 30 minutes of extra time was played, divided into two 15-minute halves. The away goals rule was again applied after extra time, i.e., if there were goals scored during extra time and the aggregate score was still level, the visiting team advanced by virtue of more away goals scored. If no goals were scored during extra time, the tie was decided by penalty shoot-out.

In the draws for each round, teams were seeded based on their UEFA club coefficients at the beginning of the season, with the teams divided into seeded and unseeded pots. A seeded team was drawn against an unseeded team, with the order of legs in each tie decided by draw. Due to the limited time between matches, the draws for the second and third qualifying rounds took place before the results of the previous round were known. For these draws (or in any cases where the result of a tie in the previous round was not known at the time of the draw), the seeding was carried out under the assumption that the team with the higher coefficient of an undecided tie advanced to this round, which means if the team with the lower coefficient was to advance, it simply took the seeding of its defeated opponent. Prior to the draws, UEFA formed "groups" in accordance with the principles set by the Club Competitions Committee, but they were purely for convenience of the draw and for ensuring that teams from the same association were not drawn against each other, and did not resemble any real groupings in the sense of the competition.

Teams
There were two routes which the teams were separated into during qualifying:
Champions Route, which included all domestic champions which had not qualified for the group stage.
League Route (also called the Non-champions Path or the Best-placed Path), which included all domestic non-champions which had not qualified for the group stage.

A total of 56 teams (41 in Champions Route, 15 in League Route) were involved in the qualifying phase and play-off round. The 10 winners of the play-off round (5 in Champions Route, 5 in League Route) advanced to the group stage to join the 22 teams which entered in the group stage. The 15 losers of the third qualifying round entered the Europa League play-off round, and the 10 losers of the play-off round entered the Europa League group stage.

Below are the participating teams (with their 2015 UEFA club coefficients), grouped by their starting rounds.

Champions Route

League Route

First qualifying round

Seeding
A total of eight teams played in the first qualifying round. The draw was held on 22 June 2015.

Summary
The first legs were played on 30 June and 1 July, and the second legs were played on 7 July 2015.

|}

Matches

Lincoln Red Imps won 2–1 on aggregate.

1–1 on aggregate; Crusaders won on away goals.

Pyunik won 4–2 on aggregate.

The New Saints won 6–2 on aggregate.

Second qualifying round

Seeding
A total of 34 teams played in the second qualifying round: 30 teams which entered in this round, and the four winners of the first qualifying round. The draw was held on 22 June 2015.

Notes

Summary
The first legs were played on 14 and 15 July, and the second legs were played on 21 and 22 July 2015.

|}

Notes

Matches

Maccabi Tel Aviv won 6–3 on aggregate.

1–1 on aggregate; APOEL won on away goals.

Qarabağ won 1–0 on aggregate.

Lech Poznań won 3–0 on aggregate.

Astana won 3–2 on aggregate.

BATE Borisov won 2–1 on aggregate.

HJK won 4–1 on aggregate.

Midtjylland won 3–0 on aggregate.

Molde won 5–1 on aggregate.

Malmö FF won 1–0 on aggregate.

Celtic won 6–1 on aggregate.

Steaua București won 4–3 on aggregate.

Partizan won 3–0 on aggregate.

Milsami Orhei won 3–1 on aggregate.

Dinamo Zagreb won 4–1 on aggregate.

Skënderbeu won 6–4 on aggregate.

Videoton won 2–1 on aggregate.

Third qualifying round

Seeding
The third qualifying round was split into two separate sections: Champions Route (for league champions) and League Route (for league non-champions). The losing teams in both sections entered the 2015–16 UEFA Europa League play-off round.

A total of 30 teams played in the third qualifying round:
Champions Route: three teams which entered in this round, and the 17 winners of the second qualifying round.
League Route: ten teams which entered in this round.

The draw was held on 17 July 2015.

Notes

Summary
The first legs were played on 28 and 29 July, and the second legs were played on 4 and 5 August 2015.

|+Champions Route

|}

|+League Route

|}

Matches

Basel won 4–1 on aggregate.

Skënderbeu won 4–0 on aggregate.

Astana won 4–3 on aggregate.

Celtic won 1–0 on aggregate.

Partizan won 5–3 on aggregate.

2–2 on aggregate; APOEL won on away goals.

Maccabi Tel Aviv won 3–2 on aggregate.

4–4 on aggregate; Dinamo Zagreb won on away goals.

BATE Borisov won 2–1 on aggregate.

Malmö won 3–2 on aggregate.

Club Brugge won 4–2 on aggregate.

Monaco won 7–1 on aggregate.

CSKA Moscow won 5–4 on aggregate.

Rapid Wien won 5–4 on aggregate.

Shakhtar Donetsk won 3–0 on aggregate.

Play-off round

Seeding
The play-off round was split into two sections: Champions Route (for league champions) and League Route (for league non-champions). The losing teams in both sections entered the 2015–16 UEFA Europa League group stage.

A total of 20 teams played in the play-off round:
Champions Route: the ten Champions Route winners of the third qualifying round.
League Route: five teams which entered in this round, and the five League Route winners of the third qualifying round.

The draw was held on 7 August 2015.

Notes

Summary
The first legs were played on 18 and 19 August, and the second legs were played on 25 and 26 August 2015.

|+Champions Route

|}

|+League Route

|}

Matches

Astana won 2–1 on aggregate.

Dinamo Zagreb won 6–2 on aggregate.

Malmö FF won 4–3 on aggregate.

3–3 on aggregate; Maccabi Tel Aviv won on away goals.

2–2 on aggregate; BATE Borisov won on away goals.

Bayer Leverkusen won 3–1 on aggregate.

Manchester United won 7–1 on aggregate.

CSKA Moscow won 4–3 on aggregate.

Shakhtar Donetsk won 3–2 on aggregate.

Valencia won 4–3 on aggregate.

Statistics
There were 240 goals in 92 matches in the qualifying phase and play-off round, for an average of 2.61 goals per match.

Top goalscorers

Top assists

Notes

References

External links
2015–16 UEFA Champions League

Qualifying Rounds
2015-16
June 2015 sports events in Europe
July 2015 sports events in Europe
August 2015 sports events in Europe


title: Raymond Costabile

text:
Raymond A. Costabile (born in 1958 in Washington, DC) is Professor, and Chair Urology with the Department of Urology at the School of Medicine of the University of Virginia. Costabile is a retired Colonel in the US Army and the former Chief of Urology Service at Madigan Army Medical Center. Costabile is an author; his articles on men's reproductive health and infertility have been published in the Journal of Urology and Proceedings in the National Academy of Sciences, among other peer-reviewed scholarly journals. He has also been featured in television interviews in the national media.

