Passante di Genova

Im Stadtgebiet von Genua treffen drei Autobahnen (A7, A10 und A12) aufeinander. Durch die schwierige Topografie reichen diese Autobahnen weit in das Stadtgebiet hinein und sind, aufgrund des hohen Alters der Trasse, nicht auf den neuesten Standard im Autobahnbau ausgelegt. Zusätzlich müssen die Autobahnen im Raum Genua einen hohen Anteil an Transitverkehr sowie Pendler aufnehmen. Speziell im Sommer, wenn es noch starken Urlauberreiseverkehr an der Italienischen Riviera gibt, führt dies zu meist zur Überlastung des Autobahnnetzes.

Aus diesem Grund gibt es Pläne, den sogenannten Passante di Genova zu errichten.

Kernstück der Pläne ist die Errichtung einer vollkommen neuen Autobahntrasse (Gronda di Ponente) zwischen der A10 bei Vesima und der A7 im Stadtgebiet von Genua (bei der Anschlussstelle Genova/Bolzaneto). Diese Trasse dient als Ergänzung zur bestehenden A10 und soll vierspurig, 2 Fahrspuren pro Richtung, mit Standstreifen gebaut werden.

Diese neue Strecke wird sich zu 89 % in Tunneln befinden. Außerdem sehen die Pläne die Errichtung einer Brücke über die Val Polcevera bei Genova/Bolzaneto vor.

Des Weiteren erhält die A7 in Fahrtrichtung Nord zwischen Genova/Ovest und Bolzaneto eine vollkommen neue Trasse. Der Knoten bei Genova/Ovest soll im Zuge der Bauarbeiten leistungseffizienter gestaltet werden.

In den Jahren 2005 bis 2009 erfolgte die Prüfung von mehreren Trassenvarianten, wobei man sich letztlich für die oben beschriebene entschieden hat. Insgesamt werden 53 km in Tunneln verlaufen und 34,8 km zum Straßennetz hinzukommen. Die voraussichtlichen Kosten betragen 3.147,7 Mio. Euro. Ein Baubeginn wurde derzeit noch nicht festgesetzt.

I Don’t Care (Angela Via song)

I Don’t Care“ is a pop song written by David Frank, Steve Kipner and Pamela Sheyne. It was produced by Frank and Kipner for Angela Via’s debut self-titled album (June 2000). The single appeared on September 19, 2000 in the United States market, which reached the Billboard Hot Singles Sales chart.

„I Don’t Care“ was aimed at fans of Britney Spears (after the success of her single „…Baby One More Time“), Christina Aguilera (her hit „Genie in a Bottle“ was co-written by Frank, Kipner and Sheyne), and ‚N Sync.

Delta Goodrem released a cover version of „I Don’t Care“ as her debut single on November 12, 2001. It appeared on the ARIA Singles Chart, but was not included on her debut album, Innocent Eyes (March 2003). The Sydney Morning Heralds Guy Blackman described the track as „an anonymous slice of Britney-esque ‚tween-pop'“. Goodrem had been „discovered and nurtured“ by Glenn Wheatley, and signed with Sony Music Australia. The track was recorded with Vince Pizzinga (Danielle Spencer) producing.

In August 2007 Goodrem explained to Andrew Denton on his show Enough Rope with Andrew Denton that the Britney image was foisted on her „when you start with a record company you don’t really know what the whole process is. You don’t know how the whole military operation before a song even gets to the radio and for people to even get to hear it“. The single is very rare and has been spotted selling on eBay for $199.99.[citation needed] Despite seldom mentioned as Goodrem’s debut single, it did feature during her 2005 Visualise Tour. It was also featured in the „Edge of Seventeen“ medley, which was included as a B-side to her „I Can’t Break It to My Heart“ single.

Goodrem’s video for this song followed a simple theme. It showed an angsty Goodrem escaping from her parents‘ house to be with her rebellious boyfriend. The boyfriend takes Goodrem on a motorcycle ride into the forest, where he blindfolds her. When Goodrem takes her blindfold off, she is surrounded by a tree full of ribbons, a special surprise that was created by the boyfriend. The video is also intercut with scenes of Goodrem dancing in a Christmas-light-filled backdrop, and a scene where Goodrem is dancing in a wheat field.

Aerial torpedo

An aerial torpedo, airborne torpedo or air-dropped torpedo is a naval weapon, a torpedo, that an aircraft—fixed-wing aircraft or helicopter—drops in the water, after which it self-propels to the target. First used in World War I, air-dropped torpedoes were used extensively in World War II, and remain in limited use. Aerial torpedoes are generally smaller and lighter than submarine- and surface-launched torpedoes.

Historically, the term „aerial torpedo“ meant flying bombs and pilotless drone aircraft used as weapons, the precursor to modern cruise missiles. Today, the term refers primarily to water-borne torpedoes launched from the air.

