where is the institute of electrical and electronics engineers headquarters located

The Institute of Electrical and Electronics Engineers (IEEE, pronounced "I triple E")[2] is a professional association with its corporate office in New York City and its operations center in Piscataway, New Jersey. It was formed in 1963 from the amalgamation of the American Institute of Electrical Engineers and the Institute of Radio Engineers. Today, it is the world's largest association of technical professionals with more than 420,000 members in over 160 countries around the world. Its objectives are the educational and technical advancement of electrical and electronic engineering, telecommunications, computer engineering and allied disciplines.

IEEE stands for the "Institute of Electrical and Electronics Engineers". The association is chartered under this full legal name. IEEE's membership has long been composed of engineers and scientists. Allied professionals who are members include computer scientists, software developers, information technology professionals, physicists, and medical doctors, in addition to IEEE's electrical and electronics engineering core. For this reason the organization no longer goes by the full name, except on legal business documents, and is referred to simply as IEEE.

The IEEE is dedicated to advancing technological innovation and excellence. It has about 420,000 members in about 160 countries, slightly less than half of whom reside in the United States.[3][4]

The major interests of the AIEE were wire communications (telegraphy and telephony) and light and power systems. The IRE concerned mostly radio engineering, and was formed from two smaller organizations, the Society of Wireless and Telegraph Engineers and the Wireless Institute. With the rise of electronics in the 1930s, electronics engineers usually became members of the IRE, but the applications of electron tube technology became so extensive that the technical boundaries differentiating the IRE and the AIEE became difficult to distinguish. After World War II, the two organizations became increasingly competitive, and in 1961, the leadership of both the IRE and the AIEE resolved to consolidate the two organizations. The two organizations formally merged as the IEEE on January 1, 1963.

Notable presidents of IEEE and its founding organizations include Elihu Thomson (AIEE, 1889–1890), Alexander Graham Bell (AIEE, 1891–1892), Charles Proteus Steinmetz (AIEE, 1901–1902), Robert H. Marriott (IRE, 1912), Lee De Forest (IRE, 1930), Frederick E. Terman (IRE, 1941), William R. Hewlett (IRE, 1954), Ernst Weber (IRE, 1959; IEEE, 1963), and Ivan Getting (IEEE, 1978).

The IEEE is incorporated under the Not-for-Profit Corporation Law of the state of New York.[5] It was formed in 1963 by the merger of the Institute of Radio Engineers (IRE, founded 1912) and the American Institute of Electrical Engineers (AIEE, founded 1884).

The IEEE serves as a major publisher of scientific journals and organizer of conferences, workshops, and symposia (many of which have associated published proceedings). It is also a leading standards development organization for the development of industrial standards (having developed over 900 active industry technical standards) in a broad range of disciplines, including electric power and energy, biomedical technology and healthcare, information technology, information assurance, telecommunications, consumer electronics, transportation, aerospace, and nanotechnology. IEEE develops and participates in educational activities such as accreditation of electrical engineering programs in institutes of higher learning. The IEEE logo is a diamond-shaped design which illustrates the right hand grip rule embedded in Benjamin Franklin's kite, and it was created at the time of the 1963 merger.[6]

IEEE has a dual complementary regional and technical structure â€“ with organizational units based on geography (e.g., the IEEE Philadelphia Section, the IEEE Buenaventura Section, IEEE South Africa Section) and technical focus (e.g., the IEEE Computer Society). It manages a separate organizational unit (IEEE-USA) which recommends policies and implements programs specifically intended to benefit the members, the profession and the public in the United States.

The IEEE includes 39 technical Societies, organized around specialized technical fields, with more than 300 local organizations that hold regular meetings.

The IEEE Standards Association is in charge of the standardization activities of the IEEE.

The IEEE History Center became a feeder organization to the Engineering and Technology History Wiki (ETHW) in 2015. The new ETHW is a cooperative effort by various engineering societies as a formal repository of topic articles, oral histories, first-hand histories, Landmarks + Milestones and archival documents. The IEEE History Center is annexed to Stevens University Hoboken, NJ.

In 2016, the IEEE acquired GlobalSpec, adding the provision of engineering data for a profit to its organizational portfolio.[7]

Karen Bartleson is 2017 President and CEO of IEEE. She has over thirty-five years of experience in the semiconductor industry and retired as Senior Director of Corporate Programs and Initiatives at Synopsis, a company that specializes in electronic design automation. Bartleson was President of the IEEE Standards Association in 2013 and 2014 where she led the development of a new strategic plan, among other projects.

IEEE produces over 30% of the world's literature in the electrical and electronics engineering and computer science fields, publishing well over 100 peer-reviewed journals.[8]

The published content in these journals as well as the content from several hundred annual conferences sponsored by the IEEE are available in the IEEE online digital library, IEEE Xplore, for subscription-based access and individual publication purchases.[9]

In addition to journals and conference proceedings, the IEEE also publishes tutorials and standards that are produced by its standardization committees.

The IEEE provides learning opportunities within the engineering sciences, research, and technology.

IEEE offers educational opportunities such as IEEE e Learning Library,[10] the Education Partners Program,[11] Standards in Education[12] and Continuing Education Units (CEUs).[13]

IEEE eLearning Library is a collection of online educational courses designed for self-paced learning. Education Partners, exclusive for IEEE members, offers on-line degree programs, certifications and courses at a 10% discount. The Standards in Education website explains what standards are and the importance of developing and using them. The site includes tutorial modules and case illustrations to introduce the history of standards, the basic terminology, their applications and impact on products, as well as news related to standards, book reviews and links to other sites that contain information on standards. Currently, twenty-nine states in the United States require Professional Development Hours (PDH) to maintain a Professional Engineering license, encouraging engineers to seek Continuing Education Units (CEUs) for their participation in continuing education programs. CEUs readily translate into Professional Development Hours (PDHs), with 1 CEU being equivalent to 10 PDHs. Countries outside the United States, such as South Africa, similarly require continuing professional development (CPD) credits, and it is anticipated that IEEE Expert Now courses will feature in the CPD listing for South Africa.

IEEE also sponsors a website designed to help young people better understand engineering, and how an engineering career can be made part of their future. Students of age 8â€“18, parents, and teachers can explore the site to prepare for an engineering career, ask experts engineering-related questions, play interactive games, explore curriculum links, and review lesson plans. This website also allows students to search for accredited engineering degree programs in Canada and the United States; visitors are able to search by state/province/territory, country, degree field, tuition ranges, room and board ranges, size of student body, and location (rural, suburban, or urban).

Through the Student Activities Committee, IEEE facilitates partnership between student activities and all other IEEE entities.[14]

The Institute of Electrical and Electronics Engineers sponsors more than 1,600 annual conferences and meetings worldwide. IEEE is also highly involved in the technical program development of numerous events including trade events, training workshops, job fairs, and other programs.[15]

IEEE is one of the leading standards-making organizations in the world. IEEE performs its standards making and maintaining functions through the IEEE Standards Association (IEEE-SA). IEEE standards affect a wide range of industries including: power and energy, biomedical and healthcare, Information Technology (IT), telecommunications, transportation, nanotechnology, information assurance, and many more. In 2017, IEEE had over 1100 active standards, with over 600 standards under development.[16] One of the more notable IEEE standards is the IEEE 802 LAN/MAN group of standards which includes the IEEE 802.3 Ethernet standard and the IEEE 802.11 Wireless Networking standard.

Most IEEE members are electrical and electronics engineers, but the organization's wide scope of interests has attracted people in other disciplines as well (e.g., computer science, software engineering, mechanical engineering, civil engineering, biology, physics, and mathematics).

An individual can join the IEEE as a student member, professional member, or associate member. In order to qualify for membership, the individual must fulfill certain academic or professional criteria and abide to the code of ethics and bylaws of the organization. There are several categories and levels of IEEE membership and affiliation:

Through its awards program, the IEEE recognizes contributions that advance the fields of interest to the IEEE. For nearly a century, the IEEE Awards Program has paid tribute to technical professionals whose exceptional achievements and outstanding contributions have made a lasting impact on technology, society and the engineering profession.

Funds for the awards program, other than those provided by corporate sponsors for some awards, are administered by the IEEE Foundation.

Various technical areas are addressed by IEEE's 39 societies, each one focused on a certain knowledge area. They provide specialized publications, conferences, business networking and sometimes other services.[17][18]

IEEE technical councils are collaborations of several IEEE societies on a broader knowledge area. There are currently seven technical councils:[17][19]

To allow a quick response to new innovations, IEEE can also organize technical committees on top of their societies and technical councils. There are currently two such technical committees:[17]

The IEEE Foundation is a charitable foundation established in 1973 to support and promote technology education, innovation and excellence.[20] It is incorporated separately from the IEEE, although it has a close relationship to it. Members of the Board of Directors of the foundation are required to be active members of IEEE, and one third of them must be current or former members of the IEEE Board of Directors.