Higher education
Costabile obtained his B.S. from the Georgetown University. He received his medical degree in 1984 from Georgetown University School of Medicine, and finished his urology residency at Walter Reed Army Medical Center in 1991. Costabile completed a specialty fellowship in Impotence and Infertility at the University of Virginia in 1993.

US Army
In 1993 Costabile was appointed Staff Urologist at Water Reed Army Medical Center, a position he held until 1999.  During this time he was also an Assistant Professor at the Department of Surgery of the Uniformed Services University of Health Sciences in Bethesda.  He subsequently achieved the tenured position of Professor, a position he holds to the present day.
In 1999 Costabile was promoted to Chief of Urology Service and Urology Residency Program Director at Madigan Army Medical Center, one of the world's largest military urologic centers. Prior to retirement from the military in 2004, he volunteered for deployment in the Iraq War.  During his deployment, he commanded the 47th Combat Support Hospital. Under Costabile's command, the 47th CSH was the principle coalition combat hospital, responsible for caring for over 92% of all battle casualties during the initial nine months of the conflict.

University of Virginia
In 2004, Costabile returned to the University of Virginia  where he is the Jay Y. Gillenwater Professor and Vice Chairman of the Department of Urology. He presently heads the men's reproductive health and infertility practice, with a particular focus in the areas of male infertility, vasectomy reversal, penile and urethral reconstruction, male and female sexual health, and urologic oncology. At the Department of Urology, Costabile also directs UVA's Andrology Fellowship, a one-year physician's training program in men's sexual health.

Since 2008, Costabile has been the Senior Associate Dean for Clinical Strategy, as well as a chief medical officer with oversight responsibility for the UVA School of Medicine's outreach programs and activities. In the latter role, he worked to establish three large, multi-specialty clinics in rural areas peripheral to UVA and Charlottesville.

Awards
 Surgeon General's "A" Proficiency Designator.
 Legion of Merit and the Bronze Star, Iraq War, 2003.
 Outstanding Physician Educator Award, Madigan Army Medical Center, 2004.
 Urology Teaching Award, University of Virginia, 2005.
 America's Top Physicians, Consumers' Research Council of America, 2010.

Professional societies
 American Urologic Association (AUA)
 Examination Committee Member, International Urologic Association
 American Society of Andrology (ASA)
 International Society for the Study of Women's Sexual Health (ISSWSH)
 Society for the Study of Male Reproduction (SSMR)
 Sexual Medicine Society of North America (SMSNA)
 American Fertility Society (AFS)
 American College of Surgeons Oncology Group (ACOSOG)
 Uniformed Services Urology Research Group (USURG)
 Society of Government Service Urologists (SGSU)
 Mid-Atlantic Section, American Urological Association
 Washington Urologic Society
 Virginia Urological Society

Selected writings
 "Clinical Urologic Endocrinology: Principles for Men's Health". Springer, London 2012.
 "Vasovasostomy and Vasoepididymostomy". Hinman's Atlas of Urologic Surgery, 3rd Edition. Saunders, Philadelphia, PA. 2012.
 "Sexual Disorders". Professional Guide to Diseases, Wolter Kluwer Health, Lippincott, Williams & Wilkins, 2013.
 "Surgery of the Scrotum and Seminal Vesicles". Campbell-Walsh Urology. Saunders Co. Wein, Kavoussi, Partin, Peters. 2012.

References

1958 births
Georgetown University School of Medicine alumni
University of Virginia School of Medicine faculty
Living people
Iraq War


The 2015–16 UEFA Champions League group stage began on 15 September and ended on 9 December 2015. A total of 32 teams competed in the group stage to decide the 16 places in the knockout phase of the 2015–16 UEFA Champions League.

Draw
The draw was held on 27 August 2015, 17:45 CEST, at the Grimaldi Forum in Monaco. The 32 teams were drawn into eight groups of four, with the restriction that teams from the same association could not be drawn against each other. For the draw, the teams were seeded into four pots based on the following principles (introduced starting this season):
Pot 1 contained the title holders and the champions of the top seven associations based on their 2014 UEFA country coefficients. As the title holders (Barcelona) were one of the champions of the top seven associations, the champions of the association ranked eighth were also seeded into Pot 1 (regulations Article 13.05).
Pots 2, 3 and 4 contained the remaining teams, seeded based on their 2015 UEFA club coefficients.

Moreover, the draw was controlled for teams from the same association in order to split the teams evenly into the two sets of groups (A–D, E–H) for maximum television coverage.

The fixtures were decided after the draw. On each matchday, four groups played their matches on Tuesday, while the other four groups played their matches on Wednesday, with the two sets of groups (A–D, E–H) alternating between each matchday. There were other restrictions: for example, teams from the same city (e.g., Real Madrid and Atlético Madrid, Chelsea and Arsenal, Manchester City and Manchester United) in general did not play at home on the same matchday (UEFA tried to avoid teams from the same city playing at home on the same day or on consecutive days, due to logistics and crowd control), and teams in certain countries (e.g., Belarus, Russia, Kazakhstan) did not play at home on the last matchday (due to cold weather and simultaneous kick-off times).

On 17 July 2014, the UEFA emergency panel ruled that Ukrainian and Russian clubs would not be drawn against each other "until further notice" due to the political unrest between the countries. Therefore, Ukrainian clubs Shakhtar Donetsk and Dynamo Kyiv (both Pot 3), and Russian clubs Zenit Saint Petersburg (Pot 1) and CSKA Moscow (Pot 3) could not be drawn into the same group.

Teams
Below are the 32 teams which qualified for the group stage (with their 2015 UEFA club coefficients), grouped by their seeding pot. They include 22 teams which entered in this stage, and the 10 winners of the play-off round (5 in Champions Route, 5 in League Route).

Notes

Format
In each group, teams played against each other home-and-away in a round-robin format. The group winners and runners-up advanced to the round of 16, while the third-placed teams entered the Europa League round of 32.

Tiebreakers
The teams were ranked according to points (3 points for a win, 1 point for a draw, 0 points for a loss). If two or more teams were equal on points on completion of the group matches, the following criteria were applied in the order given to determine the rankings (regulations Article 17.01):
higher number of points obtained in the group matches played among the teams in question;
superior goal difference from the group matches played among the teams in question;
higher number of goals scored in the group matches played among the teams in question;
higher number of goals scored away from home in the group matches played among the teams in question;
if, after having applied criteria 1 to 4, teams still had an equal ranking, criteria 1 to 4 were reapplied exclusively to the matches between the teams in question to determine their final rankings. If this procedure did not lead to a decision, criteria 6 to 12 applied;
superior goal difference in all group matches;
higher number of goals scored in all group matches;
higher number of away goals scored in all group matches;
higher number of wins in all group matches;
higher number of away wins in all group matches;
lower disciplinary points total based only on yellow and red cards received in all group matches (red card = 3 points, yellow card = 1 point, expulsion for two yellow cards in one match = 3 points);
higher club coefficient.