The idea of dropping lightweight torpedoes from aircraft was conceived in the early 1910s by Bradley A. Fiske, an officer in the United States Navy. A patent for this was awarded in 1912. Fiske worked out the mechanics of carrying and releasing the aerial torpedo from a bomber, and defined tactics that included a night-time approach so that the target ship would be less able to defend itself. Fiske determined that the notional torpedo bomber should descend rapidly in a sharp spiral to evade enemy guns, then when about 10 to 20 feet (3 to 6 m) above the water the aircraft would straighten its flight long enough to line up with the torpedo’s intended path. The aircraft would release the torpedo at a distance of 1,500 to 2,000 yards (1,400 to 1,800 m) from the target. Fiske reported in 1915 that, using this method, enemy fleets could be attacked within their own harbors if there was enough room for the torpedo track. However, the United States Congress appropriated no funds for aerial torpedo research until 1917 when the U.S. entered into direct action in World War I. The U.S. would not have special-purpose torpedo planes until 1921.

Meanwhile, the Royal Naval Air Service began actively experimenting with this possibility. The first successful aerial torpedo drop was performed by Gordon Bell in 1914 – dropping a Whitehead torpedo from a Short S.64 seaplane. The success of these experiments led to the construction of the first purpose-built operational torpedo aircraft, the Short Type 184, built from 1915.

An order for ten aircraft was placed, and 936 aircraft were built by ten different British aircraft companies during the First World War. The two prototype aircraft were embarked upon HMS Ben-my Chree, which sailed for the Aegean on 21 March 1915 to take part in the Gallipoli campaign.

Around the same time of the Royal Navy experiments, in Italy Captain Alessandro Guidoni of the Regia Marina was conducting similar trials since 1913, with the help of inventor Raúl Pateras Pescara, and in February 1914 successfully dropped an 800 lb torpedo, leading to disputes over which country first used an aerial torpedo.

In November 1914, Germans were reportedly experimenting at Lake Constance with the tactic of dropping torpedoes from a Zeppelin. In December 1914, Squadron Commander Cecil L’Estrange Malone commented following his participation in the Cuxhaven Raid that „One can well imagine what might have been done had our seaplanes, or those which were sent out to attack us, carried torpedoes or light guns.“

On 12 August 1915 a Short Type 184, piloted by Flight Commander Charles Edmonds, was the first aircraft in the world to attack an enemy ship with an air-launched torpedo. Operating from HMS Ben-my-Chree in the Aegean Sea, Edmonds took off with a 14-inch-diameter (360 mm), 810-pound (370 kg) torpedo to fly over land and sank a Turkish supply ship in the Sea of Marmara.

Five days later, a Turkish steamship was sunk by a torpedo aimed again by Edmonds. His formation mate, Flight Lieutenant G. B. Dacre, sank a Turkish tugboat after being forced to land on the water with engine trouble. Dacre taxied toward the tugboat, released his torpedo and was then able to take off and return to Ben-My-Chree. A limitation to using the Short more widely as a torpedo bomber was that it could only take off carrying a torpedo in conditions of perfect flying weather and calm seas, and, with that load, could only fly for a little more than 45 minutes before running out of fuel.

On May 1, 1917, a German seaplane loosed a torpedo and sank the 2,784-long-ton (2,829 t) British steamship Gena off Suffolk. A second German seaplane was downed by gunfire from the sinking Gena. German torpedo bomber squadrons were subsequently assembled at Ostend and Zeebrugge for further action in the North Sea. Later in 1917, the U.S. Navy began to perform trials using a 400-pound (180 kg) dummy torpedo that, in the first test, propelled itself from the water back into the air and almost hit the aircraft that dropped it. Several British torpedo bombers were built, including the Sopwith Cuckoo, the Short Shirl and the Blackburn Blackburd, but a squadron was assembled so late in the war that it achieved no successes.

The United States bought its first 10 torpedo bombers in 1921, variants of the Martin MB-1. The squadron of U.S. Navy and Marine fliers was based at Naval Weapons Station Yorktown. General Billy Mitchell suggested arming the torpedo bombers with live warheads as part of Project B (the anti-ship bombing demonstration) but the Navy was only curious about aerial bomb damage effects. Instead, a trial using dummy heads on the torpedoes was carried out against a foursome of battleships steaming at 17 knots. The torpedo bombers scored well.

In 1931, the Japanese Navy developed the Type 91 torpedo, intended for a torpedo bomber to drop from a height of 330 feet (100 m) and a speed of 100 knots (190 km/h; 120 mph). In 1936, the torpedo was given wooden attachments to the tail to increase its aerodynamic qualities—these attachments were shed upon hitting the water. By 1937, with the addition of a breakaway wooden damper at the nose, the torpedo could be dropped from 660 feet (200 m) and a speed of 120 knots (220 km/h; 140 mph). Tactical doctrine determined in 1938 that the Type 91 aerial torpedo should be released at a distance of 3,300 feet (1,000 m) from the target. As well, the Japanese Navy developed night attack and massed day attack doctrine, and coordinated aerial torpedo attacks between land- and carrier-based torpedo bombers.