Initially, the IEEE Foundation's role was to accept and administer donations for the IEEE Awards program, but donations increased beyond what was necessary for this purpose, and the scope was broadened. In addition to soliciting and administering unrestricted funds, the foundation also administers donor-designated funds supporting particular educational, humanitarian, historical preservation, and peer recognition programs of the IEEE.[20] As of the end of 2014, the foundation's total assets were nearly $45 million, split equally between unrestricted and donor-designated funds.[21]


why sc test is conducted on hv side

The test is conducted on the high-voltage (HV) side of the transformer where the low-voltage (LV) side or the secondary is short circuited. A wattmeter is connected to the primary. An ammeter is connected in series with the primary winding. A voltmeter is optional since the applied voltage is the same as the voltmeter reading. The LV side of the transformer is short circuited. Now with the help of variac applied voltage is slowly increased until the ammeter gives reading equal to the rated current of the HV side. After reaching at rated current of HV side, all three instruments reading (Voltmeter, Ammeter and Watt-meter readings) are recorded. The ammeter reading gives the primary equivalent of full load current IL. As the voltage applied for full load current in short circuit test on transformer is quite small compared to the rated primary voltage of the transformer, the iron losses in transformer can be taken as negligible here.

Short-circuit test

The purpose of a short-circuit test is to determine the series branch parameters of the equivalent circuit of a real transformer.

To conduct a short-circuit test on power transformer:

W

{\displaystyle W}

 is the full-load copper loss

V

1

{\displaystyle V_{1}}

is the applied voltage

I

1

{\displaystyle I_{1}}

 is the rated current

R

01

{\displaystyle R_{01}}

 is the resistance as viewed from the primary

Z

01

{\displaystyle {Z_{01}}}

is the total impedance as viewed from the primary

X

01

{\displaystyle {X_{01}}}

 is the reactance as viewed from the primary

W

=

I

1

2

R

01

{\displaystyle {W}={{I_{1}}^{2}}{R_{01}}}

R

01

=

W

I

1

2

{\displaystyle {R_{01}}={\frac {W}{{I_{1}}^{2}}}}

Z

01

=

V

1

I

1

{\displaystyle {Z_{01}}={\frac {V_{1}}{I_{1}}}}

X

01

=

Z

01

2

−

R

01

2

{\displaystyle {X_{01}}={\sqrt {{Z_{01}}^{2}-{R_{01}}^{2}}}}

A short-circuit test for determination of transformer impedance and losses is carried out with relatively low power applied to the transformer, and with winding currents of the same magnitude as in operation. A different form of short-circuit testing is done to assess the mechanical strength of the transformer windings, and their ability to withstand the high forces produced if an energized transformer experiences a short-circuit fault. Currents during such events can be several times the normal rated current. The resultant forces can distort the windings or break internal connections. For large utility-scale power transformers, high-power test laboratories such as the one operated by Powertech Labs near Vancouver, Canada, KEMA at Arnhem, Holland, and CESI Italy have facilities to apply the very high power levels representative of a fault on an interconnected grid system.


the internal energy of a system is the sum of all its microscopic forms of energy

From the standpoint of statistical mechanics, the internal energy is equal to the ensemble average of the sum of the microscopic kinetic and potential energies of the system.

Internal energy

In thermodynamics, the internal energy of a system is the energy contained within the system, excluding the kinetic energy of motion of the system as a whole and the potential energy of the system as a whole due to external force fields. It keeps account of the gains and losses of energy of the system that are due to changes in its internal state.[1][2]

The internal energy of a system can be changed by transfers of matter or heat or by doing work.[3] When matter transfer is prevented by impermeable containing walls, the system is said to be closed. Then the first law of thermodynamics states that the increase in internal energy is equal to the total heat added plus the work done on the system by its surroundings. If the containing walls pass neither matter nor energy, the system is said to be isolated and its internal energy cannot change. The first law of thermodynamics may be regarded as establishing the existence of the internal energy.

The internal energy is one of the two cardinal state functions of the state variables of a thermodynamic system.

The internal energy of a given state of a system cannot be directly measured. It is determined through some convenient chain of thermodynamic operations and thermodynamic processes by which the given state can be prepared, starting with a reference state which is customarily assigned a reference value for its internal energy. Such a chain, or path, can be theoretically described by certain extensive state variables of the system, namely, its entropy, S, its volume, V, and its mole numbers, {Nj}. The internal energy, U(S,V,{Nj}), is a function of those. Sometimes, to that list are appended other extensive state variables, for example electric dipole moment. For practical considerations in thermodynamics and engineering it is rarely necessary or convenient to consider all energies belonging to the total intrinsic energy of a system, such as the energy given by the equivalence of mass. Customarily, thermodynamic descriptions include only items relevant to the processes under study. Thermodynamics is chiefly concerned only with changes in the internal energy, not with its absolute value.

The internal energy is a state function of a system, because its value depends only on the current state of the system and not on the path taken or processes undergone to prepare it. It is an extensive quantity. It is the one and only cardinal thermodynamic potential.[4] Through it, by use of Legendre transforms, are mathematically constructed the other thermodynamic potentials. These are functions of variable lists in which some extensive variables are replaced by their conjugate intensive variables. Legendre transformation is necessary because mere substitutive replacement of extensive variables by intensive variables does not lead to thermodynamic potentials. Mere substitution leads to a less informative formula, an equation of state.

Though it is a macroscopic quantity, internal energy can be explained in microscopic terms by two theoretical virtual components. One is the microscopic kinetic energy due to the microscopic motion of the system's particles (translations, rotations, vibrations). The other is the potential energy associated with the microscopic forces, including the chemical bonds, between the particles; this is for ordinary physics and chemistry. If thermonuclear reactions are specified as a topic of concern, then the static rest mass energy of the constituents of matter is also counted. There is no simple universal relation between these quantities of microscopic energy and the quantities of energy gained or lost by the system in work, heat, or matter transfer.

The SI unit of energy is the joule (J). Sometimes it is convenient to use a corresponding density called specific internal energy which is internal energy per unit of mass (kilogram) of the system in question. The SI unit of specific internal energy is J/kg. If the specific internal energy is expressed relative to units of amount of substance (mol), then it is referred to as molar internal energy and the unit is J/mol.

The internal energy, U(S,V,{Nj}), expresses the thermodynamics of a system in the energy-language, or in the energy representation. Its arguments are exclusively extensive variables of state. Alongside the internal energy, the other cardinal function of state of a thermodynamic system is its entropy, as a function, S(U,V,{Nj}), of the same list of extensive variables of state, except that the entropy, S, is replaced in the list by the internal energy, U. It expresses the entropy representation.[4][5][6]

Each cardinal function is a monotonic function of each of its natural or canonical variables. Each provides its characteristic or fundamental equation, for example U = U(S,V,{Nj}), that by itself contains all thermodynamic information about the system. The fundamental equations for the two cardinal functions can in principle be interconverted by solving, for example, U = U(S,V,{Nj}) for S, to get S = S(U,V,{Nj}).

In contrast, Legendre transforms are necessary to derive fundamental equations for other thermodynamic potentials and Massieu functions. The entropy as a function only of extensive state variables is the one and only cardinal function of state for the generation of Massieu functions. It is not itself customarily designated a 'Massieu function', though rationally it might be thought of as such, corresponding to the term 'thermodynamic potential', which includes the internal energy.[5][7][8]

For real and practical systems, explicit expressions of the fundamental equations are almost always unavailable, but the functional relations exist in principle. Formal, in principle, manipulations of them are valuable for the understanding of thermodynamics.

The internal energy U of a given state of the system is determined relative to that of a standard state of the system, by adding up the macroscopic transfers of energy that accompany a change of state from the reference state to the given state:

where Î”U denotes the difference between the internal energy of the given state and that of the reference state, and the Ei are the various energies transferred to the system in the steps from the reference state to the given state. It is the energy needed to create the given state of the system from the reference state.

From a non-relativistic microscopic point of view, it may be divided into microscopic potential energy, Umicro pot, and microscopic kinetic energy, Umicro kin, components:

The microscopic kinetic energy of a system arises as the sum of the motions of all the system's particles with respect to the center-of-mass frame, whether it be the motion of atoms, molecules, atomic nuclei, electrons, or other particles. The microscopic potential energy algebraic summative components are those of the chemical and nuclear particle bonds, and the physical force fields within the system, such as due to internal induced electric or magnetic dipole moment, as well as the energy of deformation of solids (stress-strain). Usually, the split into microscopic kinetic and potential energies is outside the scope of macroscopic thermodynamics.

Internal energy does not include the energy due to motion or location of a system as a whole. That is to say, it excludes any kinetic or potential energy the body may have because of its motion or location in external gravitational, electrostatic, or electromagnetic fields. It does, however, include the contribution of such a field to the energy due to the coupling of the internal degrees of freedom of the object with the field. In such a case, the field is included in the thermodynamic description of the object in the form of an additional external parameter.

For practical considerations in thermodynamics or engineering, it is rarely necessary, convenient, nor even possible, to consider all energies belonging to the total intrinsic energy of a sample system, such as the energy given by the equivalence of mass. Typically, descriptions only include components relevant to the system under study. Indeed, in most systems under consideration, especially through thermodynamics, it is impossible to calculate the total internal energy.[9] Therefore, a convenient null reference point may be chosen for the internal energy.

The internal energy is an extensive property: it depends on the size of the system, or on the amount of substance it contains.

At any temperature greater than absolute zero, microscopic potential energy and kinetic energy are constantly converted into one another, but the sum remains constant in an isolated system (cf. table). In the classical picture of thermodynamics, kinetic energy vanishes at zero temperature and the internal energy is purely potential energy. However, quantum mechanics has demonstrated that even at zero temperature particles maintain a residual energy of motion, the zero point energy. A system at absolute zero is merely in its quantum-mechanical ground state, the lowest energy state available. At absolute zero a system of given composition has attained its minimum attainable entropy.

