Koormavatara

Koormavatara (Kannada: ಕೂರ್ಮಾವತಾರ) is a 2011 Indian Kannada drama film directed by Girish Kasaravalli, based on short story of the same name written by Kum. Veerabhadrappa. It stars Shikaripura Krishnamurthy, Jayanthi and Apoorva Kasaravalli in the lead roles, and Harish Raj, Cheswa, Rashmi Sumukha, Goa Dattu and Sumukha Bharadwaj feature in supporting roles glass water drinking bottles. The story revolves around a government employee cast in a play to portray Mahatma Gandhi, who, on course, realizes that playing Gandhi is easier than imbibing and implementing his principles in real-life.

The film was screened in 17 film festivals and won acclaims Bangkok, New York and Vancouver. At the 59th National Film Awards, it was awarded the Best Feature Film in Kannada.

Rao, who is at the edge of retirement from government service, happens to play the role of Mahatma Gandhi in a television serial. Unknowingly the qualities of Gandhiji imbibe in him best waterproof 5s case. How resurrect is the crux of the film? ‘One would certainly question himself after seeing this film’ opines Dr Girish.

Former President of Karnataka Film Chamber of Commerce, hotelier and actor Basanthkumar Patil is producing this film that has completed 15 days shooting in Bengaluru. “Abhinayasharadhe” Jayanthi plays the ‘Kastura Bai’ role in this film. Dr Shikaripura Krishnamurthy plays the lead protagonist role. HG Somasekhara Rao, Goa Datthu, Ninasam Chaswa, Rashmi, Vikram Soori, Nanjunda and Apoorva Kasaravalli forms the rest of cast. Issac Thomas scores the music and G.S.Bhaskar another stalwart in cinematography

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, is behind the camera adolph’s meat tenderizer.

Eagle Aviation France

Eagle Aviation était une compagnie de location d’avion française.

La compagnie Eagle Aviation, dont le siège social se trouvait sur l’Aéroport de Saint-Nazaire et dont le siège opérationnel se trouvait sur l’Aéroport de Paris-Charles de Gaulle (Roissy), s’était spécialisée dans la location longue durée d’avion de lignes avec équipages, maintenance et assurance à des compagnies nationales tierces. Elle louait ses avions notamment aux compagnies africaines qui n’en avaient pas en nom propre.

Son Président directeur Général était Manuel GARBACCIO. Il était également le Directeur Général d’Air Togo, Administrateur général des compagnies Afrique Airlines et Ivoire Airways.

Sa femme, Catherine GARBACCIO était Directrice Générale déléguée de la société Eagle Aviation et actionnaire d’air Togo.

Elle était titulaire d’un certificat de transporteur aérien mondial, d’une Licence d’Exploitation ainsi que d’un Certificat PART-145.

Avant d’obtenir le certificat de transport, la société de Mr GARBACCIO assurait la maintenant aérienne sur l’Aéroport de St Nazaire pour les avions de compagnies tierces sous le nom de Europe Aéro Support ( depuis 1998).

Le , les autorités françaises ont retiré la licence d’exploitation octroyée à la compagnie suite à la mise en liquidation judiciaire par le Tribunal de commerce de Saint-Nazaire (44).

Eagle Aviation revît en Mai 2009 sous de nom de NOOR AIRWAYS en exploitant 1 seul avion (Boeing 747) mais elle fût mise en redressement judiciaire en 2010 puis en liquidation judiciaire suite à des problèmes financiers

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.

La flotte d’Eagle aviation a été composée de :

Airbus A300 d’Eagle Aviation en 2000

Airbus A310-300 d’Eagle Aviation à Bruxelles en 2005 pour TUI Belgium

Boeing 757 d’Eagle Aviation atterrissant à Malte en Mai 2007

Boeing 747 d’Eagle Aviation n° F-GTIR en Aout 2009 (Aéroport d’Amsterdam)

Micaria tripunctata

Micaria tripunctata er en av edderkoppene i gruppen flatbukedderkopper (Gnaphosidae).

Micaria tripunctata er en middelsstor, litt flat edderkopp med kraftige bein. Forkroppen er ganske bred bak, sterkt tilsmalnet forover (smalt hode). Kroppen er svarte med litt metallskinn og har sølvfargede flekker. Den er todelt i en bakkropp (abdomen) og en forkropp (prosoma eller cephalothorax). De åtte øynene danner to tverr-rader. De midtre øynene i den bakerste raden er mer eller mindre uregelmessig (ikke sirkelrundt) formet.