Groups
The matchdays were 15–16 September, 29–30 September, 20–21 October, 3–4 November, 24–25 November, and 8–9 December 2015. The match kickoff times were 20:45 CEST/CET, except for matchday 5 in Belarus and Russia and matchday 2 in Kazakhstan which were 18:00 CEST/CET, and matchdays 4 and 5 in Kazakhstan which were 16:00 CET.

Times are CET/CEST, as listed by UEFA (local times are in parentheses).

Group A

Notes

Group B

Group C

Group D

Group E

Group F

Group G

Notes

Group H

Notes

References

External links
2015–16 UEFA Champions League

Group Stage
2015-16


The 2015–16 UEFA Champions League knockout phase began on 16 February and concluded on 28 May 2016 with the final at San Siro in Milan, Italy, to decide the champions of the 2015–16 UEFA Champions League. A total of 16 teams competed in the knockout phase.

Times are CET/CEST, as listed by UEFA (local times are in parentheses).

Round and draw dates
All draws were held at UEFA headquarters in Nyon, Switzerland.

Format
The knockout phase involved the 16 teams which qualified as winners and runners-up of each of the eight groups in the group stage.

Each tie in the knockout phase, apart from the final, was played over two legs, with each team playing one leg at home. The team that scored more goals on aggregate over the two legs advanced to the next round. If the aggregate score was level, the away goals rule would be applied, i.e. the team that scored more goals away from home over the two legs advanced. If away goals were also equal, then thirty minutes of extra time would be played. The away goals rule would be again applied after extra time, i.e. if there were goals scored during extra time and the aggregate score was still level, the visiting team would advance by virtue of more away goals scored. If no goals were scored during extra time, the tie would be decided by penalty shoot-out. In the final, which was played as a single match, if scores were level at the end of normal time, extra time would be played, followed by penalty shoot-out if scores remained tied.

The mechanism of the draws for each round was as follows:
In the draw for the round of 16, the eight group winners were seeded, and the eight group runners-up were unseeded. The seeded teams were drawn against the unseeded teams, with the seeded teams hosting the second leg. Teams from the same group or the same association could not be drawn against each other.
In the draws for the quarter-finals onwards, there were no seedings, and teams from the same group or the same association could be drawn against each other.

On 17 July 2014, the UEFA emergency panel ruled that Ukrainian and Russian clubs would not be drawn against each other "until further notice" due to the political unrest between the countries.

Qualified teams

Bracket

Round of 16
The draw was held on 14 December 2015. The first legs were played on 16, 17, 23 and 24 February, and the second legs were played on 8, 9, 15 and 16 March 2016.

Summary

Matches

VfL Wolfsburg won 4–2 on aggregate.

Real Madrid won 4–0 on aggregate.

Paris Saint-Germain won 4–2 on aggregate.

Barcelona won 5–1 on aggregate.

Bayern Munich won 6–4 on aggregate.

0–0 on aggregate. Atlético Madrid won 8–7 on penalties.

Benfica won 3–1 on aggregate.

Manchester City won 3–1 on aggregate.

Quarter-finals
The draw was held on 18 March 2016. The first legs were played on 5 and 6 April, and the second legs were played on 12 and 13 April 2016.

Summary

Matches

Real Madrid won 3–2 on aggregate.

Bayern Munich won 3–2 on aggregate.

Atlético Madrid won 3–2 on aggregate.

Manchester City won 3–2 on aggregate.

Semi-finals
The draw was held on 15 April 2016. The first legs were played on 26 and 27 April, and the second legs were played on 3 and 4 May 2016.

Summary

Matches

Real Madrid won 1–0 on aggregate.

2–2 on aggregate; Atlético Madrid won on away goals.

Final

The final was played on 28 May 2016 at San Siro in Milan, Italy.

Notes

References

External links
2015–16 UEFA Champions League

Knockout Phase
2015-16


title: Cuando los hijos se van (TV series)

text:
Cuando los hijos se van (English title: When the kids leave) is a Mexican telenovela produced by Silvia Pinal for Televisa in 1983.

Saby Kamalich and Raúl Ramírez starred as protagonists, while Roberto Ballesteros starred as main antagonist.

Plot

Julio and Francisca have a strong marriage and five grown children, and there are problems: Teresa, when I was young and naive, fell in love with Álvaro, a married man, but 10 years later can not maintain the facade facing the family and confesses everything. However, although Álvaro is leaving, she can not; your love is true and completely mutual.

Kiko, another son, uses and abuses Susana's love, who loves him dearly. He turns his back to love, only to receive financial support from it, but then becomes the hunted hunter as falls in love with Susan. But Kiko has made too many mistakes in his life and thinks it would be unfair to tie Susana to a man like him. Hilda has a perfect romance: loves Jorge, a good young, professional and very correct, a white wedding and irreproachable life.

For Ignacio, love is a reckoning with himself. He gains confidence in himself, begins his terrible resolve their inferiority complex internal problems. Behind this is Claudia, a girl who loves him for the beauty of his spirit. Maria Graciela is in love for the first time, with Ricardo. She is all passionate kisses, languishing glances, sighs loudly and tantrums, but is it really love or infatuation?

Cast

 Saby Kamalich as Francisca Mendoza
 Raúl Ramírez as Julio Mendoza
 Silvia Pasquel as Teresa Mendoza
 Enrique Rocha as Álvaro
 Alejandro Camacho as Ignacio Mendoza
 Anabel Ferreira as Hilda Mendoza
 Roberto Ballesteros as Julio Francisco "Kiko" Mendoza
 Rosenda Monteros as Aunt Elvira
 Margarita Sanz as Rebeca
 Mónica Prado as Susana
 Mercedes Olea as María Graciela Mendoza
 Jorge Pais as Damián
 Crystal as Claudia
 Claudio Báez as Jorge Guerra
 Demián Bichir as Ricardo
 Simone Brook as Martha
 Eloísa Capdevilla as Doña Matilde
 Deborah Conde as Dominga
 Alfonso Barclay as Alfonso
 Alejandra Guzmán as Alejandra
 Luis Enrique Guzmán as Chito
 Raúl Marcelo as Abel
 Carmen Rodríguez as Diana
 Lucero Lander as Lolita
 Uriel Chávez as Vicente
 Judith Velasco Herrera as Vicente's wife
 Sara Guasch

References

External links

1983 telenovelas
1983 Mexican television series debuts
1983 Mexican television series endings
Spanish-language telenovelas
Television shows set in Mexico
Televisa telenovelas


title: 2016 UEFA Champions League final

text:
The 2016 UEFA Champions League final was the final match of the 2015–16 UEFA Champions League, the 61st season of Europe's premier club football tournament organised by UEFA, and the 24th season since it was renamed from the European Champion Clubs' Cup to the UEFA Champions League. It was played at the San Siro stadium in Milan, Italy, on 28 May 2016, between Spanish teams Real Madrid and Atlético Madrid, in a repeat of the 2014 final. It was the second time in the tournament's history that both finalists were from the same city. Real Madrid won 5–3 on a penalty shoot-out after a 1–1 draw at the end of extra time, securing a record-extending 11th title in the competition.