The microscopic kinetic energy portion of the internal energy gives rise to the temperature of the system. Statistical mechanics relates the pseudo-random kinetic energy of individual particles to the mean kinetic energy of the entire ensemble of particles comprising a system. Furthermore, it relates the mean microscopic kinetic energy to the macroscopically observed empirical property that is expressed as temperature of the system. This energy is often referred to as the thermal energy of a system,[10] relating this energy, like the temperature, to the human experience of hot and cold.

Statistical mechanics considers any system to be statistically distributed across an ensemble of N microstates. Each microstate has an energy Ei and is associated with a probability pi. The internal energy is the mean value of the system's total energy, i.e., the sum of all microstate energies, each weighted by their probability of occurrence:

This is the statistical expression of the first law of thermodynamics.

Thermodynamics is chiefly concerned only with the changes, Î”U, in internal energy.

For a closed system, with matter transfer excluded, the changes in internal energy are due to heat transfer Q and due to work. The latter can be split into two kinds, pressure-volume work Wpressure-volume, and frictional and other kinds, such as electrical polarization, which do not alter the volume of the system, and are called isochoric, Wisochoric. Accordingly, the internal energy change Î”U for a process may be written[3]

When a closed system receives energy as heat, this energy increases the internal energy. It is distributed between microscopic kinetic and microscopic potential energies. In general, thermodynamics does not trace this distribution. In an ideal gas all of the extra energy results in a temperature increase, as it is stored solely as microscopic kinetic energy; such heating is said to be sensible.

A second mechanism of change of internal energy of a closed system is the doing of work on the system, either in mechanical form by changing pressure or volume, or by other perturbations, such as directing an electric current through the system.

If the system is not closed, the third mechanism that can increase the internal energy is transfer of matter into the system. This increase, Î”Umatter cannot be split into heat and work components. If the system is so set up physically that heat and work can be done on it by pathways separate from and independent of matter transfer, then the transfers of energy add to change the internal energy:

If a system undergoes certain phase transformations while being heated, such as melting and vaporization, it may be observed that the temperature of the system does not change until the entire sample has completed the transformation. The energy introduced into the system while the temperature did not change is called a latent energy, or latent heat, in contrast to sensible heat, which is associated with temperature change.

Thermodynamics often uses the concept of the ideal gas for teaching purposes, and as an approximation for working systems. The ideal gas is a gas of particles considered as point objects that interact only by elastic collisions and fill a volume such that their free mean path between collisions is much larger than their diameter. Such systems are approximated by the monatomic gases, helium and the other noble gases. Here the kinetic energy consists only of the translational energy of the individual atoms. Monatomic particles do not rotate or vibrate, and are not electronically excited to higher energies except at very high temperatures.

Therefore, internal energy changes in an ideal gas may be described solely by changes in its kinetic energy. Kinetic energy is simply the internal energy of the perfect gas and depends entirely on its pressure, volume and thermodynamic temperature.

The internal energy of an ideal gas is proportional to its mass (number of moles) N and to its temperature T

where c is the heat capacity (at constant volume) of the gas. The internal energy may be written as a function of the three extensive properties S, V, N (entropy, volume, mass) in the following way [11][12]

where const is an arbitrary positive constant and where R is the universal gas constant. It is easily seen that U is a linearly homogeneous function of the three variables (that is, it is extensive in these variables), and that it is weakly convex. Knowing temperature and pressure to be the derivatives

T
=

∂
U

∂
S

,

{\displaystyle T={\frac {\partial U}{\partial S}},}

p
=
−

∂
U

∂
V

,

{\displaystyle p=-{\frac {\partial U}{\partial V}},}

 the ideal gas law

p
V
=
R
N
T

{\displaystyle pV=RNT}

 immediately follows.

This above summation of all components of change in internal energy assume that a positive energy denotes heat added to the system or work done on the system, while a negative energy denotes work of the system on the environment.

Typically this relationship is expressed in infinitesimal terms using the differentials of each term. Only the internal energy is an exact differential. For a system undergoing only thermodynamics processes, i.e. a closed system that can exchange only heat and work, the change in the internal energy is

which constitutes the first law of thermodynamics.[note 1] It may be expressed in terms of other thermodynamic parameters. Each term is composed of an intensive variable (a generalized force) and its conjugate infinitesimal extensive variable (a generalized displacement).

For example, for a non-viscous fluid, the mechanical work done on the system may be related to the pressure p and volume V. The pressure is the intensive generalized force, while the volume is the extensive generalized displacement:

This defines the direction of work, W, to be energy flow from the working system to the surroundings, indicated by a negative term.[note 1] Taking the direction of heat transfer Q to be into the working fluid and assuming a reversible process, the heat is

and the change in internal energy becomes

The expression relating changes in internal energy to changes in temperature and volume is

This is useful if the equation of state is known.

In case of an ideal gas, we can derive that

d
U
=

C

V

d
T

{\displaystyle dU=C_{V}dT}

, i.e. the internal energy of an ideal gas can be written as a function that depends only on the temperature.

The equation of state is the ideal gas law

Solve for pressure:

Substitute in to internal energy expression:

Take the derivative of pressure with respect to temperature:

And simplify:

To express dU in terms of dT and dV, the term

is substituted in the fundamental thermodynamic relation

This gives:

The term

T

(

∂
S

∂
T

)

V

{\displaystyle T\left({\frac {\partial S}{\partial T}}\right)_{V}}

 is the heat capacity at constant volume

C

V

.

{\displaystyle C_{V}.}

The partial derivative of S with respect to V can be evaluated if the equation of state is known. From the fundamental thermodynamic relation, it follows that the differential of the Helmholtz free energy A is given by:

The symmetry of second derivatives of A with respect to T and V yields the Maxwell relation:

This gives the expression above.

When dealing with fluids or solids, an expression in terms of the temperature and pressure is usually more useful:

where it is assumed that the heat capacity at constant pressure is related to the heat capacity at constant volume according to:

The partial derivative of the pressure with respect to temperature at constant volume can be expressed in terms of the coefficient of thermal expansion

and the isothermal compressibility

by writing:

and equating dV to zero and solving for the ratio dp/dT. This gives:

Substituting (2) and (3) in (1) gives the above expression.

The internal pressure is defined as a partial derivative of the internal energy with respect to the volume at constant temperature:

In addition to including the entropy S and volume V terms in the internal energy, a system is often described also in terms of the number of particles or chemical species it contains:

where Nj are the molar amounts of constituents of type j in the system. The internal energy is an extensive function of the extensive variables S, V, and the amounts Nj, the internal energy may be written as a linearly homogeneous function of first degree:

where Î± is a factor describing the growth of the system. The differential internal energy may be written as

d

U
=

∂
U

∂
S

d

S
+

∂
U

∂
V

d

V
+

∑

i

∂
U

∂

N

i

d

N

i

=
T

d

S
−
p

d

V
+

∑

i

μ

i

d

N

i

{\displaystyle \mathrm {d} U={\frac {\partial U}{\partial S}}\mathrm {d} S+{\frac {\partial U}{\partial V}}\mathrm {d} V+\sum _{i}\ {\frac {\partial U}{\partial N_{i}}}\mathrm {d} N_{i}\ =T\,\mathrm {d} S-p\,\mathrm {d} V+\sum _{i}\mu _{i}\mathrm {d} N_{i}\,}

which shows (or defines) temperature T to be the partial derivative of U with respect to entropy S and pressure p to be the negative of the similar derivative with respect to volume V

T
=

∂
U

∂
S

,

{\displaystyle T={\frac {\partial U}{\partial S}},}

and where the coefficients

μ

i

{\displaystyle \mu _{i}}

 are the chemical potentials for the components of type i in the system. The chemical potentials are defined as the partial derivatives of the energy with respect to the variations in composition:

As conjugate variables to the composition

{

N

j

}

{\displaystyle \lbrace N_{j}\rbrace }

, the chemical potentials are intensive properties, intrinsically characteristic of the qualitative nature of the system, and not proportional to its extent. Under conditions of constant T and p, because of the extensive nature of U and its independent variables, using Euler's homogeneous function theorem, the differential dU may be integrated and yields an expression for the internal energy:

The sum over the composition of the system is the Gibbs free energy:

that arises from changing the composition of the system at constant temperature and pressure. For a single component system, the chemical potential equals the Gibbs energy per amount of substance, i.e. particles or moles according to the original definition of the unit for

{

N

j

}

{\displaystyle \lbrace N_{j}\rbrace }

.

For an elastic medium the mechanical energy term of the internal energy must be replaced by the more general expression involving the stress

σ

i
j

{\displaystyle \sigma _{ij}}

 and strain

ε

i
j

{\displaystyle \varepsilon _{ij}}

. The infinitesimal statement is:

where Einstein notation has been used for the tensors, in which there is a summation over all repeated indices in the product term. The Euler theorem yields for the internal energy:[13]

For a linearly elastic material, the stress is related to the strain by:

where the Cijkl are the components of the 4th-rank elastic constant tensor of the medium.