The Japanese divided their bomber squadrons into two groups so they could attack an enemy battleship from both frontal quarters and make it difficult for the target to avoid the torpedoes by maneuvering, and more difficult for it to direct anti-aircraft fire at the bombers. Even so, Japanese tactical experts predicted that, against a battleship, the attacking force would score hits at only one-third the rate during peacetime exercises.

Beginning in 1925, the United States began designing a special torpedo for purely aerial operations. The project was discontinued and revived several times, and finally resulted in the Mark 13 torpedo, which went into service in 1935. The Mark 13 differed from aerial torpedoes used by other nations in that it was wider and shorter. It was slower than its competitors but it had longer range. The weapon was released by an aircraft traveling lower and slower (50 feet (15 m) high, 110 knots (200 km/h; 130 mph) than its Japanese contemporary.

On the night of November 11–12, 1940, Swordfish biplane torpedo bombers of the British Fleet Air Arm sank three Italian battleships at the Battle of Taranto using a combination of torpedoes and bombs. In the course of the chase of the German battleship Bismarck, torpedo strikes were attempted in very bad seas, and one of these damaged her rudder allowing the British fleet to catch her. The standard British airborne torpedo for the first half of World War II was the 18-inch Mark XII, a 450 mm-diameter design weighing 1,548 lb (702 kg) with an explosive charge of 388 lb (176 kg) of trinitrotoluene (TNT).

German aerial torpedo development lagged behind other belligerents—a continuation of neglect of the category during the 1930s. At the beginning of World War II, Germany was making only five aerial torpedoes per month, and half were failing in air-drop exercises. Instead, Italian aerial torpedoes made by Fiume were purchased, with 1,000 eventually delivered.

In August 1941, Japanese aviators were practicing dropping torpedoes in the shallow waters of Kagoshima Bay, testing improvements in the Type 91 torpedo and developing tactics for the attack of ships in harbor. They discovered that the Nakajima B5N torpedo bomber could fly 160 knots (296 km/h; 184 mph), somewhat faster than expected, without the torpedoes striking the bottom of the bay 100 feet (30 m) down. On December 7, 1941, the leading wave—40 B5N torpedo bombers—used the tactic to score more than 15 hits during the attack on Pearl Harbor.

In April 1942, Adolf Hitler made the production of aerial torpedoes a German priority, and the Luftwaffe took the task over from the Kriegsmarine. The quantity of available aerial torpedoes outstripped usage within a year, and an excess of aerial torpedoes were on hand at the end of the war. From 1942 to late 1944, about 4,000 aerial torpedoes were used, but some 10,000 were manufactured during the whole war. Torpedo bombers were modified Heinkel He 111 and Junkers Ju 88 aircraft, but the Focke-Wulf Fw 190 fighter aircraft was successfully tested as a delivery system. Deficiencies in German-designed torpedoes after the capitulation of Italy in September 1943 were addressed just over a year before, through the yanagi visit of Japanese submarine I-30 in August of 1942, to supply the Wehrmacht military of Germany with the Type 91 torpedo’s technology and blueprints, to be made in Germany itself as the Luftorpedo LT 850.

The Mark 13 torpedo was the main American aerial torpedo, yet it was not perfected until after 1943 when tests showed that it performed satisfactorily in only 33 of 105 drops made from aircraft traveling faster than 150 knots (280 km/h; 170 mph). Like the Japanese Type 91, the Mark 13 was subsequently fitted with a wooden nose covering and a wooden tail ring, both of which sheared off when it struck the water. The wooden shrouds slowed it and helped it retain its targeting direction through the duration of the air drop. The nose covering absorbed enough of the kinetic energy from the torpedo hitting the water that recommended aircraft height and speed were greatly increased to 2,400 feet (732 m) high at 410 knots (760 km/h; 470 mph).

In 1941, development began in the United States on the FIDO, an electric-powered air-dropped acoustic homing torpedo intended for anti-submarine use. In the United Kingdom, the standard airborne torpedo was strengthened for higher aircraft speeds to become the Mark XV, followed by the Mark XVII. For carrier aircraft, the explosive charge remained 388 lb (176 kg) of TNT until later in the war when it was increased to 432.5 lb (196.2 kg) of the more powerful Torpex.

During World War II, U.S. carrier-based torpedo bombers made 1,287 attacks against ships, 65% against warships, and scored hits 40% of the time. However, the low, slow approach required for torpedo bombing made the bombers easy targets for defended ships; during the Battle of Midway, for example, virtually all of the American torpedo bombers — nearly all of the obsolete Douglas Devastator design — were shot down by the Japanese.

