Pepper's ghost

Pepper's ghost is an illusionary technique used in theater and in some magic tricks. Using a plate glass and special lighting techniques, it can make objects seem to appear or disappear, or make one object seem to morph into another. It is named after John Henry Pepper, who first demonstrated the technique in the 1860s.

In 1862, inventor Henry Dircks developed the Dircksian Phantasmagoria, a technique used to make a ghost appear onstage. He tried unsuccessfully to sell his idea to theaters. His method would require theaters to be completely rebuilt just to support the effect. Later in the year, Dircks set up a booth at the Royal Polytechnic, where it was seen by John Pepper.

Pepper realized that the method could be modified to make it easy to incorporate into existing theaters. Pepper first showed the effect during a scene of Charles Dickens's The Haunted Man, to great success. Pepper's implementation of the effect tied his name to it permanently. Though he tried many times to give credit to Dircks, the title "Pepper's ghost" stuck.

In order for the illusion to work, the viewer must be able to see into the main room, but not into the hidden mirror room. The edge of the glass may be hidden by a cleverly designed pattern in the floor. Both rooms may be identical mirror-images; this approach is useful in making objects seem to appear or disappear. This effect can also be used to make an actor reflected in the mirror appear to turn into an actor behind the mirror (or vice versa).

The mirror room may instead be painted black, with only light-coloured objects in it. When light is cast on the objects, they reflect strongly in the glass, making them appear as ghostly images superimposed in the visible room. The world's largest implementation of this illusion can be found at the Haunted Mansion and Phantom Manor attractions at several Walt Disney Parks and Resorts theme parks. Here, a 90-foot (27 m)-long scene features a single Pepper's ghost effect. Guests travel along an elevated mezzanine, looking through a 30-foot (9.1 m)-tall pane of glass into an empty ballroom. Animatronic ghosts move in hidden black rooms beneath and above the mezzanine.

The reflections in the glass, which is vertical rather than angled, create the appearance of three-dimensional, translucent ghosts. These swarm through the ballroom, seeming to interact with props in the physical ballroom, disappearing when the lights on the animatronics are turned off.

Flak Tower

Flak towers (German: Flaktürme) were 8 complexes of large, above-ground, anti-aircraft gun blockhouse towers constructed in the cities of Berlin, Hamburg, and Vienna from 1940 onwards. They were used by the Luftwaffe to defend against Allied air raids on these cities during World War II. They also served as air-raid shelters for tens of thousands of people and to coordinate air defence.

After the RAF's raid on Berlin in 1940, Adolf Hitler ordered the construction of 3 massive flak towers to defend the capital from air attack. The flak towers, the design of which Hitler took personal interest in and even made some sketches for, were constructed in a mere 6 months.

With concrete walls up to 3.5 metres thick, flak towers were considered to be invulnerable to attack with the usual ordnance carried by Allied bombers. Aircraft generally appeared to have avoided the flak towers. The towers were able to sustain a rate of fire of 8000 rounds per minute from their multi-level guns, with a range of up to 14 km in a full 360-degree field of fire.

The flak towers had also been designed with the idea of using the above-ground bunkers as a civilian shelter, with room for 10,000 civilians, and even a hospital ward, inside. The towers, during the fall of Berlin, formed their own communities, with up to 30,000 or more Berliners taking refuge in a single tower during the battle. These towers, much like the keeps of medieval castles, were some of the safest places in a fought-over city, and so the flak towers were some of the last places to surrender to USSR forces, eventually being forced to capitulate as supplies dwindled.

The Soviets, in their assault on Berlin, found it difficult to inflict significant damage on the flak towers, even with some of the largest Soviet guns, such as the 203 mm howitzers. Soviet forces generally manoeuvered around the towers, and eventually sent in envoys to seek their submission. Unlike much of Berlin, the towers tended to be fully stocked with ammunition and supplies, and the gunners even used their anti-aircraft 20 mm cannons to defend against assault by ground units

For a time after the war, the conversion to representative objects with decorated facades was planned. After the war was lost, the demolition of the towers was in most cases unfeasible and many remain to this day.

Sideburns

Sideburns or sideboards are patches of facial hair grown on the sides of the face, extending from the hairline to below the ears and worn with an unbearded chin. The term sideburns is a 19th-century corruption of the original burnsides, named after American Civil War general Ambrose Burnside, a man known for his unusual facial hairstyle that connected thick sideburns by way of a moustache, but left the chin clean-shaven.