James Joule studied the relationship between heat, work, and temperature. He observed that if he did mechanical work on a fluid, such as water, by agitating the fluid, its temperature increased. He proposed that the mechanical work he was doing on the system was converted to thermal energy. Specifically, he found that 4185.5 joules of energy were needed to raise the temperature of a kilogram of water by one degree Celsius.[14]


where does the spiny orb weaver spider live

It is found across the southern part of the United States from California to North Carolina, including Alabama as well as in Central America, Jamaica, Cuba, Dominican Republic, Bermuda, Puerto Rico, South America (including south and central Brazil, with several variations according to location) and certain islands in the Bahamas. It has also been sighted in the Whitsunday Islands, Australia, South Africa and Palawan, Philippines, as well as Kauai in the Hawaiian Islands, the Antilles and Koh Chang in Thailand eastern seaboard.

Gasteracantha cancriformis

Gasteracantha cancriformis is a species of orb-weaver spider (family Araneidae). It is widely distributed in the New World.[1]

The genus name Gasteracantha derives from the Greek words γαστήρ (gaster, "belly") and ἄκανθα (acantha, "thorn"), while the specific epithet cancriformis derives from the Latin words cancer ("crab") and forma ("shape, form, appearance").

Females are 5–9 millimetres (0.20–0.35 in) long and 10–13 mm (0.39–0.51 in) wide. The six abdominal spine-like projections on the abdomen are characteristic. The carapace, legs and underside are black with white spots under the abdomen. Variations occur in the colour of the upperside of the abdomen: a white or yellow colour with both featuring black spots. A white upperside can have either red or black spines while a yellow upperside can only have black ones. Like with many other spiders, males are much smaller (2 to 3 mm long) and longer than wide. They are similar to the females in colour but have a gray abdomen with white spots and the spines are reduced to four or five stubby projections.

This species of spider does not live very long. In fact, the lifespan lasts only until reproduction, which usually takes place in the spring following the winter when they hatched. Females die after producing an egg mass, and males die six days after a complete cycle of sperm induction to the female.

It lives in woodland edges and shrubby gardens. Many of the studies on this spider have taken place in citrus groves in Florida. They frequently live in trees or around trees in shrubs.

Eating a butterfly

Ventral view, with spinneret visible

In Novo Hamburgo (southern Brazilian population), with focus on the web

Mating in the Summer

On a tufted web in Houston, Texas


how many times did al ahly win caf

Egyptian side Al Ahly have won a record total of 20 titles in CAF competitions, nine more than his local rival Zamalek and eleven more than Mazembe (Democratic Congo) and ES Sahel (Tunisia). There is no team have won every CAF club competition, only Espérance had a chance to do it if they won the CAF Confederation Cup. Espérance won the Champions League for the first time in 1994, its first Cup Winners' Cup in 1998, its first CAF Cup in 1997, its first caf super cup in 1995, and the first Afro-Asian Club Championship Cup in 1995.

List of CAF club competition winners

The Confederation of African Football (CAF) is the governing body for association football in Africa. It organizes three club competitions: the CAF Champions League (formerly African Cup of Champions Clubs), the CAF Confederation Cup and the CAF Super Cup. CAF was also responsible for the African Cup Winners' Cup and the CAF Cup, until their merging in 2004 when CAF Confederation Cup took their places. Together with Asian Football Confederation (AFC), it also organized the Afro-Asian Club Championship, which was last held in 1998, before its replacement by FIFA's Club World Cup.

Egyptian clubs have won the most titles (35), ahead of clubs from Tunisia (22) and Morocco (15).

Club World Cup is not included in this list because it's a FIFA competition.

The following table lists all the clubs that have won at least one CAF club competition. Al Ahly hold the record for the most overall titles (20), with Zamalek coming in second with 11 titles.

ES Sahel is the only team to have won all four of Caf's main club competitions African Cup of Champions Clubs/CAF Champions League, African Cup Winners' Cup, CAF Cup and CAF Confederation Cup. Espérance had a chance to be the only team to win all CAF competitions if they won the CAF Confederation Cup. Al Ahly have a record of 8 CAF Champions League titles, a record of 4 African Cup Winners' Cup titles and a record of 6 CAF Super Cup titles. Kabylie have a record of 3 CAF Cup titles. Sfaxien have a record of 3 CAF Confederation Cup titles. Zamalek have a record of 2 Afro-Asian Club Championship titles.

The following table lists all the countries whose clubs have won at least one CAF competition. Egyptian clubs are the most successful, with a total of 35 titles. Egyptian clubs hold a record number of wins in the African Cup of Champions Clubs/CAF Champions League (14), the African Cup Winners' Cup (8), the CAF Super Cup (9) and the Afro-Asian Club Championship (3). while Tunisian clubs have the most victories in the CAF Cup (4) and the CAF Confederation Cup (5). In third place overall, Moroccan clubs have secured 15 titles.


who did rachel give birth to in the bible

Rachel's son, Joseph, was destined to be the leader of Israel's tribes between exile and nationhood. This role is exemplified in the Biblical story of Joseph, who prepared the way in Egypt for his family's exile there,[7] and in the future figure of Mashiach ben Yosef (Messiah, son of Joseph), who, in the Rabbinic Jewish view, will fight the apocalyptic Wars of Gog and Magog, preparing the way for the kingship of Mashiach ben David (Messiah, son of David) and the messianic age.[citation needed]

Rachel

Rachel (Hebrew: רָחֵל, Modern Rakhél, Tiberian Rāḥēl) was the favorite of Biblical patriarch Jacob's two wives as well as the mother of Joseph and Benjamin, two of the twelve progenitors of the tribes of Israel. The name "Rachel" means ewe.[2] Rachel was the daughter of Laban and the younger sister of Leah, Jacob's first wife. Rachel was a niece of Rebekah (Jacob's mother), Laban being Rebekah's brother,[3] making Jacob her first cousin.

Rachel is first mentioned in the Hebrew Bible in Genesis 29 when Jacob happens upon her as she is about to water her father's flock. She was the second daughter of Laban, Rebekahâ€™s brother.[3] Jacob had traveled a great distance to find Laban. Rebekah had sent him there to be safe from his furious twin brother, Esau.

During Jacob's stay, he fell in love with Rachel and agreed to work seven years for Laban in return for her hand in marriage. On the night of the wedding, the bride was veiled and Jacob did not notice that Leah, Rachel's older sister, had been substituted for Rachel. Whereas "Rachel was lovely in form and beautiful", "Leah had tender eyes".[4] Later Jacob confronted Laban, who excused his own deception by insisting that the older sister should marry first. He assured Jacob that after his wedding week was finished, he could take Rachel as a wife as well, and work another seven years as payment for her. When God “saw that Leah was unloved, he opened her womb” (Gen 29:31), and she gave birth to four sons.

Rachel, like Sarah and Rebecca, remained unable to conceive. According to Tikva Frymer-Kensky, "The infertility of the matriarchs has two effects: it heightens the drama of the birth of the eventual son, marking Isaac, Jacob, and Joseph as special; and it emphasizes that pregnancy is an act of God."[5]

Rachel became jealous of Leah and gave Jacob her maidservant, Bilhah, to be a surrogate mother for her. Bilhah gave birth to two sons that Rachel named and raised (Dan and Naphtali). Leah responds by offering her handmaid Zilpah to Jacob, and names and raises the two sons (Gad and Asher) that Zilpah bears. According to some commentaries, Bilhah and Zilpah are actually half-sisters of Leah and Rachel.[6] After Leah conceived again, Rachel was finally blessed with a son, Joseph,[3] who would become Jacob's favorite child.

After Joseph's birth, Jacob decided to return to the land of Canaan with his family.[3] Fearing that Laban would deter him, he fled with his two wives, Leah and Rachel, and twelve children without informing his father-in-law. Laban pursued him and accused him of stealing his idols. Indeed, Rachel had taken her father's idols, hidden them inside her camel's seat cushion, and sat upon them. Laban had neglected to give his daughters their inheritance (Gen 31:14â€“16). Rachel becomes a trickster like her father, her aunt (Rebekah), and her husband.[5]

Not knowing that the idols were in his wife's possession, Jacob pronounced a curse on whoever had them: "With whoever you will find your gods, he will not live" (Genesis 31:32). Laban proceeded to search the tents of Jacob and his wives, but when he came to Rachel's tent, she told her father, "Let not my lord be angered that I cannot rise up before you, for the way of women is upon me" (Genesis 31:35). Laban left her alone, but the curse Jacob had pronounced came true shortly thereafter.

Near Ephrath, Rachel went into a difficult labor with her second son, Benjamin. The midwife told her in the middle of the birth that her child was a boy.[8] Before she died, Rachel named her son Ben Oni ("son of my mourning"), but Jacob called him Ben Yamin (Benjamin). Rashi explains that Ben Yamin either means "son of the right" (i.e., "south"), since Benjamin was the only one of Jacob's sons born in Canaan, which is to the south of Paddan Aram; or it could mean "son of my days", as Benjamin was born in Jacob's old age.