After World War II, anti-aircraft defenses were sufficiently improved to render aerial torpedo attacks suicidal. Lightweight aerial torpedoes were disposed or adapted to small attack boat usage. The only significant employment of aerial torpedoes was in anti-submarine warfare.

During the Korean War the United States Navy successfully disabled the Hwacheon Dam with aerial torpedoes launched from A-1 Skyraiders.

Since the advent of practical anti-ship missiles technology, aerial torpedoes have largely been reduced to use in anti-submarine warfare. Missiles are generally much faster, with longer range and do not have the same launch altitude limitation of aerial torpedoes. Some modern aerial anti-submarine torpedoes do have the necessary guidance capability to engage surface vessels, though given the widespread availability of missiles on aircraft and the small, specialized warhead on anti-submarine aerial torpedoes, this is not an option normally considered.

At the peak of the Falklands war, however, the Argentine Air Force, in collaboration with the Navy, outfitted an FMA IA 58 Pucará prototype, AX-04, with pylons to mount Mark 13 torpedoes. The aim was the possible production of Pucaras as torpedo-carrying aircraft to enhance the anti-ship capabilities of the Argentine air forces. Several trials were performed off Puerto Madryn, but the war was over before the technicians could evaluate the feasibility of the project.

As a result of the loss of the role of anti-shipping aerial torpedo in modern naval doctrine, true torpedo bomber units no longer exist in modern armed forces. The most common platform for aerial torpedoes today is the ship-borne anti-submarine helicopter, followed by fixed-wing anti-submarine aircraft such as the American P-3 Orion.

The caveat to the above are torpedoes delivered by missiles/rocket systems, designed for anti-submarine warfare. Some designs are a straightforward mating of a rocket-propulsion system to the torpedo with a purely ballistic attack profile, such as the American ASROC. More complex, aerial drone-based system with autopilot have also been deployed, such as the Australian Ikara. Most such systems are designed to deploy from surface ships, though exceptions exist such as the Soviet navy RPK-2 Viyuga, which can be launched from both surface ships and submarines.

Given the relatively soft nature of submarines, modern anti-submarine aerial torpedoes are much smaller than anti-ship aerial torpedoes of the past, and often classified as light weight torpedoes. They are also often of cross-platform design, able to deploy from both aircraft and surface ships. Examples include the American Mark 46, Mark 50 and Mark 54 torpedoes. There are few if any aerial torpedo designs that are also used by submarines, owing to the significantly reduced size and thus capability of aerial torpedoes compared with their full-sized submarine counterparts such as the American Mark 48 torpedo.

A successful aerial launched torpedo design needs to account for

The Japanese Type 91 torpedo used aerodynamic tail stabilizers in the air. These stabilizers (introduced in 1936) were shed off when it entered the water. And a new control system (introduced in 1941) stabilized the rolling motion by countersteering both in the air and the water. The Type 91 torpedo could be released at speed of 180 knots (333 km/h) from 20 m (66 ft) into shallow water but also at 204 knots (the Nakajima B5N2’s maximum speed) into choppy waves of a rather heavy sea.

Abe-Lenstra-Stadion

Das Abe-Lenstra-Stadion ist ein Fußballstadion in der nordniederländischen Stadt Heerenveen, Provinz Friesland. Es dient hauptsächlich als Spielstätte des SC Heerenveen, welcher in der Ehrendivision spielt. Das Stadion ist nach dem Fußballspieler Abe Lenstra aus Heerenveen benannt, der am 2. September 1985 verstarb.

Das Stadion wurde 1994 zunächst mit einer Kapazität von ca. 14.500 Plätzen gebaut und in den folgenden Jahren auf 26.800 überdachte Sitzplätze erweitert. Im Stadion befinden sich ein À-la-carte-Restaurant namens The Atmosphere, 22 Veranstaltungsräume und 39 Logen sowie ein Lebensmitteldiscountmarkt. In den Veranstaltungsräumen können Konferenzen, Hochzeiten, Familienfeste etc. abgehalten werden. Sie haben ein Fassungsvermögen von 10 – 5.000 Menschen. Dazu gehört noch die Fryslân Fean Plaza.

Das Stadion in Heerenveen war eines von vier Austragungsorten der U-21-Fußball-Europameisterschaft 2007. Drei Spiele der Gruppe A und ein Halbfinale fanden im Abe-Lenstra-Stadion statt. Im Halbfinale Niederlande gegen England entschied erst der 32. Strafstoß das Elfmeterschießen zu Gunsten der Gastgeber.

Der SC Heerenveen plant einen baldigen Ausbau des Stadions mit einer Erweiterung der Westtribüne auf 32.000 Plätze.