Real Madrid earned the right to play against the winners of the 2015–16 UEFA Europa League, Sevilla, in the 2016 UEFA Super Cup. They also qualified to enter the semi-finals of the 2016 FIFA Club World Cup as the UEFA representative, ultimately triumphing in both competitions.

Venue

The San Siro, officially known as Stadio Giuseppe Meazza, was announced as the venue of the final at the UEFA Executive Committee meeting in Nyon, Switzerland, on 18 September 2014, the fourth European Cup/Champions League final hosted at the stadium following those in 1965, 1970 and 2001.

The San Siro was built in 1925, opened in 1926 as the home of Milan, and was sold to the city in 1935. Internazionale became tenants in 1947, and the stadium has been shared by the two clubs ever since, with Inter winning the first European Cup final played at the stadium in 1965. The stadium was used as a venue in the 1934 FIFA World Cup, UEFA Euro 1980, and the 1990 FIFA World Cup. Its current capacity is 80,018, but is reduced to just under 80,000 seats for UEFA competitions.

The 2016 final marked the first time a final has been held at the San Siro when neither of its tenants were able to win the competition, as Milan and Internazionale both failed to qualify for any European competitions after their performance in the 2014–15 Serie A.

Background

This final was the sixth tournament final to feature two teams from the same association, the third all-Spanish final, and the second between teams from the same city, fielding exactly the two teams that faced each other in the 2014 final, making it the seventh repeated final pairing. The all-Madrid final also guaranteed the city of Madrid becoming the most successful city in the European Cup with 11 wins and 17 final appearances, and also in all UEFA club competitions with 16 wins, overtaking the city of Milan with 10 wins and 16 final appearances in the European Cup and 15 wins in all UEFA club competitions.

Real Madrid reached a record 14th final after a 1–0 aggregate win against Manchester City, with a chance to win a record 11th title. Previously, they won finals in 1956, 1957, 1958, 1959, 1960, 1966, 1998, 2000, 2002, and 2014, and lost in 1962, 1964 and 1981. This was also their 18th final in all UEFA club competitions, having also played in two Cup Winners' Cup finals (losing in 1971 and 1983) and two UEFA Cup finals (winning in 1985 and 1986). Their manager, Zinedine Zidane, who scored the winning goal for Real Madrid in the 2002 final, was aiming to become the seventh man to win the Champions League as both player and manager, joining Miguel Muñoz, Giovanni Trapattoni, Johan Cruyff, Carlo Ancelotti, Frank Rijkaard and Pep Guardiola. The team had had a disastrous first half of the season, being left out of contention to win La Liga, sacking Rafael Benítez in January and leaving the Champions League to save their season from being trophy-less.

Atlético Madrid reached their third European Cup final after defeating Bayern Munich on away goals (2–2 on aggregate). Their previous two European Cup finals in 1974 and 2014 both ended in defeats, to Bayern Munich and Real Madrid respectively. Atlético Madrid had also played in three Cup Winners' Cup finals (winning in 1962, and losing in 1963 and 1986) and two Europa League finals (winning in 2010 and 2012), with their most recent Europa League triumph in 2012 led by current coach Diego Simeone, widely attributed as having brought Atlético Madrid back to glory, but had yet to win a Champions League. He had the chance to join fellow Argentinians Luis Carniglia and Helenio Herrera as the only non-European coaches to win the European Cup/Champions League. Had they won the final, they would have become the first Spanish club and the fifth club overall to have won all three major European trophies (European Cup/Champions League, UEFA Cup/Europa League and the now-defunct Cup Winners' Cup). On the other hand, if they were to lose, they would become the first team to lose their first three European Cup finals.

Apart from the 2014 final, won by Real Madrid 4–1 after extra time, the only previous Madrid Derby matches in European competitions were in the 1958–59 European Cup semi-finals, where Real Madrid won 2–1 in a replay, after a 2–2 aggregate draw, and in the 2014–15 UEFA Champions League quarter-finals, where Real Madrid won 1–0 on aggregate.

Road to the final

Note: In all results below, the score of the finalist is given first (H: home; A: away).

Pre-match

Ambassadors

The ambassadors for the final were former Argentine international Javier Zanetti, who won the Champions League with Internazionale against Bayern Munich in 2010, and former Italian international Paolo Maldini, who won five European Cups with Milan.

Logo
UEFA unveiled the brand identity of the final on 27 August 2015 in Monaco ahead of the group stage draw. The logo features the Milan landmark Galleria Vittorio Emanuele II.

Ticketing
With a stadium capacity of 71,500, a total amount of 46,000 tickets were available to fans and the general public, with the two finalist teams receiving 20,000 tickets each and with 6,000 tickets being available for sale to fans worldwide via UEFA.com from 1 to 14 March 2016 in four price categories: €440, €320, €160 and €70. The remaining tickets were allocated to the local organising committee, UEFA and national associations, commercial partners and broadcasters, and to serve the corporate hospitality programme.

Opening ceremony
American singer Alicia Keys performed in the opening ceremony prior to the match, the first time the UEFA Champions League final featured a live music performance. The UEFA Champions League Anthem was performed by Italian tenor Andrea Bocelli.

Related events
The 2016 UEFA Women's Champions League final was held two days prior, on 26 May 2016, at the Mapei Stadium – Città del Tricolore in Reggio Emilia.

The annual UEFA Champions Festival was held between 26–29 May 2016 at Milan's Piazza del Duomo.

Match

Officials
In May 2016, English referee Mark Clattenburg was chosen to adjudicate the final.  Joining him, were compatriots Simon Beck and Jake Collin as assistant referees, Andre Marriner and Anthony Taylor as additional assistant referees, Stuart Burt as reserve assistant referee, and Hungarian Viktor Kassai as fourth official.

Goal-line technology
The goal-line technology system Hawk-Eye was used for the match. This was the first UEFA Champions League final to employ goal-line technology, following approval by the UEFA Executive Committee in January 2016.

Summary
Real Madrid dominated possession in the early stages of the match. Six minutes into the game Gareth Bale delivered a free-kick into Atlético Madrid's penalty box, which found Casemiro. His goalbound shot was cleared off the line by goalkeeper Jan Oblak. Five minutes later, Dani Carvajal received the first yellow card of the match after a late tackle on Antoine Griezmann. In the 15th minute, Toni Kroos sent a free-kick into Atlético's penalty box, which was flicked on by Bale. In the subsequent scramble, Sergio Ramos touched the ball past Oblak to score for Real. Watching the goal back at half-time, referee Clattenburg realised that there had been an offside in the build-up to the goal and that it should not have stood.