Rachel was buried by Jacob on the road to Efrat, just outside Bethlehem,[9] and not in the ancestral tomb at Machpelah. Today a site claimed to be Rachel's Tomb, located between Bethlehem and the Israeli settlement of Gilo, is visited by tens of thousands of visitors each year.[10]

Rachel (Arabic: راحيل Rāḥīl), the wife of Jacob (Yaqub), the mother of Joseph (Yusuf) and Benjamin (Binyamin), is an honored woman in Islam. Yaqub and Yusuf are frequently mentioned by name in the Qur'an whilst Rachel is only referenced and not mentioned by name.


what did audrey hepburn do for a living

Audrey Hepburn (/ˈɔːdri ˈhɛpˌbɜːrn/; born Audrey Kathleen Ruston; 4 May 1929 – 20 January 1993) was a British actress, model, dancer and humanitarian. Recognised as a film and fashion icon, Hepburn was active during Hollywood's Golden Age. She was ranked by the American Film Institute as the third-greatest female screen legend in Golden Age Hollywood and was inducted into the International Best Dressed List Hall of Fame. Born in Ixelles, a district of Brussels, Hepburn spent her childhood between Belgium, England and the Netherlands. In Amsterdam, she studied ballet with Sonia Gaskell before moving to London in 1948, continuing her ballet training with Marie Rambert, and then performing as a chorus girl in West End musical theatre productions.

Audrey Hepburn

Following minor appearances in several films, Hepburn starred in the 1951 Broadway play Gigi after being spotted by French novelist Colette, on whose work the play was based. She shot to stardom for playing the lead role in Roman Holiday (1953), for which she was the first actress to win an Academy Award, a Golden Globe and a BAFTA Award for a single performance. The same year Hepburn won a Tony Award for Best Lead Actress in a Play for her performance in Ondine. She went on to star in a number of successful films, such as Sabrina (1954), The Nun's Story (1959), Breakfast at Tiffany's (1961), Charade (1963), My Fair Lady (1964) and Wait Until Dark (1967), for which she received Academy Award, Golden Globe and BAFTA nominations. Hepburn won three BAFTA Awards for Best British Actress in a Leading Role. In recognition of her film career, she was awarded the Lifetime Achievement Award from BAFTA, the Golden Globe Cecil B. DeMille Award, the Screen Actors Guild Life Achievement Award and the Special Tony Award. She remains one of the 12 people who have won Academy, Emmy, Grammy and Tony Awards.

Hepburn appeared in fewer films as her life went on, devoting much of her later life to UNICEF. She had contributed to the organisation since 1954, then worked in some of the poorest communities of Africa, South America and Asia between 1988 and 1992. She was awarded the Presidential Medal of Freedom in recognition of her work as a UNICEF Goodwill Ambassador in December 1992. A month later, Hepburn died of appendiceal cancer at her home in Switzerland at the age of 63.

Hepburn was born Audrey Kathleen Ruston or Edda Kathleen Hepburn-Ruston[1] on 4 May 1929 at number 48 Rue Keyenveld in Ixelles, a municipality in Brussels, Belgium.[2]

Her father, Joseph Victor Anthony Ruston (21 November 1889 – 16 October 1980), was a British subject born in Auschitz, Bohemia, Austria-Hungary.[3][a] He was the son of Victor John George Ruston, of British and Austrian descent[4] and Anna Wels, of Austrian descent.[5] In 1923-24, Joseph had briefly been an honorary British consul in Samarang in the Dutch East Indies[6] and prior to his marriage to Hepburn's mother he had been married to Cornelia Bisschop, a Dutch heiress.[3][7] Although born with the surname Ruston, he later double-barrelled his name to the more "aristocratic" Hepburn-Ruston, mistakenly believing himself descended from James Hepburn, third husband of Mary, Queen of Scots.[4][7]

Hepburn's mother, Baroness Ella van Heemstra (12 June 1900 – 26 August 1984), was a Dutch noblewoman. She was the daughter of Baron Aarnoud van Heemstra, who served as mayor of Arnhem from 1910 to 1920 and as Governor of Dutch Suriname from 1921 to 1928, and Baroness Elbrig Willemine Henriette van Asbeck (1873–1939).[8] At the age of nineteen, Ella had married Jonkheer Hendrik Gustaaf Adolf Quarles van Ufford, an oil executive based in Batavia, Dutch East Indies, where they subsequently lived.[9] They had two sons, Jonkheer Arnoud Robert Alexander Quarles van Ufford (1920–1979) and Jonkheer Ian Edgar Bruce Quarles van Ufford (1924–2010), before divorcing in 1925.[7][10]

Hepburn's parents were married in Batavia in September 1926.[9] At the time, Ruston worked for a trading company, but soon after the marriage, the couple relocated to Europe, where he began working for a loan company. After a year in London, they moved to Brussels, where he had been assigned to open a branch office.[9][11] After three years spent travelling between Brussels, Arnhem, The Hague and London, the family settled in the suburban Brussels municipality of Linkebeek in 1932.[9][12] Hepburn's early childhood was sheltered and privileged.[9] As a result of her multinational background and travelling with her family due to her father's job,[13][b] she learned to speak five languages: Dutch and English from her parents, and later varying degrees of French, Spanish, and Italian.

In the mid-1930s, Hepburn's parents recruited and collected donations for the British Union of Fascists.[14] Joseph left the family abruptly in 1935 and moved to London, where he became more deeply involved in Fascist activity and never visited his daughter abroad.[15] Hepburn later professed that her father's departure was "the most traumatic event of my life".[9][16] That same year, her mother moved with Hepburn to her family's estate in Arnhem. Sometime in 1937, Ella and Hepburn moved to Kent, England, where Hepburn was educated at a small independent school in Elham.[17][18]

Hepburn's parents officially divorced in 1938. In the 1960s, Hepburn renewed contact with her father after locating him in Dublin through the Red Cross; although he remained emotionally detached, Hepburn supported him financially until his death.[19]

After Britain declared war on Germany in September 1939, Hepburn's mother relocated her daughter back to Arnhem in the hope that, as during the First World War, the Netherlands would remain neutral and be spared a German attack. While there, Hepburn attended the Arnhem Conservatory from 1939 to 1945. She had begun taking ballet lessons during her last years at boarding school, and continued training in Arnhem under the tutelage of Winja Marova, becoming her "star pupil".[9] After the Germans invaded the Netherlands in 1940, Hepburn used the name Edda van Heemstra, because an "English-sounding" name was considered dangerous during the German occupation. Her family was profoundly affected by the occupation, with Hepburn later stating that "had we known that we were going to be occupied for five years, we might have all shot ourselves. We thought it might be over next week... six months... next year... that's how we got through".[9] In 1942, her uncle, Otto van Limburg Stirum (husband of her mother's older sister, Miesje), was executed in retaliation for an act of sabotage by the resistance movement; while he had not been involved in the act, he was targeted due to his family's prominence in Dutch society.[9] Hepburn's half-brother Ian was deported to Berlin to work in a German labour camp, and her other half-brother Alex went into hiding to avoid the same fate.[9]

After her uncle's death, Hepburn, Ella and Miesje left Arnhem to live with her grandfather, Baron Aarnoud van Heemstra, in nearby Velp.[9] Food was scarce during this time and during the Dutch famine of 1944 and 1945 Hepburn and her family had to use tulip bulbs to make flour for bread. Around the same time Hepburn also performed silent dance performances in order to raise money for the Dutch resistance effort.[20] It was long believed that during this time, Hepburn participated in the Dutch resistance.[9] In 2016, the Airborne Museum 'Hartenstein' reported that after extensive research it had not found any evidence of such activities.[21] In addition to other traumatic events, she witnessed the transportation of Dutch Jews to concentration camps, later stating that "more than once I was at the station seeing trainloads of Jews being transported, seeing all these faces over the top of the wagon. I remember, very sharply, one little boy standing with his parents on the platform, very pale, very blond, wearing a coat that was much too big for him, and he stepped on the train. I was a child observing a child."[22]

After the Allied landing on D-Day, living conditions grew worse and Arnhem was subsequently heavily damaged during Operation Market Garden. During the Dutch famine that followed in the winter of 1944, the Germans blocked the resupply routes of the Dutch people's already-limited food and fuel supplies as retaliation for railway strikes that were held to hinder German occupation. Like others, Hepburn's family resorted to making flour out of tulip bulbs to bake cakes and biscuits;[23][24] she developed acute anæmia, respiratory problems and edema as a result of malnutrition.[25] The van Heemstra family was also seriously financially affected by the occupation, during which many of their properties, including their principal estate in Arnhem, were badly damaged or destroyed.[26] The Allies liberated the Netherlands in May 1945, with the United Nations Relief and Rehabilitation Administration beginning the distribution of food and other essentials.[9][27]

After the war ended in 1945, Hepburn moved with her mother and siblings to Amsterdam, where she began ballet training under Sonia Gaskell, a leading figure in Dutch ballet, and Russian Olga Tarassova.[28]

As the family's fortunes had been lost during the war, Ella supported them by working as a cook and housekeeper for a wealthy family.[29] Hepburn made her film debut in 1948, playing an air stewardess in Dutch in Seven Lessons, an educational travel film made by Charles van der Linden and Henry Josephson.[30]

Later that year, Hepburn moved to London to take up a ballet scholarship with Ballet Rambert, which was then based in Notting Hill. [31][c] She supported herself with part-time work as a model, and dropped "Ruston" from her surname. After she was told by Rambert that despite her talent, her height and weak constitution (the after-effect of wartime malnutrition) would make the status of prima ballerina unattainable, she decided to concentrate on acting.[32][33][34]