Abe-Lenstra-Stadion (SC Heerenveen) | AFAS-Stadion (AZ Alkmaar) | Amsterdam Arena (Ajax Amsterdam) | De Grolsch Veste (FC Twente Enschede) | Noordlease Stadion (FC Groningen) | Feijenoord-Stadion (Feyenoord Rotterdam) | Stadion Galgenwaard (FC Utrecht) | GelreDome (Vitesse Arnheim) | Goffertstadion (NEC Nijmegen) | IJsseldeltastadion (PEC Zwolle) | König-Wilhelm-II.-Stadion (Willem II Tilburg) | Kyocera Stadion (ADO Den Haag) | Parkstad-Limburg-Stadion (Roda JC Kerkrade) | Philips-Stadion (PSV Eindhoven) | Polman-Stadion (Heracles Almelo) | Sparta-Stadion Het Kasteel (Sparta Rotterdam) | Stadion De Adelaarshorst (Go Ahead Eagles Deventer) | Stadion Woudestein (Excelsior Rotterdam)

Norberto Menéndez

Norberto Menéndez

Norberto Menéndez (* 14. Dezember 1936 in Buenos Aires; † 26. Mai 1994 ebenda) war ein argentinischer Fußballspieler. Mit der Nationalmannschaft seines Heimatlandes nahm er an der Fußball-Weltmeisterschaft 1958 teil.

Norberto Menéndez begann seine fußballerische Laufbahn im Jahre 1954 bei CA River Plate, dem Nobelverein Argentiniens aus Buenos Aires. In einer Mannschaft mit anderen argentinischen Fußballgrößen der damaligen Zeit wie Ángel Labruna, Félix Loustau, Amadeo Carrizo oder José Ramos Delgado gewann Menéndez seine erste argentinische Fußballmeisterschaft in seiner zweiten Saison bei River Plate im Jahre 1955, als der Verein den ersten Platz in der Primera División mit sieben Punkten Vorsprung auf den Racing Club aus Avellaneda belegte. In den beiden Jahren darauf gelang zweimal die Titelverteidigung, River Plate rangierte nach dem letzten Spieltag auf dem ersten Platz vor CA Lanús beziehungsweise CA San Lorenzo de Almagro. Die Saison 1958 endete für River Plate mit einem fünften Rang, die Meisterschaft gewann der Racing Club. 1960 verließ Norberto Menéndez River Plate und schloss sich CA Huracán, ebenfalls aus Buenos Aires, an. Nach einem Jahr und nur sechzehn Spielen für Huracán schloss er sich 1962 den Boca Juniors, dem großen Rivalen seines ehemaligen Vereins River Plate, an. Mit Boca gewann er drei weitere nationale Meistertitel. In einer Mannschaft unter Anderem mit Antonio Roma, Silvio Marzolini und Antonio Rattín gewann Menéndez seine erste Meisterschaft mit Boca 1962, als man in der Tabelle den ersten Rang mit zwei Punkten vor River Plate belegte. 1964 und 1965 wurde er mit den Boca Juniors erneut Meister, in diesen beiden Jahren ließ man CA Independiente und erneut River Plate hinter sich. Norberto Menéndez blieb bis ins Jahr 1967 bei den Boca Juniors, ehe er zu CA Colón nach Santa Fe wechselte, um nach nur einem Jahr und zwölf Spielen für den Verein nach Uruguay zu Defensor zu wechseln. Im Trikot des Vereins aus Montevideo beendete Menéndez seine aktive Laufbahn im Jahre 1971 mit 35 Jahren.

In der argentinischen Fußballnationalmannschaft wurde Norberto Menéndez in den Jahren 1957 und 1958 vierzehn Mal eingesetzt. Von Argentiniens Nationaltrainer Guillermo Stábile wurde er ins Aufgebot für die Fußball-Weltmeisterschaft 1958 in Schweden berufen. In der WM-Qualifikation hatte er drei der zehn argentinischen Treffer erzielt. Bei dem Turnier wurde er in allen drei Spielen seiner Mannschaft eingesetzt, beim 3:1-Sieg im zweiten Gruppenspiel gegen Nordirland gelang ihm sogar ein Treffer zum zwischenzeitlichen 2:1 in der 55. Spielminute. Vier Minuten darauf stellte Ludovico Avio mit seinem Tor zum 3:1 den Endstand her, nachdem zuvor bereits Omar Corbatta für Argentinien die anfängliche Führung der Nordiren durch Peter McParland egalisiert hatte. Der Erfolg gegen Nordirland blieb allerdings der einzige für Argentinien bei der Weltmeisterschaft, in den anderen beiden Gruppenspielen ging man als Verlierer vom Platz. Gegen den Titelverteidiger Deutschland stand es am Ende 1:3 gegen die Tschechoslowakei gar 1:6, wodurch der letzte Platz in der Gruppe 1 belegt wurde.

Magnhild Gravir

Magnhild Gravir (født på Dalen i Telemark 1941), er en norsk forfatter og høyskolelektor. Hun var bosatt i Seljord fra 1954, og bor nå i Oslo. Forfatteren har fremdeles mye kontakt med Vest-Telemark.