Sideburns can be worn and grown in combination with other styles of facial hair, such as the moustache or goatee, but once they extend from ear to ear via the chin they cease to be sideburns and become a beard, chinstrap beard, or chin curtain.

In ancient history, Alexander the Great is depicted with sideburns in a mosaic from Pompeii.

Following the eighteenth century, when European men west of Poland were universally clean-shaven, sideburns, like beards, began to grow in popularity during the Napoleonic period. The trend eventually made its way to Meiji Japan, in the first wave of Western fashion there. The return of facial hair in Western Europe began as a military fashion, at first inspired by the heroic sideburns sported by hussar regiments.

Nineteenth century sideburns were often far more extravagant than those seen today, similar to what are now called mutton chops. As with beards, sideburns went quickly out of fashion in the early twentieth century, and in the First World War in order to secure a seal on a gas mask, men had to be clean-shaven; this did not affect mustaches.

Sideburns gained new connotations in 1960s hippie subculture: the struggle of a New Jersey youth to wear sideburns to his public high school graduation made a newspaper article in 1967 and in the 1970s among youth subcultures such as hippies and skinheads. Sideburns also became a symbol of the gay club scenes of San Francisco and Sydney, primarily Lambchops.

Because of their multifarious history, sideburns may be seen as stuffily Victorian and ultra-conservative, a sign of rebelliousness, or merely an artifact of current fashion.

Murder

Murder is the unlawful killing of another human being with "malice aforethought", and generally this state of mind distinguishes murder from other forms of unlawful homicide (such as manslaughter).

As the loss of a human being inflicts enormous grief upon the individuals close to the victim, as well as the fact that the commission of a murder is highly detrimental to the good order within society, most societies both present and in antiquity have considered it a most serious crime worthy of the harshest of punishment.

In most countries, a person convicted of murder is typically given a long prison sentence, possibly a life sentence where permitted, and in some countries, the death penalty may be imposed for such an act.

A person who commits murder is called a murderer ; the term murderess, meaning a woman who murders, has largely fallen into disuse.

Rapini

Rapini (also known as Broccoli Rabe (or Raap or Raab), Broccoletti, Broccoli di Rape, Cime di Rapa, Rappi, Friarielli (in Naples), and Grelos) is a common vegetable in the cuisines of Southern Italy (in particular Bari and Sicily), Galicia, China, and Portugal. The plant is a member of the Brassiceae tribe of the Brassicaceae, whose taxonomy is very difficult. Rapini is classified scientifically as Brassica rapa subspecies rapa, in the same subspecies as the turnip, but has had various other designations, including Brassica rapa ruvo, Brassica rapa rapifera, Brassica ruvo, Brassica campestris ruvo.

Rapini has many spiked leaves that surround a green bud which looks very similar to a small head of broccoli. There may be small yellow flowers blooming from the buds, which are edible.

The flavor of rapini has been described as nutty, bitter, and pungent.

Rapini is a source of vitamins A, C, and K, as well as potassium, calcium, and iron.

The vegetable probably descends from a wild herb, a relative of the turnip, that grew either in China or the Mediterranean region. It is similar in shape to the Chinese Brassica oleracea cultivar called kai-lan.

Rapini is now grown throughout the world. It is available all year long, but its peak season is fall to spring in the Northern Hemisphere.

A common preparation involves sauteing it with garlic over low heat for 10 - 15 minutes.

Zorro

Zorro is a fictional character created in 1919 by New York-based pulp writer Johnston McCulley. The character has been featured in numerous books, films, television series, and other media.

Zorro (Spanish for fox) is the secret identity of Don Diego de la Vega (originally Don Diego Vega), a nobleman and master living in the Spanish colonial era of California. The character has undergone changes through the years, but the typical image of him is a dashing black-clad masked outlaw who defends the people of the land against tyrannical officials and other villains. Not only is he much too cunning and foxlike for the bumbling authorities to catch, but he delights in publicly humiliating those same foes.

Zorro (often called Señor or El Zorro in early stories) debuted in McCulley's 1919 story The Curse of Capistrano, serialized in five parts in the pulp magazine All-Story Weekly.^[1] At the denouement, Zorro's true identity is revealed to all.

Douglas Fairbanks and Mary Pickford, on their honeymoon, selected the story as the inaugural picture for their new studio, United Artists, beginning the character's cinematic tradition. The story was adapted as The Mark of Zorro in 1920, which was a success. McCulley's story was re-released by the publisher Grosset & Dunlap under the same title, to tie in with the film.