While Ella worked in menial jobs to support them, Hepburn appeared as a chorus girl[35] in the West End musical theatre revues High Button Shoes (1948) at the London Hippodrome, and Cecil Landeau's Sauce Tartare (1949) and Sauce Piquante (1950) at the Cambridge Theatre. During her theatrical work, she took elocution lessons with actor Felix Aylmer to develop her voice.[36] After being spotted by a casting director while performing in Sauce Piquante, Hepburn was registered as a freelance actress with the Associated British Picture Corporation. She appeared in the BBC Teleplay The Silent Village,[37] as well as minor roles in the 1951 films One Wild Oat, Laughter in Paradise, Young Wives' Tale and The Lavender Hill Mob, before being cast in her first major supporting role in Thorold Dickinson's The Secret People (1952), in which she played a prodigious ballerina, performing all of her own dancing sequences.[38]

Hepburn was then offered a small role in a film being shot in both English and French, Monte Carlo Baby (French: Nous Irons à Monte Carlo, 1952), which was filmed in Monte Carlo. Coincidentally, French novelist Colette was at the Hôtel de Paris in Monte Carlo during the filming, and decided to cast Hepburn in the title role in the Broadway play Gigi.[39] Hepburn went into rehearsals having never spoken on stage and required private coaching.[40] When Gigi opened at the Fulton Theatre on 24 November 1951, she received praise for her performance, despite criticism that the stage version was inferior to the French film adaptation.[41] Life called her a "hit",[41] while The New York Times stated that "her quality is so winning and so right that she is the success of the evening".[40] She also received a Theatre World Award for the role.[42] The play ran for 219 performances, closing on 31 May 1952,[42] before going on tour which began 13 October 1952 in Pittsburgh and visited Cleveland, Chicago, Detroit, Washington D.C. and Los Angeles before closing on 16 May 1953 in San Francisco.[9]

Hepburn had her first starring role in Roman Holiday (1953), playing Princess Ann, a European princess who, while escaping the reins of royalty, falls in love with an American newsman (Gregory Peck). Its producers initially wanted Elizabeth Taylor for the role, but director William Wyler was so impressed by Hepburn's screen test that he cast her instead. Wyler later commented, "She had everything I was looking for: charm, innocence, and talent. She also was very funny. She was absolutely enchanting and we said, 'That's the girl!'"[43] Originally, the film was to have had only Gregory Peck's name above its title, with "Introducing Audrey Hepburn" beneath in smaller font. However, Peck suggested to Wyler that he elevate her to equal billing so that her name appeared before the title and in type as large as his: "You've got to change that because she'll be a big star and I'll look like a big jerk."[44]

The film was a box office success, and Hepburn gained critical acclaim for her portrayal, unexpectedly winning an Academy Award for Best Actress, a BAFTA Award for Best British Actress in a Leading Role, and a Golden Globe Award for Best Actress – Motion Picture Drama in 1953. In his review in The New York Times, A. H. Weiler wrote: "Although she is not precisely a newcomer to films Audrey Hepburn, the British actress who is being starred for the first time as Princess Anne, is a slender, elfin and wistful beauty, alternately regal and childlike in her profound appreciation of newly-found, simple pleasures and love. Although she bravely smiles her acknowledgement of the end of that affair, she remains a pitifully lonely figure facing a stuffy future."[45]

Hepburn was signed to a seven-picture contract with Paramount with 12 months in between films to allow her time for stage work.[46] She was featured on 7 September 1953 cover of TIME magazine, and also became noted for her personal style.[47] Following her success in Roman Holiday, Hepburn starred in Billy Wilder's romantic Cinderella-story comedy Sabrina (1954), in which wealthy brothers (Humphrey Bogart and William Holden) compete for the affections of their chauffeur's innocent daughter (Hepburn). For her performance, she was nominated for the 1954 Academy Award for Best Actress while winning the BAFTA Award for Best Actress in a Leading Role the same year. Bosley Crowther of The New York Times stated that she was "a young lady of extraordinary range of sensitive and moving expressions within such a frail and slender frame. She is even more luminous as the daughter and pet of the servants' hall than she was as a princess last year, and no more than that can be said."[48]

Hepburn also returned to the stage in 1954, playing a water spirit who falls in love with a human in the fantasy play Ondine on Broadway. A New York Times critic commented that "somehow Miss Hepburn is able to translate [its intangibles] into the language of the theatre without artfulness or precociousness. She gives a pulsing performance that is all grace and enchantment, disciplined by an instinct for the realities of the stage". Her performance won her the 1954 Tony Award for Best Performance by a Leading Actress in a Play the same year she won the Academy Award for Roman Holiday, making her one of three actresses to receive the Academy and Tony Awards for Best Actress in the same year (the other two are Shirley Booth and Ellen Burstyn).[49] During the production, Hepburn and her co-star Mel Ferrer began a relationship, and were married on 25 September 1954 in Switzerland.[50]

Although she appeared in no new film releases in 1955, Hepburn received the Golden Globe for World Film Favorite that year.[51] Having become one of Hollywood's most popular box-office attractions, she went on to star in a series of successful films during the remainder of the decade, including her BAFTA- and Golden Globe-nominated role as Natasha Rostova in War and Peace (1956), an adaptation of the Tolstoy novel set during the Napoleonic wars, starring Henry Fonda and her husband Mel Ferrer. In 1957, she exhibited her dancing abilities in her debut musical film, Funny Face (1957) wherein Fred Astaire, a fashion photographer, discovers a beatnik bookstore clerk (Hepburn) who, lured by a free trip to Paris, becomes a beautiful model. The same year Hepburn starred in another romantic comedy, Love in the Afternoon, alongside Gary Cooper and Maurice Chevalier.

Hepburn played Sister Luke in The Nun's Story (1959), which focuses on the character's struggle to succeed as a nun, alongside co-star Peter Finch. The role produced a third Academy Award nomination for Hepburn and earned her a second BAFTA Award. A review in Variety read, "Hepburn has her most demanding film role, and she gives her finest performance", while Films in Review stated that her performance "will forever silence those who have thought her less an actress than a symbol of the sophisticated child/woman. Her portrayal of Sister Luke is one of the great performances of the screen."[52] Reportedly, she spent hours in convents and with members of the Church to bring truth to her portrayal, stating that she "gave more time, energy and thought to this than to any of my previous screen performances."[53]

Following The Nun's Story, Hepburn received a lukewarm reception for starring with Anthony Perkins in the romantic adventure Green Mansions (1959), in which she played Rima, a jungle girl who falls in love with a Venezuelan traveller,[54] and The Unforgiven (1960), her only western film, in which she appeared opposite Burt Lancaster and Lillian Gish in a story of racism against a group of Native Americans.[55]

Hepburn next starred as New York call girl Holly Golightly in Blake Edwards's Breakfast at Tiffany's (1961), a film loosely based on the Truman Capote novella of the same name. Capote disapproved of many changes that were made to sanitise the story for the film adaptation, and would have preferred Marilyn Monroe to have been cast in the role, although he also stated that Hepburn "did a terrific job".[56] The character is considered one of the best-known in American cinema, and a defining role for Hepburn.[57] The dress she wears during the opening credits is considered an icon of the twentieth century and perhaps the most famous "little black dress" of all time.[58][59][60][61] Hepburn stated that the role was "the jazziest of my career"[62] yet admitted: "I'm an introvert. Playing the extroverted girl was the hardest thing I ever did."[63] She was nominated for an Academy Award for Best Actress for her performance.

The same year, Hepburn also starred in William Wyler's controversial drama The Children's Hour (1961), in which she and Shirley MacLaine played teachers whose lives become troubled after a student accuses them of being lesbians.[57] Due to the social mores of the time, the film and Hepburn's performance went largely unmentioned, both critically and commercially. Bosley Crowther of The New York Times opined that the film "is not too well acted" with the exception of Hepburn who "gives the impression of being sensitive and pure" of its "muted theme",[64] while Variety magazine also complimented Hepburn's "soft sensitivity, mar-velous  [sic] projection and emotional understatement" adding that Hepburn and MacLaine "beautifully complement each other".[65]

Hepburn next appeared opposite Cary Grant in the comic thriller Charade (1963), playing a young widow pursued by several men who chase the fortune stolen by her murdered husband. The 59-year-old Grant, who had previously withdrawn from the starring male lead roles in Roman Holiday and Sabrina, was sensitive about his age difference with 34-year-old Hepburn, and was uncomfortable about the romantic interplay. To satisfy his concerns, the filmmakers agreed to change the screenplay so that Hepburn's character romantically pursued his.[66] The film turned out to be a positive experience for him, stating that "All I want for Christmas is another picture with Audrey Hepburn."[67] The role earned Hepburn her third and final competitive BAFTA Award and another Golden Globe nomination. Critic Bosley Crowther was less kind to her performance, stating that "Hepburn is cheerfully committed to a mood of how-nuts-can-you-be in an obviously comforting assortment of expensive Givenchy costumes."[68]

Hepburn reteamed with her Sabrina co-star William Holden in Paris When It Sizzles (1964), a screwball comedy in which she played the young assistant of a Hollywood screenwriter, who aids his writer's block by acting out his fantasies of possible plots. Its production was troubled by a number of problems. Holden unsuccessfully tried to rekindle a romance with the now-married Hepburn, and his alcoholism was beginning to affect his work. After principal photography began, she demanded the dismissal of cinematographer Claude Renoir after seeing what she felt were unflattering dailies.[69] Superstitious, she also insisted on dressing room 55 because that was her lucky number and required that Givenchy, her long-time designer, be given a credit in the film for her perfume.[69] Dubbed "marshmallow-weight hokum" by Variety upon its release in April,[70] the film was "uniformly panned"[69] but critics were kinder to Hepburn's performance, describing her as "a refreshingly individual creature in an era of the exaggerated curve".[70]