Gravir er utdannet cand.philol. med norsk som hovedfag fra Universitetet i Oslo. Hun er ansatt ved Høgskolen i Oslo, avdeling for lærerutdanning, der hun blant annet underviser i barnelitteratur og kulturformidling. Forfatterskapet startet med barnetimen for de minste på NRK. Barnetimene blei omarbeidet til bøker, og er typiske høgtlesningsbøker der handlingen har et rolig flytende tempo.

Magnhild Gravir har også skrevet og redigert lærebøker for de pedagogiske høgskolene: «Bøker for barn. Analyse – vurdering – formidling» (1979, 4. reviderte utg. 1994), «Barnet og talemålet» (1983, 5. opplag 1997), «Jul Påske Pinse. Kulturformidling i barnehage og skole» (1998). Om vennskap – Nasse Nøff som verdiformidlar i barnehagefolk 2011-4

I 1978 fikk hun Nynorsk barnelitteraturpris for beste nynorske barnebok.

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Danny’s Song

Danny’s Song er en amerikansk sang, skrevet av sanger/låtskriver Kenny Loggins. Den ble skrevet som en gave til broren Danny, da hans sønn Colin ble født. Sangen fantes først på albumet Sittin‘ In, debutalbumet til Loggins and Messina. Sangen blir godt husket både for Loggins and Messinas orignalversjon og for Anne Murrays coverversjon fra 1972.

Albumet Sittin‘ In med Loggins and Messina ble utgitt i 1971, og selv om albumet ikke produserte noen Top 40-radiohits, var det én sang som fikk et betydelig antall spillinger på radio: «Danny’s Song». Loggins skrev sangen til sin bror, Danny Loggins, i 1970, da Danny ble far til en gutt med navn Colin – hans første sønn. Loggins and Messina kom til å få suksess på listen i 1973 med deres sang, «Your Mama Don’t Dance», but deres versjon av «Danny’s Song» fortsetter å være én av deres best kjente sanger gjennom hyppig spilling på rock- og adult contemporary-radiostasjoner.

Den canadiske countrypopsangeren Anne Murray var en fan av originalversjonen og spilte inn en coverversjon i 1972. Den ble utgitt på singlen Capitol 3481. Strykerne ble arrangert av Rick wilkins. Sangen ble arrangert og produsert av Brian Ahern. B-siden var «Drown Me».

Murrays versjon ga henne også en Grammy Award-nominasjon i kategorien Best Female Pop Vocal Performance i the Grammy Awards of 1974, men tapte for «Killing Me Softly with His Song» med Roberta Flack.

Sangen var også med på hennes album med samme tittel (Capitol ST-11172).

Murray hevdet at hun elsket originalverjsonen, men at sangen fikk en dypere betydning for henne etter at hennes første barn ble født noen år senere. I et intervju sa hun at «Hver gang da jeg sang den sangen var det meget meningsfullt».

Gunnar Jørstad har skrevet en norsk tekst. Den norske tittelen er «Danny».

J. Baldwin

James Tennant Baldwin (born 1933) (whose books and articles have been published under the names J. Baldwin, Jay Baldwin, and James T. Baldwin) is an American industrial designer and writer. Baldwin was a student of Buckminster Fuller; Baldwin’s work has been inspired by Fuller’s principles and (in the case of some of Baldwin’s published writing) has popularized and interpreted Fuller’s ideas and achievements. In his own right, Baldwin has been a figure in American designers‘ efforts to incorporate solar, wind, and other renewable sources of energy. In his career, being a fabricator has been as important as being a designer. Baldwin is noted as the inventor of the „Pillow Dome,“ a design that combines Buckminster Fuller’s geodesic dome with panels of inflated ETFE plastic panels.

J. Baldwin was born the son of an engineer. Baldwin has said that, at 18, he heard Buckminster Fuller speak for 14 hours non-stop. This was in 1951 at the University of Michigan, where Baldwin had enrolled to learn automobile design because a friend of his had been killed in a car accident that Baldwin attributed to bad design. He worked with Fuller prior to graduation from U. of M. in 1955. During his student years, Baldwin worked (in a unique job sharing role) in an auto factory assembly line. He went on to do graduate work at the University of California, Berkeley.

Baldwin remained a friend of Buckminster Fuller, and reflected that „By example, he encouraged me to think for myself comprehensively, to be disciplined, to work for the good of everyone, and to have a good time doing it.“

As a young designer in the late 1950s and early 1960s, Baldwin designed advanced camping equipment with Bill Moss Associates. Thereafter, he taught simultaneously at San Francisco State College (now called San Francisco State University), San Francisco Art Institute, and the Oakland campus of California College of Arts & Crafts for about six years.

The period 1968-69 found him both a visiting lecturer at Southern Illinois University and the design editor of the innovative Whole Earth Catalog. (The Catalog came out in many editions between 1968 and 1998, and Baldwin continued to edit and write for both the Catalog and an offshoot publication, CoEvolution Quarterly, later renamed Whole Earth Review.) In the early 1970s, Baldwin taught at Pacific High School.