In the 46th minute, Fernando Torres won a penalty kick for Atlético after a foul from behind from Pepe. Real Madrid goalkeeper Keylor Navas was shown a yellow card for delaying the kick. Griezmann took the penalty but his shot missed the goal, with the ball ricocheting off the crossbar. Substitute Yannick Carrasco latched onto a cross by Juanfran from the right to equalise from close range for Atlético in the 79th minute. The scoreline remained the same at the end of 90 minutes to send the match into extra time.

After a goalless extra 30 minutes, the game was settled by a penalty shoot-out. Juanfran missed Atlético's fourth penalty, hitting the post, thus allowing Cristiano Ronaldo to seal Real Madrid's 11th Champions League title.

Details
The "home" team (for administrative purposes) was determined by an additional draw held after the semi-final draw, which was held on 15 April 2016 at UEFA headquarters in Nyon, Switzerland.

Statistics

Post-match

Ramos, who scored the opening goal of the match, became the fifth player to score in two Champions League finals. He had not scored in the competition since scoring the equaliser against Atlético Madrid in the 2014 final. Carrasco's second-half equaliser made him the first Belgian to score in a Champions League final. Real Madrid coach Zidane became the first French coach to win the Champions League and the seventh person to win the Champions League as a player and as a coach.

During the match, fans at an Iraqi Real Madrid fan club were attacked for the second time, bringing the combined death toll to at least 29. In the aftermath of the attack, club president Florentino Pérez dedicated Real Madrid's victory to the fans that were killed and other Iraqi fans of the club, including others who have been killed by the Islamic State of Iraq and the Levant. Players had previously worn black armbands and observed moment of silence after the first attack.

Reactions
Zidane expressed his pride at being Real Madrid coach and winning the Champions League with the club as a player, as assistant coach and now as head coach. Simeone congratulated Real Madrid on their victory. When asked if he would continue as the coach of Atlético Madrid, Simeone replied, "My plan is to think. That's all."

Ronaldo told the media after the match that he had requested to take the fifth penalty because he "had a vision" that he would score the winning goal. Luka Modrić told the media he was happy and proud of the win, and that the team had shown character until the end.

See also
2016 UEFA Europa League Final
2016 UEFA Super Cup
Atlético Madrid in European football
Real Madrid CF in international football competitions
Spanish football clubs in international competitions
2014 UEFA Champions League final
2018 UEFA Super Cup
2018 Copa Libertadores Finals
2020 CAF Champions League final

References

External links
2015–16 UEFA Champions League
2016 final: Milan

2016
Final
Champions League final
European Cup Final 2016
European Cup Final 2016
European Cup Final 2016
European Cup Final 2016
Champions League final
May 2016 sports events in Europe
2010s in Milan
Sports competitions in Milan
European Cup Final 2016
Madrid Derby matches


title: Khwaja Yunus Ali University

text:
Khwaja Yunus Ali University is a private university in Bangladesh. It is situated in Enayetpur, Sirajganj, Rajshahi. It was founded in 2012 under the Private University Act, and named after Sufi saint Khwaja Yunus Ali (also known as Khwaja Enayetpuri).

Undergraduate programs

Faculty of Science & Engineering
B.Sc. in Textile Engineering (TE)
B.Sc. in Computer Science and Engineering (CSE)
B.Sc. in Electrical and Electronics Engineering (EEE)
B.Sc. in Electronic and Telecommunication Engineering (ETE)

Faculty of Business Studies
Bachelor of Management Information Systems (MIS)
Bachelor of Business Administration (BBA)

Faculty of Bio-medical Science
B.Sc. in Biochemistry and Biotechnology (BCBT)
B.Sc. in Microbiology (MB)
Bachelor of Pharmacy (Hons)

Faculty of Human Science
Bachelor of Library & Information Science (LIS)
B.A (Hon's) in English
B.A (Hon's) in Islamic Studies

Faculty of Law
Bachelor of Law (LLB)

Graduate programs

Faculty of Science & Engineering
M.Sc. in Mechatronics and Micro-mechatronics Engineering (M.MME)
M.S. in Medical Physics (M.MP)

Faculty of Business Studies
Masters of Management Information Systems (Proposed)
Master of Business Administration (MBA)
Executive Masters of Business Administration (EMBA)

Faculty of Human Science
Master of Arts in English (ELT)
Master of Arts in Islamic Studies (M.IS)
Master of Arts Islamic Studies (Preliminary)
Master of Library & Information Science (M.LIS)
Postgraduate Diploma in Library & Information Science

Faculty of Law
Master of Law (LLM)

Academic session
"KYAU" follows the bi-Semester. The schedule of an academic year will be as follows:

 Fall   : September  -  February
 Summer : March - August

University clubs
English Language Club
Engineering Club
Medical Club
Sports Club
Debate Club
Social and Cultural Club
Blood Donation Club

References

Universities and colleges in Sirajganj District
2012 establishments in Bangladesh
Educational institutions established in 2012


title: Broadway Department Store Building

text:
Broadway Department Store Building may refer to:
 Broadway Hollywood Building
 Broadway Department Store Downtown Los Angeles Building


title: Ladies Tour of Norway

text:
The Ladies Tour of Norway was a women's cycle stage race. The first edition of the race was held from 15 to 17 August 2014 based in the town of Halden in south east Norway. It consisted of an individual time trial prologue and two road race stages. Since 2017 the race is part of the UCI Women's World Tour, cycling's season-long competition of top-tier events.

In 2022 the event was replaced by the Tour of Scandinavia. A multi-day stage race held across Norway, Sweden and Denmark.

Overall winners

References

External links

Results on cqranking.com
Start list and results on cyclingfever.com

2014 establishments in Norway
Women's road bicycle races
Cycle races in Norway
Summer events in Norway
UCI Women's World Tour races
Women's sport in Norway


title: San Martín Monument, Neuquén

text:
The General San Martín Monument  (), located in the city center of Neuquén, Argentina, is a memorial built to commemorate Argentinian general José de San Martín. The monument is constituted by a bronx-made equestrian statue of San Martín, mounted on a pedestal.

After a statue of San Martín was commissioned by Argentina to be placed in the city of Buenos Aires, several provinces of the country requested replicas to be placed on their capital cities. In 1950, the city of Neuquén created a commission to erect the city's monument. The commission resolved to locate the statue on the city center, and hired an Italian company to build the pedestal.

The monument was inaugurated on the city's 50th anniversary, September 12, 1954. In 2014, after repeated acts of vandalism, the structure of the monument was reformed. A waterfall was added to the four sides of the pedestal with a fountain on the bottom to prevent the memorial be painted.