Due to public demand fueled by the film, McCulley wrote over 60 additional Zorro stories starting in 1922. The last, The Mask of Zorro (not to be confused with the 1998 film), was published posthumously in 1959. These stories ignore Zorro's public revelation of his identity. The black costume that modern audiences associate with the character stems from Fairbanks' smash hit movie rather than McCulley's original story, and McCulley's subsequent Zorro adventures copied Fairbanks's Zorro rather than the other way around. McCulley died in 1958, just as the Disney-produced Zorro television show was becoming phenomenally successful.

Rotary International

Rotary International is an organization of service clubs known as Rotary Clubs located all over the world. The stated purpose of the organization is to bring together business and professional leaders to provide humanitarian service, encourage high ethical standards in all vocations, and help build goodwill and peace in the world. It is a secular organization open to all persons regardless of race, color, creed, gender, or political preference. There are 33,976 clubs and over 1.22 million members worldwide. The members of Rotary Clubs are known as Rotarians. Members usually meet weekly for breakfast, lunch or dinner, which is a social event as well as an opportunity to organize work on their service goals.

Rotary's best-known motto is "Service above Self", and its secondary motto is "They profit most who serve best".

Fables of Faubus

"Fables of Faubus" is a song composed by jazz bassist and composer Charles Mingus. One of Mingus' most explicitly political works, the song was written as a direct protest against Arkansas governor Orval E. Faubus, who in 1957 sent out the National Guard to prevent the integration of Little Rock Central High School by nine African American teenagers.

The song was first recorded for Mingus' 1959 album, Mingus Ah Um. Columbia refused to allow the lyrics to the song to be included, and so the song was recorded as an instrumental on the album. It was not until October 20, 1960 that the song was recorded with lyrics, for the album Charles Mingus Presents Charles Mingus, which was released on the more independent Candid label. Due to contractual issues with Columbia, the song could not be released as "Fables of Faubus", and so the Candid version was titled "Original Faubus Fables". The personnel for the Candid recording were Charles Mingus (bass, vocals), Dannie Richmond (drums, vocals), Eric Dolphy (alto saxophone), and Ted Curson (trumpet). The vocals featured a call-and-response between Mingus and Richmond. Critic Don Heckman commented of the unedited "Original Faubus Fables" in a 1962 review that it was "a classic Negro put-down in which satire becomes a deadly rapier-thrust. Faubus emerges in a glare of ridicule as a mock villain whom no-one really takes seriously. This kind of commentary, brimful of feeling, bitingly direct and harshly satiric, appears far too rarely in jazz."

The song, either with or without lyrics, was one of the compositions which Mingus returned to most often, both on record and in concert.

Supernumerary Nipple

A supernumerary nipple (also known as a third nipple, accessory nipple, polythelia or the related condition: polymastia) is an additional nipple occurring in mammals, including humans. Often mistaken for moles, supernumerary nipples are diagnosed at a rate of 1 in 18 males and 1 in approximately 50 female humans.

The nipples appear along the two vertical "milk lines", which start in the armpit on each side, run down through the typical nipples and end at the groin. They are classified into eight levels of completeness from a simple patch of hair to a milk-bearing breast in miniature.

Polythelia refers to the presence of an additional nipple alone while polymastia denotes the much rarer presence of additional mammary glands.

Although usually presenting on the milk line, pseudomamma can appear as far away as the foot.

Bungalow

A bungalow is a type of house, with varying meanings across the world. Common features to many (but not all) of these definitions include being detached, low-rise (single, or one-and-a-half storeys), and the use of verandahs.

The term originated in India, deriving from the Gujarati baṅgalo, which in turn derives from the Hindustani baṅglā, meaning "Bengali" and used elliptically for a "house in the Bengal style". Such houses were traditionally small, only one story and thatched, and had a wide veranda.

The term is first found in English from 1696, where it was used to describe "bungales or hovells" in India for English sailors of the East India Company.

Later it became used for the spacious homes or official lodgings of officials of the British Raj, and was so known in Britain and later America, where it initially had high status and exotic connotations, and began to be used in the late 19th century for large country or suburban houses built in an Arts and Crafts or other Western vernacular style - essentially as large cottages, a term also sometimes used. Later developers began to use the term for smaller houses.

In Britain and North America a bungalow today is a residential house, normally detached, which is either single story, or has a second story built into a sloping roof, usually with dormer windows. Full vertical walls are therefore only seen on one story, at least on the front and rear elevations. Usually the houses are relatively small, especially from recent decades, though early examples may be large, in which case the term bungalow tends not to be used today.