Baldwin was at the center of experimentation with geodesic domes (an unconventional building-design approach, explored by Fuller, that maximizes strength and covered area in relation to materials used). He also dove enthusiastically into the application of renewable energy sources in homes and in food-production facilities, working with Integrated Life Support Systems Laboratories (ILS, in New Mexico) and with Dr John Todd and the other New Alchemists involved with the „Ark“ project. Baldwin’s initial involvement with solar energy was during that very experimental, ad-lib phase when much was moving from principles or theory into actual development. In the 1970s, at ILS, he was the co-developer of what has been touted as the world’s first building to be heated and otherwise powered by solar and wind power exclusively.

Baldwin referred to his own rural home as „a three-dimensional sketchpad.“

During the Jerry Brown administration, Baldwin worked in the California Office of Appropriate Technology. Since the 1970s, Baldwin has continued to work as a designer in association with numerous organizations and projects. He organized for himself a mobile design studio and machine workshop (in a van pulling an Airstream trailer) to drive to various projects across America.

With the ears of a wider audience in the 1980s, Baldwin developed an incisive critique of the American automobile industry, which he viewed as over-focused on superficial marketing concerns and farcically under-concerned with real innovation and improvement. He was also a constructive critic of the emerging industries manufacturing „soft technology“ equipment like wind turbines.

In the 1990s, Baldwin wrote a book about Buckminster Fuller, his ideas, experiments, and influence, Bucky Works: Buckminster Fuller’s Ideas for Today.

In the late 1990s, he worked with the Rocky Mountain Institute (Snowmass, Colorado) in the research, design, and development of the ultralight, ultra-efficient „Hypercar“ — a prototype by way of which independent designers hope to show the way for the world’s auto manufacturers. With conceptual development having begun in 1991, the current version of the Hypercar uses a small generator to power an electric motor in each wheel.

Given his long-term role as a „technology“ editor, something should be mentioned about the scope of Baldwin’s focus on technology. His interests remained broader than that represented in the shifting media and popular focus of the mid 1980s and later, which inclined to highlight the micro chip and electronic devices based on it. Baldwin has continued to point out the value of (and need for evaluation of) technologies within a larger perimeter. Certainly shelter and transportation technologies have always interested him. So have tools, and whether a device or tool or process was freshly innovative or age-old in concept, if it enabled a person to “do the job” with wood, metal, fiberglass panels, soil, trees, or whatever, it remained worthy of Baldwin’s attention. Whereas the personal computer often (though not necessarily) inclines its operator toward imagination, almost in the sense of entertainment, Baldwin has remained equally interested in doing, in application. And while he has never ceased to be interested in the products of the factory, Baldwin has always wanted to empower individuals and small teams of people to accomplish something.

Baldwin, as one of the notable designer technologists whose cross-disciplinary approaches have opened new territory, was featured in the 1994 documentary film Ecological Design: Inventing the Future. The film viewed these designers as „outlaws“ whose careers have necessarily developed „outside the box“ of their time, largely unsupported by mainstream industry and often beyond the pale of mainstream academia, as well.

J. Baldwin invented a permanent, transparent, insulated geodesic dome — using a framework of aluminum tubing, covered with argon-filled laminated vinyl sheet „pillows“ — which he dubbed the „Pillow Dome,“ said to have withstood 135-mph winds and thirty inches of snow. The structure weighed just one-half pound per square foot of floor space. For a variety of reasons including durability and toxicity concerns from vinyl chloride vapor emitted by vinyl sheeting, Baldwin later recommended the use of ETFE film; ETFE had further advantages including transparency and ease of keeping the surface clean, but its ultraviolet transparency reduces its suitability for occupied structures. Baldwin intentionally did not patent his invention. The basic approach has since been applied in large-scale applications such as the Eden Project in Cornwall, England.

Baldwin continues to practice design (as exemplified in the unique and aerodynamic ‚mobile-room‘ Quick-Up camper he has put on the market) and to teach design at the college level. In recent years, he has taught at Sonoma State University, San Francisco Institute of Architecture and at California College of Arts & Crafts.

Robin Banks

Robin Banks (real name Christian Richardson) (born 22 March 1972) is a TV presenter and radio DJ originally from Kilkenny, Ireland. He is not to be confused with the former Radio North Sea International DJ and engineer Robin Banks, real name Robin Adcroft.

He is the narrator in the British/European version of the popular Discovery Channel show MythBusters, from season 2 to the present day. He has worked as a reporter for the Bravo television show Bravado. He has also presented shows for the BBC, Channel 4, Sky1 Living, on London’s Kiss 100 and has reportedly presented several guest shows on Galaxy FM. He has previously had radio shows on Radio Nova, Atlantic 252, Virgin Radio, Beat 106 and Xfm.