Hepburn's second film of 1964 was George Cukor's film adaptation of the stage musical My Fair Lady, released in November. Soundstage wrote that "not since Gone with the Wind has a motion picture created such universal excitement as My Fair Lady",[49] yet Hepburn's casting in the role of Cockney flower girl Eliza Doolittle sparked controversy. Julie Andrews, who had originated the role in the stage show, had not been offered the part because producer Jack L. Warner thought Hepburn or Elizabeth Taylor were more "bankable" propositions. Hepburn initially asked Warner to give the role to Andrews but was eventually cast. Further friction was created when, although non-singer Hepburn had sung in Funny Face and had lengthy vocal preparation for the role in My Fair Lady, her vocals were dubbed by Marni Nixon as the songs were not written for her vocal range.[71][72] Hepburn was initially upset and walked off the set when informed.[d]

The press further played up the fabricated rivalry between Hepburn and Andrews, when the latter won an Academy Award for Mary Poppins at the 37th Academy Awards (1964) but Hepburn was not even nominated, despite My Fair Lady's accumulation of eight out of a possible twelve awards. Regardless, critics greatly applauded Hepburn's "exquisite" performance.[72] Crowther wrote that "the happiest thing about [My Fair Lady] is that Audrey Hepburn superbly justifies the decision of Jack Warner to get her to play the title role."[71] Gene Ringgold of Soundstage also commented that "Audrey Hepburn is magnificent. She is Eliza for the ages",[49] while adding, "Everyone agreed that if Julie Andrews was not to be in the film, Audrey Hepburn was the perfect choice."[49]

As the decade carried on, Hepburn appeared in an assortment of genres including the heist comedy How to Steal a Million (1966) where she played the daughter of a famous art collector, whose collection consists entirely of forgeries. Fearing her father's exposure, she sets out to steal one of his priceless statues with the help of a man played by Peter O'Toole. It was followed by two films in 1967. The first was Two for the Road, a non-linear and innovative British dramedy that traces the course of a couple's troubled marriage. Director Stanley Donen said that Hepburn was more free and happy than he had ever seen her, and he credited that to co-star Albert Finney.[73] The second, Wait Until Dark, is a suspense thriller in which Hepburn demonstrated her acting range by playing the part of a terrorised blind woman. Filmed on the brink of her divorce, it was a difficult film for her, as husband Mel Ferrer was its producer. She lost fifteen pounds under the stress, but she found solace in co-star Richard Crenna and director Terence Young. Hepburn earned her fifth and final competitive Academy Award nomination for Best Actress; Bosley Crowther affirmed, "Hepburn plays the poignant role, the quickness with which she changes and the skill with which she manifests terror attract sympathy and anxiety to her and give her genuine solidity in the final scenes."[74]

After 1967, Hepburn chose to devote more time to her family and acted only occasionally in the following decades. She attempted a comeback in 1976, playing Maid Marian in the period piece Robin and Marian with Sean Connery co-starring as Robin Hood, which was moderately successful. In 1979, Hepburn reunited with director Terence Young in the production of Bloodline, sharing top-billing with Ben Gazzara, James Mason and Romy Schneider. The film, an international intrigue amid the jet-set, was a critical and box-office failure. Hepburn's last starring role in a feature film was opposite Gazzara in the comedy They All Laughed (1981), directed by Peter Bogdanovich. The film was overshadowed by the murder of one of its stars, Dorothy Stratten, and received only a limited release. Six years later, Hepburn co-starred with Robert Wagner in a made-for-television caper film, Love Among Thieves (1987).

After finishing her last motion picture role in 1988—a cameo appearance as an angel in Steven Spielberg's Always—Hepburn completed only two more entertainment-related projects, both critically acclaimed. Gardens of the World with Audrey Hepburn was a PBS documentary series, which was filmed on location in seven countries in the spring and summer of 1990. A one-hour special preceded it in March 1991, and the series itself began airing the day after her death, 21 January 1993. For the debut episode, Hepburn was posthumously awarded the 1993 Emmy Award for Outstanding Individual Achievement – Informational Programming. The other project was a spoken word album, Audrey Hepburn's Enchanted Tales, which features readings of classic children's stories and was recorded in 1992. It earned her a posthumous Grammy Award for Best Spoken Word Album for Children.[75]

In the 1950s, Hepburn narrated two radio programmes for UNICEF, re-telling children's stories of war.[76] In 1989, Hepburn was appointed a Goodwill Ambassador of UNICEF. On her appointment, she stated that she was grateful for receiving international aid after enduring the German occupation as a child, and wanted to show her gratitude to the organisation.[77]

Hepburn's first field mission for UNICEF was to Ethiopia in 1988. She visited an orphanage in Mek'ele that housed 500 starving children and had UNICEF send food. Of the trip, she said,

"I have a broken heart. I feel desperate. I can't stand the idea that two million people are in imminent danger of starving to death, many of them children, [and] not because there isn't tons of food sitting in the northern port of Shoa. It can't be distributed. Last spring, Red Cross and UNICEF workers were ordered out of the northern provinces because of two simultaneous civil wars... I went into rebel country and saw mothers and their children who had walked for ten days, even three weeks, looking for food, settling onto the desert floor into makeshift camps where they may die. Horrible. That image is too much for me. The 'Third World' is a term I don't like very much, because we're all one world. I want people to know that the largest part of humanity is suffering."[78]

In August 1988 Hepburn went to Turkey on an immunisation campaign. She called Turkey "the loveliest example" of UNICEF's capabilities. Of the trip, she said "the army gave us their trucks, the fishmongers gave their wagons for the vaccines, and once the date was set, it took ten days to vaccinate the whole country. Not bad."[79] In October, Hepburn went to South America. Of her experiences in Venezuela and Ecuador, Hepburn told the United States Congress, "I saw tiny mountain communities, slums, and shantytowns receive water systems for the first time by some miracle â€“ and the miracle is UNICEF. I watched boys build their own schoolhouse with bricks and cement provided by UNICEF."

Hepburn toured Central America in February 1989, and met with leaders in Honduras, El Salvador, and Guatemala. In April, she visited Sudan with Wolders as part of a mission called "Operation Lifeline". Because of civil war, food from aid agencies had been cut off. The mission was to ferry food to southern Sudan. Hepburn said, "I saw but one glaring truth: These are not natural disasters but man-made tragedies for which there is only one man-made solution – peace."[79] In October 1989, Hepburn and Wolders went to Bangladesh. John Isaac, a UN photographer, said, "Often the kids would have flies all over them, but she would just go hug them. I had never seen that. Other people had a certain amount of hesitation, but she would just grab them. Children would just come up to hold her hand, touch her – she was like the Pied Piper."[9]

In October 1990 Hepburn went to Vietnam, in an effort to collaborate with the government for national UNICEF-supported immunisation and clean water programmes. In September 1992, four months before she died, Hepburn went to Somalia. Calling it "apocalyptic", she said, "I walked into a nightmare. I have seen famine in Ethiopia and Bangladesh, but I have seen nothing like this â€“ so much worse than I could possibly have imagined. I wasn't prepared for this."[79][80] Though scarred by what she had seen, Hepburn still had hope. "Taking care of children has nothing to do with politics. I think perhaps with time, instead of there being a politicisation of humanitarian aid, there will be a humanisation of politics."

United States president George H. W. Bush presented Hepburn with the Presidential Medal of Freedom in recognition of her work with UNICEF, and the Academy of Motion Picture Arts and Sciences posthumously awarded her the Jean Hersholt Humanitarian Award for her contribution to humanity.[81][82] In 2002, at the United Nations Special Session on Children, UNICEF honoured Hepburn's legacy of humanitarian work by unveiling a statue, "The Spirit of Audrey", at UNICEF's New York headquarters. Her service for children is also recognised through the US Fund for UNICEF's Audrey Hepburn Society.[83][84]

In 1952, Hepburn became engaged to James Hanson,[85] whom she had known since her early days in London. She called it "love at first sight", but after having her wedding dress fitted and the date set, she decided the marriage would not work because the demands of their careers would keep them apart most of the time.[86] She issued a public statement about her decision, saying "When I get married, I want to be really married".[87] In the early 1950s, she also dated future Hair producer Michael Butler.[88]

At a cocktail party hosted by mutual friend Gregory Peck, Hepburn met American actor Mel Ferrer, and suggested that they star together in a play.[49][49][89] The meeting led them to collaborate in Ondine, during which they began a relationship. Eight months later, on 25 September 1954, they were married in Bürgenstock, Switzerland,[90] while preparing to star together in the film War and Peace (1955).