Background
In 1859, Chile commissioned for Santiago a statue to commemorate José de San Martín to French sculptor Louis-Joseph Daumas, who was specialized in equestrian figures.  After becoming aware of the Chilean initiative, the Argentinian government commissioned the same year another statue to Daumas. It was placed on the current Plaza San Martín, in Buenos Aires, and was inaugurated in 1862. Upon the request of different provinces, several replicas of the monument were built and sent from Buenos Aires.

Construction

In 1950, the city of Neuquén created the Executive Commission for Homages to General San Martin () to erect a monument. Throughout July, the commission surveyed the possible locations in town. The commission suggested to place the monument on the grounds of the "Chateau Gris", the town hall building that was demolished on that year. In 1953 the commission settled to locate it on the roundabout of the intersections of Eva Perón Avenue (currently named Argentina Avenue) between Presidente Roca and Ministro Gonzáles streets. Selected for its location on the center of the city, at the time the roundabout hosted another monument, the Foundational Pyramid. The pyramid was moved to the former grounds of the old town hall.  The construction works started soon after to inaugurate the San Martín Monument on September 12, 1954, the city's 50th anniversary.

The replica statue was sent from Buenos Aires via the Great Southern Railway (). The body of the bronx statue was built hollow, while the tail of the horse was filled to offset the weight of the structure. The base of the monument was built by the Italian company Falcone S.R.L, under the direction of hydraulics and civil engineer José Antonio Alonso. Alonso also completed the move of the Foundational Pyramid. The base was covered with white limestone brought from Zapala.

For its inauguration on September 12, 1954, the base of the monument was covered with Argentinian flags, since the works on the limestone were not finished and the internal bricks were visible. The ceremony started after midday, with the attendance of 15,000 citizens. The monument was rounded on a square formation by territorial authorities, members of the National Gendarmerie and the  Armed Forces, and school students. It was blessed by Alfonso Butteler, Bishop of Neuquén-Mendoza. Following speeches from local authorities and a member of the commission, a military parade was organized. On the days that followed Falcone S.R.L completed the covering of the base, and removed the flags.

Reforms
In 2009, the San Martinian Society requested to fence the monument after it was repeatedly vandalized. The request was dismissed by the city council, that considered that it would affect the aesthetics of the monument. In 2012, the municipal government of Neuquén made renewals on the monument. The Public Buildings and Transit Secretariat replaced the quicklime tiles of the roundabout for porphyr ones, that formed a sun-and-star shape. The National University of Comahue was in charge of the new illumination of the monument. On each of the twelve pointers of the star, metal cylinders were built to house lights that pointed toward the pedestal. Additional reflectors were placed on the top of the base to illuminate the statue.

In April 2013, after further vandalism, mayor Horacio Quiroga announced further reforms to the monument.  The original cover limestone, affected by years of being painted and cleaned, was replaced by two layers of granite. The inner layer, was composed of natural granite, while the external was covered with flamed granite to avoid paint adhesion. Water pipes were built in the interior to produce a waterfall effect on the four sides of the pedestal, and a fountain on the base to recirculate the water. All the lights on the monument were replaced by LED lightning. The commemorative plaques were restored and placed under the waterfalls. The works started in February 2014, with an estimated cost of ARS1,7 million. The renewals were performed by  the company H.G. Construcciones S.A, and finished in July 2014. The reinauguration of the monument was scheduled for August 17, 2014, the anniversary of San Martin's death.

Local culture
Due to its location on the city center, the monument is regarded by the inhabitants of Neuquén as a meeting point. The location is often used for concentrations during demonstrations, parades and cultural events; including celebrations for the victories of Argentina's national football team,  the "18A" cacerolazo, and pride parades.

To commemorate the 30th anniversary of the Argentinian return to democracy, plastic artist Amalia Pica painted the horse with white chalk, following the traditional depiction of San Martín mounting a white horse. Oscar Smoljan, director of Neuquén's branch of the Fine Arts Museum  (), stated that the intervention intended to "debate the criteria (that Argentinians) have of their heroes".

Gallery

Footnotes

References

Buildings and structures completed in 1954
Buildings and structures in Neuquén Province
Equestrian statues in Argentina
Cultural depictions of José de San Martín
Monuments and memorials in Argentina
Tourist attractions in Neuquén Province
Vandalized works of art
Statues of military officers
Statues of heads of government


title: Queensy Menig

text:
Queensy Menig (born 19 August 1995) is a Dutch professional footballer who plays as a winger for Serbian club Partizan.

Club career

Ajax
On 6 June 2012, Menig signed a three-year contract with Ajax, tying him down to the club until 30 June 2015. On 11 August 2014, he marked his debut for the reserves team Jong Ajax with two goals in an Eerste Divisie match against Telstar. He made his first team debut in the KNVB Cup in the first official Amsterdam derby to be contested since 1983, scoring on his debut against JOS Watergraafsmeer in the Olympic Stadium. The match ended in a 9–0 victory for Ajax, with Menig scoring in the 70th minute of the match. In October 2014, Menig extended his contract with Ajax until 2019. He made his league debut for the clubs' first team on 6 December 2014, coming on as a 76th-minute substitute in the 5–0 win at home against Willem II.

Nantes
On 31 August 2017, it was announced that Menig had transferred to the French Ligue 1 side FC Nantes, who in turn immediately loaned him out to EFL League One Oldham Athletic on a season long loan spell.

Menig was loaned out once again, this time to his former club PEC Zwolle, for the rest of the season.

Twente
On 9 September 2019, he returned to the Netherlands, signing a two-year contract with one-year extension option with Twente. On 12 September, he made his debut for the club in a home match against Fortuna Sittard, scoring the 1–0 goal after an assist from Jayden Oosterwolde, as Twente won 2–0. On 5 December 2020 he scored both goals in an impressive 1-2 win away against his former club Ajax.

Partizan
On 2 September 2021 Menig signed a three-year deal with Partizan. The former Ajax academy graduate signed to Partizan from Twente for a fee around €700,000. Menig scored his first goal for Partizan in his full debut against Anorthosis Famagusta, in Round 1 of UEFA Europa Conference League Menig was voted Player of the Week 11 in Serbian SuperLiga after recording two assists and a goal in a 5–0 victory against Spartak Subotica. In the 17th round of the domestic championship, Menig scored a goal in a 4–1 victory over rivals Vojvodina. Queensy Menig started a solo action, ran towards the goal of Vojvodina and eventually shot past four players. He scored the winning goal in a 1–0 away victory over Sparta Prague in the Europa Conference League knockout round play-offs. On October 25, 2023, Menig made his 100th appearance in the Partizan jersey in a 4–0 win against Radnički Kragujevac.

Personal life
Born in the Netherlands, Menig is of Surinamese descent.