On 16 June 2008, Robin Banks joined Leicester radio station Leicester Sound to host the weekday 6am – 10am breakfast show, but was let go due to financial constraints.[citation needed]

On 1 September 2008, Banks appeared on Dragons‘ Den, under his real name, to pitch for investment in The Tiny Box Company that he helped set up. He and his business partner Rachel Watkyn secured an investment of £60,000 (more than they asked for) from Dragons Theo Paphitis and Peter Jones.

In the aftermath of his appearance on Dragons‘ Den, he spoke honestly about his battles with an alcohol and cocaine addiction in an interview with the Mail on Sunday.

On 7 March 2009, Robin Banks made a post on Discovery Channel UK forums revealing that he will shortly return as the series narrator for MythBusters. He mentioned that it would not be possible without fans supporting him, thus wanting him back. He has narrated MythBusters for 6 series in the UK, Europe and Asia.

From March 2010 he also narrates Dirty Jobs for Discovery Channel.[citation needed]

Most recently, Banks presented the weekday evening show for Orion Media’s network of West Midlands stations (BRMB, Beacon, Mercia and Wyvern). He left the company in July 2011.

Banks offers Radio Coaching (coaches worldwide), runs Radio Workshops and has consulted for a number of businesses.[non-primary source needed]

Between November 2012 and October 2013 he was the Programme Director at Star Radio North East. He has moved onto new projects after fulfilling his brief to revamp the station and improve its audience figures.

At the beginning of March 2014 he joined Jack FM Berkshire, the relaunched Reading 107, to front the breakfast show.

Lewis Cleale

Lewis Cleale is an American theatre actor and singer. He is originally from Houlton, Maine.

A graduate of the University of Miami’s Frost School of Music (where he has been named Distinguished Alumnus) and of the Burt Reynolds Dinner Theatre, Cleale’s big break came when he was cast in a European tour of Oklahoma!, in which he was noticed by Mary Rodgers, who recommended him for a Los Angeles production of State Fair.

Cleale made his Broadway debut in the 1995 Johnny Burke revue Swinging on a Star, for which he received a Drama Desk Award nomination as Outstanding Featured Actor in a Musical. Additional Broadway credits include the 1996 revival of Once Upon a Mattress with Sarah Jessica Parker, the ill-fated 2002 Michel Legrand musical Amour, and the 2005 hit Spamalot. Cleale also appeared in the popular revue I Love New York which was done at the Rainbows and Stars room along with Bryan Batt, Janet Metz and Heather MacRae. Off-Broadway, he has appeared in Call Me Madam opposite Tyne Daly and A New Brain with Malcolm Gets and Kristin Chenoweth for Lincoln Center Theater.

From September 2008 through March 2009 and from June 2009 through March 2010, Cleale played El Gallo in the Off-Broadway revival of The Fantasticks at the Jerry Orbach Theater on 51st Street and Broadway. Cleale left that show to be an understudy for Sondheim on Sondheim. Cleale credits Sondheim as being one of the reasons he went into acting:

It’s Stephen Sondheim and James Lapine, and I moved to New York to work with them. I was a business major in Miami when I took an acting class, and my teacher said ‚I don’t think you should be a lawyer. I think you should do this [act] with your life.‘ He gave me the cast album of Into the Woods, and I became obsessed with it. I remember going to my final exam in the spring of ’89. It was seven in the morning, and I had a tape deck in my car, and I had this tape playing. It was Robert Westenberg singing, and I got fixated on the lyrics. I’m supposed to be thinking about statistics, and all I could think about was lyrics. So it was, in fact, Stephen Sondheim and James Lapine.

In 2011, Cleale starred in the original Broadway cast members of The Book of Mormon, playing roles such as Elder Price’s Dad, Joseph Smith and others. He was still in the show as of September 2016.

In Washington, D.C., Cleale portrayed John Adams in 1776 at Ford’s Theatre and Giorgio in Stephen Sondheim’s Passion at the Signature Theatre, for which he won the 1997 Helen Hayes Award for „Outstanding Lead Actor in a Resident Musical“. In May 2009, he played the lead in the new musical Giant, based on Edna Ferber’s novel of the same name, at the Signature Theatre.

Cleale has also performed leading roles at Goodspeed Opera, George Street Playhouse, Cleveland Opera, Actors Theatre of Louisville, Long Beach Civic Light Opera, and The Muny in St. Louis.

In 1999-2000, Cleale portrayed Joe Gillis opposite Petula Clark’s Norma Desmond in the national tour of Sunset Boulevard, and in 2002 went on the road again as Lieut. Joe Cable in South Pacific opposite Robert Goulet.

Cleale’s recordings include William Finn’s Infinite Joy, Adam Guettel’s Myths and Hymns, the RCA Victor anthology Great Musicals, and the original cast albums of Once Upon a Mattress, Swinging on a Star, Call Me Madam, and Amour.