Artene i denne slekten er ganske like hverandre, samtidig som de kan være fargevariable av utseende. For sikker artsbestemmelse kreves ofte nærmere undersøkelse av de kjønnsmodne edderkoppens genitalier, hos hunner epigynet og hos hanner pedipalpenes siste ledd.

Micaria tripunctata er aktive om dagen i solskinn og bygger ikke fangstnett, men jakter ute i det fri. De bygger seg et skjulested av edderkoppsilke under steiner, mellom død vegetasjon eller lignende steder. Hunnen spinner en eggsekk av edderkoppsilke, hvor hun legger eggene.

Liphistiidae

Actinopodidae  · Antrodiaetidae  · Atypidae  · Barychelidae  · Ctenizidae  · Cyrtaucheniidae  · Dipluridae  · Hexathelidae  · Idiopidae  · Mecicobothriidae  · Microstigmatidae  · Migidae  · Nemesiidae  · Paratropididae  · Theraphosidae

Traktedderkopper (Agelenidae)  · Vindusedderkopper (Amaurobiidae)  · Ammoxenidae  · Amphinectidae  · Anapidae  · Summeedderkopper (Anyphaenidae)  · Hjulspinnere (Araneidae)  · Archaeidae  · Austrochilidae  · Caponiidae  · Chummidae  · Cithaeronidae  · Sekkedderkopper (Clubionidae) &nbsp

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;· Corinnidae  · Ctenidae  · Cyatholipidae  · Vannedderkopper (Cybaeidae)  · Cycloctenidae  · Deinopidae  · Desidae  · Dictynidae  · Diguetidae  · Drymusidae  · Dysderidae  · Eresidae  · Filistatidae  · Gallieniellidae  · Flatbukedderkopper (Gnaphosidae)  · Gradungulidae  · Hahniidae  · Hersiliidae  · Holarchaeidae  · Homalonychidae  · Huttoniidae  · Hypochilidae  · Lamponidae  · Leptonetidae  · Liocranidae  · Mattevevere (Linyphiidae)  · Ulveedderkopper (Lycosidae)  · Malkaridae  · Mecysmaucheniidae  · Micropholcommatidae  · Kannibaledderkopper (Mimetidae)  · Miturgidae  · Mysmenidae  · Nephilidae  · Nesticidae  · Nicodamidae  · Ochyroceratidae  · Oecobiidae  · Oonopidae  · Orsolobidae &nbsp

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;· Oxyopidae  · Palpimanidae  · Pararchaeidae  · Periegopidae  · Løpeedderkopper (Philodromidae)  · Pholcidae  · Phyxelididae  · Pimoidae  · Rovedderkopper (Pisauridae)  · Plectreuridae  · Prodidomidae  · Psechridae  · Hoppeedderkopper (Salticidae)  · Scytodidae  · Rørnettedderkopper (Segestriidae)  · Selenopidae  · Senoculidae  · Sicariidae  · Sinopimoidae  · Jaktedderkopper (Sparassidae)  · Stenochilidae  · Stiphidiidae  · Symphytognathidae  · Synaphridae  · Synotaxidae  · Telemidae  · Tengellidae  · Tetrablemmidae  · Kjeveedderkopper (Tetragnathidae)  · Kamfotedderkopper (Theridiidae) · Theridiosomatidae  · Krabbeedderkopper (Thomisidae)  · Titanoecidae  · Trechaleidae  · Trochanteriidae  · Trekantspinnere (Uloboridae)  · Zodariidae  · Zoridae  · Zorocratidae  · Zoropsidae

Don Martin (cartoonist)

Don Martin (May 18, 1931 – January 6, 2000) was an American cartoonist whose best-known work was published in Mad from 1956 to 1988. His popularity and prominence were such that the magazine promoted Martin as “Mad’s Maddest Artist.”

Born on May 18, 1931 in Paterson, New Jersey, Martin studied illustration and fine art at Newark School of Fine and Industrial Arts between 1949 and 1951 and subsequently graduated from the Pennsylvania Academy of the Fine Arts in Philadelphia in 1952. In 1953, he worked briefly as a window trimmer and frame maker before providing paste ups and mechanicals for various offset printing clients and beginning his career as freelance cartoonist and illustrator. Martin’s work first appeared in Mad in the September 1956 issue.