Career statistics

Honours

Netherlands U-17
 UEFA European Under-17 Football Championship: 2012

Individual
 Best player of AEGON Future Cup: 2012

References

External links
 Netherlands profile

1995 births
Living people
Men's association football wingers
Men's association football forwards
Footballers from Amsterdam
Dutch men's footballers
Netherlands men's under-21 international footballers
Netherlands men's youth international footballers
Dutch expatriate men's footballers
Dutch sportspeople of Surinamese descent
Eredivisie players
Eerste Divisie players
English Football League players
AFC Ajax players
Jong Ajax players
PEC Zwolle players
FC Nantes players
Oldham Athletic A.F.C. players
FC Twente players
FK Partizan players
Expatriate men's footballers in France
Expatriate men's footballers in England


title: Nancy Southworth

text:
Nancy Southworth is a retired American slalom canoeist who competed in the late 1960s and the early 1970s. She won a bronze medal in the mixed C-2 team event at the 1969 ICF Canoe Slalom World Championships in Bourg St.-Maurice.

References

American female canoeists
Living people
Year of birth missing (living people)
Medalists at the ICF Canoe Slalom World Championships
21st-century American women


title: Adam Pavlásek

text:
Adam Pavlásek (born 8 October 1994) is a Czech tennis player. He reached his career-high ATP singles ranking of World No. 72 in January 2017 and doubles ranking of World No. 54 in July 2023. He is the current No. 1 Czech player in doubles. In singles, he played mostly on the ATP Challenger Tour.

Junior career
 Pavlásek made the semifinals at 2012 Australian Open and 2012 French Open and quarterfinal at 2011 US Open in singles. He also made two Grand Slam finals at 2012 Australian Open and 2012 French Open in doubles.

As a junior, Pavlásek posted a 72–40 win–loss record in singles, 66–36 in doubles and reached the no. 7 combined world ranking in 2012.

Professional career

Singles
At the start of 2015, Pavlásek replaced injured countryman Radek Štěpánek in the Hopman Cup, playing alongside Lucie Šafářová. He made a name for himself by defeating world No. 20 Fabio Fognini of Italy, Pavlásek's first ever win over a top 20 player.

Pavlásek made his Grand Slam debut at the 2016 French Open as a lucky loser.

He made his top 100 debut on 12 June 2016 following his 2016 Sparta Prague Open Challenger title.

He made his ATP World Tour debut at 2016 Generali Open Kitzbühel, defeating Máximo González and Marcel Granollers to make his first ATP-level quarterfinal, where he lost to Nikoloz Basilashvili.

Doubles
He made his doubles debut at the 2023 French Open and recorded his first Major doubles win partnering Ariel Behar over Albert Ramos Viñolas  and Bernabe Zapata Miralles.

At the 2023 Wimbledon Championships he reached the quarterfinals of a Major for the first time with Behar defeating former Wimbledon champions, ninth seeded pair of Mate Pavic and Nikola Mektic before losing to eventual champions Wesley Koolhof and Neal Skupski.

He reached his first ATP final with Behar at the 2023 European Open but lost to the Tsitsipas brothers.

ATP finals

Doubles: 1 (1 runner-up)

Challenger and Futures finals

Singles: 16 (10–6)

Doubles: 21 (7–14)

References

External links

1994 births
Living people
Czech male tennis players
People from Bílovec
Hopman Cup competitors
Sportspeople from the Moravian-Silesian Region


title: Gay Fawcett

text:
Gay Fawcett is a retired American slalom canoeist who competed in the late 1960s. She won a bronze medal in the mixed C-2 team event at the 1969 ICF Canoe Slalom World Championships in Bourg St.-Maurice.

References

American female canoeists
Living people
Year of birth missing (living people)
Medalists at the ICF Canoe Slalom World Championships
21st-century American women


title: Mark Fawcett (canoeist)

text:
Mark Fawcett is a retired American slalom canoeist who competed in the mid-to-late 1960s. He won a bronze medal in the mixed C-2 team event at the 1969 ICF Canoe Slalom World Championships in Bourg St.-Maurice.

References

External links
 Mark FAWCETT at CanoeSlalom.net

American male canoeists
Living people
Year of birth missing (living people)
Medalists at the ICF Canoe Slalom World Championships


title: Portland Bureau of Transportation

text:
The Portland Bureau of Transportation (or PBOT) is the agency tasked with maintaining the city of Portland's transportation infrastructure. Bureau staff plan, build, manage, and maintain a transportation system with the goal of providing people and businesses access and mobility. The Bureau received significant media coverage in 2017 for employee hazing within its maintenance operations.

Organization
The mayor assigns a city commissioner to be commissioner in charge of the Portland Bureau of Transportation. The commissioner in charge appoints a director, who leads the Bureau in its day-to-day business.

In June 2013, Mayor Charlie Hales appointed Steve Novick commissioner in charge. Novick appointed Leah Treat director in July 2013 following a nationwide search. She replaced Interim Director Toby Widmer, who had been appointed following the resignation of former Director Tom Miller. Interim director Chris Warner replaced Leah Treat in July 2018 after Treat's resignation. Commissioner Mingus Mapps hired Millicent Williams as the bureau director in July 2023.

According to the most recent budget, the Bureau is led by the Office of the Director, which directly oversees communication and six division managers as follows:
 Development Services and Streetcar
 Planning and Capital Services
 System Management (Parking Enforcement, Parking Operations, Parking Garages, Active Transportation, Traffic District Operations, Traffic Design and Regulatory Operations)
 Business Services (Finance and Accounting, Asset Management, Business Technology, Employee Services, Administrative Services)
 Engineering and Technical Services (Civil Design, Bridges and Structures, Survey, Construction Inspection and Pavement, and Signals and Street Lights)
 Maintenance Operations (Construction and Operations, Environmental System and Street Systems)

The City Auditor ombudsman's office which takes in complaints from the general public concerning city bureaus reported in its 2018 annual report that they routinely receive the most complaints about PBOT. They concluded that "several of our complaint investigations found structural unfairness within transportation programs, requiring reform." Sidewalk and vehicle towing concerns represented the greatest number of complaints made with the ombudsman's office about PBOT in 2001.

Maintenance operations

2016 hazing incident
In May 2017, Willamette Week first reported PBOT's maintenance leader had subjected subordinates to various forms of hazing, such as shooting BBs and popcorn kernels at them. The report obtained by the paper which was based on interviews with nine employees characterized the workplace culture at PBOT maintenance shop as a place of "violence, hazing and bigotry inside a shop that prizes loyalty and punishes "snitching." The investigation was focused around a longtime city employee Jerry Munson who was the crew leader for the "liner crew" maintenance branch. After learning of hazing, city officials transferred the "ring leader" and terminated one of the whistleblowers. An internal investigation of the agency later yielded a pattern of "workplace harassment, intimidation, discrimination, dishonesty, retaliation on the basis of sexual orientation and physical violence". One victim, Adam Rawlins, said that between Augusts 2016 and December 2016, he had been subject to numerous pranks by other employees while he was working at PBOT. His lawsuit, which sought $250,000, indicated that pranks included "being locked in a dark shed while being bound with duct tape and zip ties." The city settled with Rawlins for $80,000 citing "risk the city may be found liable."

Parking Enforcement Division

The parking enforcement division under PBOT enforces city's parking regulations per title 16 chapter 16.10 of city code. A consultant report obtained by The Oregonian reported Parking Enforcement Division's method is "unprofessional and leaves room for “favoritism” and “illegal conduct"

2014 abandoned auto scrapping scandal
A PBOT Parking Enforcement Division parking enforcement officer Barbara Lorraine Peterson, a special police officer was convicted of official misconduct in May 2014 for her role in tipping off and accepting kickback for each vehicle tagged as abandoned to illegal tow truck operators whom in turn took them to a crushing yard. This followed an investigation into auto theft. It was found that more than three dozen vehicle owners were victims of illegal scrapping operation in which Peterson had a role. Under standard procedures, vehicles identified as abandoned are tagged, and the owners are given 72 hours to take care of it. Instead, a PBOT parking enforcement officer was tipping off rogue tow truck drivers soon after they were tagged and they took them to a crushing yard before 72 hours had elapsed. The officer in question received a kickback from the tow truck operators for each vehicle she tipped off.

Planning and Capital Services
The Oregonian reports PBOT's then director Leah Treat signed off on hiring Millicent Williams, a candidate with felony conviction for her role in diverting funds from a non-profit she was leading. She started with a salary of $112,000 in January, 2017 and remained in this position until 2020, then served as the deputy director until May 2021. Williams pleaded guilty for "diverting $100,000 intended for youth programs to pay for a 2009 inaugural ball." Williams returned to PBOT as the bureau director in July 2023.

Mobile parking payment
In May 2017, PBOT announced that they were launching mobile payment service Parking Kitty, which would allow drivers to pay for parking through a mobile app.

Budget

Historical budget
The bureau's total FY 2016-17 Adopted Budget is $376.0 million. Of that amount, the Capital Improvement Plan for FY 2016-17 totals $91.1 million During FY 201415, the Bureau employed 749 staff members. The managed assets totaled $8.4 billion in public assets from streets and bridges to traffic signals and street lights at the time Asset Status and Condition Report 2013 was published

The Portland Bureau of Transportation has a roughly $309 million budget for FY 201415. The bulk of the money comes from year-to year carryover ($59 million), bonds and notes proceeds ($51 million), gas taxes ($62.7 million), contracts with other city agencies ($30.7 million), fees for permits and other services ($27.1 million) and parking meters ($25.4 million). Remaining sources included parking garages, the city's general fund, parking citations and local parking permits.

The budget is then split into two categories: discretionary and restricted. Nearly two-thirds of the budget falls in the restricted category, meaning the Bureau must follow certain spending guidelines depending on where the money comes from.

The Bureau's FY 201415 discretionary budget is $108.3 million in all. It was spent as follows: Operations ($28 million), maintenance ($27.9 million), overhead and administration ($14.5 million) and construction projects (11.3 million). Another $26 million was spent on various bureau programs, contingencies and reserves.

Renewable energy funding
The City of Portland paid $119,000 per month for SoloPower's default on a loan the City guaranteed under Mayor Sam Adams in 2011. The payments continued until October, 2020. The money is taken out of Portland's Bureau of Transportation. The Bureau of Transportation pays because parking-meter revenue was used as guaranty.

Statistics and assets
The Portland Bureau of Transportation is responsible for:
 4,842 lane miles of streets
 2,520 miles of sidewalks
 922 signalized traffic intersections
 55,477 street lights (City owns them all, but operates only 11,284 of them.)
 157 bridges
 26 miles of roadside barriers
 1753 parking meters (410 single meters, 1,343 pay stations)
 Six parking garages
 331 miles of bike lanes
The Bureau also owns the Portland Streetcar and the Portland Aerial Tram, though they are operated by Portland Streetcar Inc. and the Oregon Health & Science University respectively.

See also
 Transportation in Portland, Oregon
 TriMet

References

External links
 Portland Bureau of Transportation
 Portland Aerial Tram
 Portland Streetcar

Transportation in Portland, Oregon
Government of Portland, Oregon


title: Pan American Sports Festival

text:
The Pan American Sports Festival () is a multi-sport event organized by the Pan American Sports Organization (PASO) for athletes from the Americas. The event is held in co-ordination with ACODEPA (Asociación de Confederaciones Deportivas Panamericanas) and the Pan American elements of the Olympic movement.

The main purpose of the games is to serve as a development and training event to aid countries with their preparations for the larger Pan American Games competition, which follows one year after the festival. The festival's developmental aspect is also tied in with the subsequent Summer Olympics, which takes place a year after the Pan American Games. The first edition in 2014 included 24 Olympic sports within its program. For some of the sports, the event serves as a method of qualification for competing at the Pan American Games.

The idea for the festival came from Mario Vázquez Raña, a Mexican sports administrator and president of PASO. The event was approved in October 2013 by the PASO assembly. In addition to the developmental aspect of the event, Raña advocated its use as a way of supporting the region's federations by passing on technical knowledge, as well as fostering close ties between countries of the Americas. Unlike traditional multi-sport events, the Pan American Sports Festival is not limited to a specific city or area. The emphasis on training means the most appropriate pre-existing facilities are used instead, where possible, and location alone is not a major factor in venue selection. Training camps and coaching clinics are central aspects of the festival's events. The costs of an athlete's attendance are met by the organizers to encourage participation.

Editions

The 2014 Pan American Sports Festival was scheduled for July 11 to September 30 at various locations in Mexico. Roughly 3200 athletes from 41 nations took part in the 23 sports available at the inaugural event. The slalom canoeing competition in Puebla on July 11 was the debut contest of the festival's history. The continuation of the event beyond 2014 remained open-ended at the inception of the competition, with PASO preferring to assess the value of event after the conclusion of the first edition.

References

External links
Official competition website

Pan American Games
Recurring sporting events established in 2014
Multi-sport events in North America
Multi-sport events in South America
Quadrennial sporting events
Sports festivals
Sports festivals in Mexico


title: List of shapes with known packing constant

text:
The packing constant of a geometric body is the largest average density achieved by packing arrangements of congruent copies of the body. For most bodies the value of the packing constant is unknown. The following is a list of bodies in Euclidean spaces whose packing constant is known. Fejes Tóth proved that in the plane, a point symmetric body has a packing constant that is equal to its translative packing constant and its lattice packing constant. Therefore, any such body for which the lattice packing constant was previously known, such as any ellipse, consequently has a known packing constant. In addition to these bodies, the packing constants of hyperspheres in 8 and 24 dimensions are almost exactly known.

References

Packing problems
Discrete geometry
Mathematics-related lists