Just prior to his work with Mad, Don Martin illustrated the album covers of a few legendary jazz artists for Prestige Records, including Miles Davis’ 1953 album Miles Davis and Horns (Prestige LP 7025). He also did The Art Farmer Septet (Prestige LP 7031), Sonny Stitt / Bud Powell / J.J. Johnson (Prestige LP 7024), Kai Winding’s Trombone By Three (Prestige LP 7023) and Stan Getz’ The Brothers (Prestige LP 7022).

Martin often was billed as “Mad’s Maddest Artist.” Whereas other features in Mad, recurring or otherwise, typically were headed with pun-filled “department” titles

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, Martin’s work always was headed with only his name—”Don Martin Dept.”—further fanfare presumably being unnecessary. At his peak, each issue of Mad typically carried three Martin strips of one or two pages each.

Although Martin’s contributions invariably featured outrageous events and sometimes outright violations of the laws of space-time, his strips typically had unassuming generic titles such as “A Quiet Day in the Park” or “One Afternoon at the Beach.” The six-panel “The Impressionist” features a bull who becomes a famous artist by smearing a man and displaying his remains as an abstract painting. The four-panel “One Night in the Miami Bus Terminal” presents a man who approaches a machine labeled “Change,” inserts a dollar bill, and changes to a woman. In another gag, a man is flattened by a steamroller but is saved by the timely intervention of a concerned passerby, who folds him into a paper airplane and throws him towards the nearest hospital.

Martin’s immediately recognizable drawing style (which featured bulbous noses, and the famous hinged foot) was loose, rounded, and filled with broad slapstick. His inspirations, plots, and themes were often bizarre and at times bordered on the berserk. In his earliest years with Mad, Martin used a more jagged, scratchy line. His style evolved, settling into its familiar form by 1964. It was typified by a sameness in the appearance of the characters (the punchline to a strip often was emphasized by a deadpan take with eyes half open and the mouth absent or in a tight, small circle of steadfast perplexity) and by an endless capacity for newly coined, onomatopoetic sound effects, such as “BREEDEET BREEDEET” for a croaking frog, “PLORTCH” for a knight being stabbed by a sword, or “FAGROON klubble klubble” for a collapsing building. (Martin’s dedication to onomatopoeia was such that he owned a vanity license plate which read “SHTOINK,” patterned after the style of his famed sound effects.)

His characters often had ridiculous, rhyming names such as Fester Bestertester or Fonebone (which was expanded to Freenbean I. Fonebone in at least one strip), as well as Lance Parkertip, Noted Notary Public. In this middle period, Martin created some of his most absurdist work—for example, “National Gorilla Suit Day”—an extended narrative in which a hapless character is violently assaulted by a series of attackers in various disguises, including gorillas dressed as men. Charles Taylor described Martin’s unique art style:

His work probably reached its final peak of quality and technical detail in the late 1960s and early 1970s. In later years

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, particularly during the 1980s, he let other people write most of his gags, most notably Duck Edwing.

Concurrent with his Mad output, Martin and an assortment of writers produced a series of paperback books, to which he retained the copyrights and eventual publishing rights. For this reason, the content of these books was not included in 2007’s Completely Mad Don Martin box set. Martin described his heavy workload for these projects:

In his last years of working with Mad, Martin had a falling out with publisher William Gaines over royalties for the paperback compilations of older Mad articles and cartoons released under new omnibus titles, such as The Self-Made Mad. Gaines insisted that Martin’s original page rate was for both publication in Mad and all future reprints in any format. Martin objected, claiming at one point that he had likely lost over $1 million in royalties because of this “flat rate” for this work. Martin later testified before a Congressional subcommittee on the rights of freelance artists.

With bad blood flowing in both directions, Martin left Mad in late 1987. His last contribution appeared in issue No. 277 of March 1988 (“One Special Day in the Dungeon”, written by Antonio Prohías). Soon afterwards, he began cartooning for the rival humor publication Cracked, which alluded to Martin’s defection from its larger competitor by billing Martin as “Cracked’s Crackedest Artist.” Martin’s debut cover for Cracked was pointedly signed “1988 D. Martin.”

“As far as I could tell

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, he was happy,” said fellow Cracked artist Dan Clowes. “I don’t think he ever seemed to notice that Mad was respected, whereas Cracked was loathed.”

After six years with Cracked, Martin parted company with the magazine. A year later, he launched his own short-lived publication, Don Martin Magazine. This included reprints from some of his original Mad paperbacks to which he had retained copyrights. The first issue included an otherwise nonsensical Martin “interview” conducted by Martin himself, in which he said, “My agent thinks I was nuts to have worked there [Mad] as long as I did,” before expressing fondness for his time at Cracked. In 1991, Martin complained about Mad’s chummy and tribal atmosphere to the Los Angeles Times, saying, “It’s looked upon by the people there as a good thing, like one big family. I came to realize that it’s only a good thing for Bill Gaines. I was so terribly loyal all those years that I turned down work because I had something for Mad Magazine—which is ridiculous.”

From 1989 to 1993, Don Martin created a daily comic strip called The Nutheads, featuring a family that worked at “Glump’s Market,” a cluttered store. The characters included a mother and father, Hazel and Nutley, and their two children, Macadamia and baby Nutkin. It was briefly syndicated by Universal Press Syndicate; Martin later revived and self-syndicated the strip.

Despite a degenerative eye condition, Martin continued to draw into the 1990s using special magnifying equipment.[citation needed]

Martin was a member of both the National Cartoonists Society[citation needed] and The Graphic Artists Guild (GAG). He resigned from GAG and returned a donation from them in 1997, following a dispute.

Martin was regarded as a quiet man who enjoyed relaxing on the beach near his home in Miami, where he liked slipping into the backgrounds of photographs tourists would take of each other, so when their films were developed they would wonder who the strange man was. Fellow Mad contributor Sergio Aragonés had the same impish habit. Despite his preference for privacy, he delighted in having struggling cartoonists visit his home.[citation needed]

In 1972, after sitting for an interview with The Miami Herald, the newspaper wanted to take a photograph of Martin and his family to accompany the piece. Martin refused. However, he then drew impromptu lifesized character masks, which Martin, his wife and children obligingly wore over their faces for the published portrait.

In 2000, he died of cancer in Coconut Grove, Florida at age 68

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.[citation needed]

Martin was honored with the Ignatz Award at the Orlando Comicon in 1980. He received the National Cartoonists Society’s Special Features Award in both 1981 and 1982, and he was inducted into the Will Eisner Award Hall of Fame in 2004.

Martin’s cartoons appear in public collections at the National Cartoonists Society and the Billy Ireland Cartoon Library & Museum. He served as a juror at “Hürriyet Vakfı,” an International Cartoon Competition held in Ankara, Turkey in 1986.

Martin’s work has been referenced in numerous arenas, from The Simpsons and Family Guy to The Colbert Report to Jonathan Lethem’s 1999 novel Motherless Brooklyn, which describes in detail the Tourette’s-afflicted protagonist’s affinity for Martin’s cartoons. The character of Uncle Grandpa was inspired by the look of Martin’s designs.

In 1986, the animated feature Don Martin Does It Again was created in Germany by director Andy Knight, and produced by Gerhard Hahn’s Deutsche Zeichentrick Erste Produktions GmbH & Co. KG. It won first prize at the 1986 International Children’s Film Festival in Chicago. Martin strips have also been adapted on Cartoon Network’s Mad and the Fox sketch program MADtv.

The name of character of Fone Bone in cartoonist Jeff Smith’s epic graphic novel Bone is derived from Fonebone, the generic surname that Martin gave to many of the characters that appeared in his Mad magazine strips.

In episode No. 307, “The Day the Earth Stood Stupid” (2001), of Matt Groening’s science-fiction animated television series Futurama, lead character Hermes Conrad mentions a planet called “Don Martin 3” that went “kerflooey”, an homage to one of Martin’s sound effects. The “Stranded in Space” film shown on TV’s Mystery Science Theater 3000 (episode 305) included various visual weapon sound effects (e.g., a gun with a flag which pops out, bearing the sound effect “BANG!”). After a stick of dynamite produced a banner reading “KACHOW”, one of the show’s characters wondered, “Kachow? Kachow?! What, is Don Martin working with you guys now?!”

In 2007, a two-volume hardcover box set of Martin’s complete Mad magazine work was published by Running Press.

Taking their cue from one of Martin’s more celebrated stories, National Gorilla Suit Day, fans have celebrated National Gorilla Suit Day by wearing gorilla suits on January 31. No specific date is given in the story, which appeared in the 1963 paperback book Don Martin Bounces Back.