Hepburn had two miscarriages, one in March 1955,[91] and another in 1959, after she fell from a horse during the filming of The Unforgiven (1960). When she became pregnant for the third time, she took a year off work to prevent miscarriage; their son, Sean Hepburn Ferrer, was born on 17 July 1960. She had two more miscarriages in 1965 and 1967.[92]

Despite the insistence from gossip columns that their marriage would not last, Hepburn claimed that she and Ferrer were inseparable and happy together, though she admitted that he had a bad temper.[93] Ferrer was rumoured to be too controlling, and had been referred to by others as being her "Svengali" â€“ an accusation that Hepburn laughed off.[94] William Holden was quoted as saying, "I think Audrey allows Mel to think he influences her." After a 14-year marriage, the couple divorced in 1968.[95]

Hepburn met her second husband, Italian psychiatrist Andrea Dotti, on a Mediterranean cruise with friends in June 1968. She believed she would have more children and possibly stop working. They married on 18 January 1969; their son, Luca Dotti, was born on 8 February 1970. While pregnant with Luca in 1969, Hepburn was more careful, resting for months before delivering the baby via caesarean section. She wanted to have a third child, but had another miscarriage in 1974.[96] Dotti was unfaithful and she had a romantic relationship with actor Ben Gazzara during the filming of the 1979 movie Bloodline.[97] The Dotti-Hepburn marriage lasted thirteen years and was dissolved in 1982.[98]

From 1980 until her death, Hepburn was in a relationship with Dutch actor Robert Wolders,[24] the widower of actress Merle Oberon. She had met Wolders through a friend during the later years of her second marriage. In 1989, she called the nine years she had spent with him the happiest years of her life, and stated that she considered them married, just not officially.[99]

Upon returning from Somalia to Switzerland in late September 1992, Hepburn began suffering from abdominal pain. While initial medical tests in Switzerland had inconclusive results, a laparoscopy performed at the Cedars-Sinai Medical Center in Los Angeles in early November revealed a rare form of abdominal cancer belonging to a group of cancers known as pseudomyxoma peritonei.[100] Having grown slowly over several years, the cancer had metastasised as a thin coating over her small intestine. After surgery, Hepburn began chemotherapy.[101]

Hepburn and her family returned home to Switzerland to celebrate her last Christmas. As she was still recovering from surgery, she was unable to fly on commercial aircraft. Her longtime friend, fashion designer Hubert de Givenchy, arranged for socialite Rachel Lambert "Bunny" Mellon to send her private Gulfstream jet, filled with flowers, to take Hepburn from Los Angeles to Geneva. She spent her last days in hospice care at her home in Tolochenaz, Vaud and was occasionally well enough to take walks in her garden, but gradually became more confined to bedrest.[102]

On the evening of 20 January 1993, Hepburn died in her sleep at home. After her death, Gregory Peck went on camera and tearfully recited her favourite poem, "Unending Love" by Rabindranath Tagore.[103] Funeral services were held at the village church of Tolochenaz on 24 January 1993. Maurice Eindiguer, the same pastor who wed Hepburn and Mel Ferrer and baptised her son Sean in 1960, presided over her funeral, while Prince Sadruddin Aga Khan of UNICEF delivered a eulogy. Many family members and friends attended the funeral, including her sons, partner Robert Wolders, half-brother Ian Quarles van Ufford, ex-husbands Andrea Dotti and Mel Ferrer, Hubert de Givenchy, executives of UNICEF, and fellow actors Alain Delon and Roger Moore.[104] Flower arrangements were sent to the funeral by Gregory Peck, Elizabeth Taylor, and the Dutch royal family.[105] Later on the same day, Hepburn was interred at the Tolochenaz Cemetery.[106]

"How shall I sum up my life?
I think I've been particularly lucky."

Audrey Hepburn's legacy has endured long after her death. The American Film Institute named Hepburn third among the Greatest Female Stars of All Time. She is one of few entertainers who have won Academy, Emmy, Grammy and Tony Awards. She won a record three BAFTA Awards for Best British Actress in a Leading Role. In her last years, she remained a visible presence in the film world. She received a tribute from the Film Society of Lincoln Center in 1991 and was a frequent presenter at the Academy Awards. She received the BAFTA Lifetime Achievement Award in 1992. She was the recipient of numerous posthumous awards including the 1993 Jean Hersholt Humanitarian Award and competitive Grammy and Emmy Awards. She has been the subject of many biographies since her death including the 2000 dramatisation of her life titled The Audrey Hepburn Story which starred Jennifer Love Hewitt and Emmy Rossum as the older and younger Hepburn respectively.[108] In January 2009, Hepburn was named on The Timesâ€™ list of the top 10 British actresses of all time.[109]

Hepburn's image is widely used in advertising campaigns across the world. In Japan, a series of commercials used colourised and digitally enhanced clips of Hepburn in Roman Holiday to advertise Kirin black tea. In the United States, Hepburn was featured in a 2006 Gap commercial which used clips of her dancing from Funny Face, set to AC/DC's "Back in Black", with the tagline "It's Back – The Skinny Black Pant". To celebrate its "Keep it Simple" campaign, the Gap made a sizeable donation to the Audrey Hepburn Children's Fund.[110] In 2012, Hepburn was among the British cultural icons selected by artist Sir Peter Blake to appear in a new version of his most famous artwork – the Beatles' Sgt. Pepper's Lonely Hearts Club Band album cover – to celebrate the British cultural figures of his life that he most admires.[111] In 2013, a computer-manipulated representation of Hepburn was used in a television advert for the British chocolate bar Galaxy.[112][113] On 4 May 2014, Google featured a doodle on its homepage on what would have been Hepburn's 85th birthday.[114]

Sean Ferrer founded the Audrey Hepburn Children's Fund[115] in memory of his mother shortly after her death. The US Fund for UNICEF also founded the Audrey Hepburn Society:[116] chaired by Luca Dotti, it celebrates UNICEF's biggest donors and has raised almost US$100,000,000 to date. Dotti also became patron of the Pseudomyxoma Survivor charity, dedicated to providing support to patients of the rare cancer Hepburn suffered from, pseudomyxoma peritonei,[117] and the rare disease ambassador since 2014 and for 2015 on behalf of European Organisation for Rare Diseases.[118]

Hepburn was noted for her fashion choices and distinctive look, to the extent that journalist Mark Tungate has described her as a recognisable brand.[119] When she first rose to stardom in Roman Holiday (1953), she was seen as an alternative feminine ideal that appealed more to women than to men, in comparison to the curvy and more sexual Grace Kelly and Elizabeth Taylor.[120][121] With her short hair style, thick eyebrows, slim body and "gamine" looks, she presented a look which young women found easier to emulate than those of more sexual film stars.[122] In 1954, fashion photographer Cecil Beaton declared Hepburn the "public embodiment of our new feminine ideal" in Vogue, and wrote that "Nobody ever looked like her before World War II... Yet we recognise the rightness of this appearance in relation to our historical needs. The proof is that thousands of imitations have appeared."[121] The magazine and its British version frequently reported on her style throughout the following decade.[123] Alongside model Twiggy, Hepburn has been cited as one of the key public figures who made being very slim fashionable.[122]

Added to the International Best Dressed List in 1961, Hepburn was associated with a minimalistic style, usually wearing clothes with simple silhouettes which emphasised her slim body, monochromatic colours, and occasional statement accessories.[124] In the late 1950s, Audrey Hepburn popularised plain black leggings.[125] Academic Rachel Moseley describes the combination of "slim black trousers, flat ballet-style pumps and a fine black jersey" as one of her signature looks alongside little black dresses, noting that this style was new at the time when women still wore skirts and high heels more often than trousers and flat shoes.[122]

Hepburn was in particular associated with French fashion designer Hubert de Givenchy, who was first hired to design her on-screen wardrobe for her second Hollywood film, Sabrina (1954), when she was still unknown as a film actor and he a young couturier just starting his fashion house.[126] Although initially disappointed that "Miss Hepburn" was not Katharine Hepburn as he had mistakenly thought, Givenchy and Hepburn formed a lifelong friendship.[126][127] She became his muse,[126][127] and the two became so closely associated with each other that academic Jayne Sheridan has stated "we might ask 'Did Audrey Hepburn create Givenchy or was it the other way around?'".[128]

In addition to Sabrina, Givenchy designed her costumes for Love in the Afternoon (1957), Breakfast at Tiffany's (1961), Funny Face (1957), Charade (1963), Paris When It Sizzles (1964) and How to Steal a Million (1966), as well as clothed her off screen.[126] According to Moseley, fashion plays an unusually central role in many of Hepburn's films, stating that "the costume is not tied to the character, functioning'silently' in the mise-en-scène, but as 'fashion' becomes an attraction in the aesthetic in its own right".[129] Hepburn herself stated that Givenchy "gave me a look, a kind, a silhouette. He has always been the best and he stayed the best. Because he kept the spare style that I love. What is more beautiful than a simple sheath made an extraordinary way in a special fabric, and just two earrings?"[130] She also became the face of Givenchy's first perfume, L'Interdit, in 1957.[131] In addition to her partnership with Givenchy, Hepburn was credited with boosting the sales of Burberry trench coats when she wore one in Breakfast at Tiffany's, and was associated with Italian footwear brand Tod's.[132]

In her private life, Hepburn preferred to wear casual and comfortable clothes, contrary to the haute couture she wore on screen and at public events.[133] Despite being admired for her beauty, she never considered herself attractive, stating in a 1959 interview that "you can even say that I hated myself at certain periods. I was too fat, or maybe too tall, or maybe just plain too ugly... you can say my definiteness stems from underlying feelings of insecurity and inferiority. I couldn't conquer these feelings by acting indecisive. I found the only way to get the better of them was by adopting a forceful, concentrated drive."[134] In 1989, she stated that "my look is attainable... Women can look like Audrey Hepburn by flipping out their hair, buying the large glasses and the little sleeveless dresses."[124]

Hepburn's influence as a style icon continues several decades after the height of her acting career in the 1950s and 1960s. Moseley notes that especially after her death in 1993, she became increasingly admired, with magazines frequently advising readers on how to get her look and fashion designers using her as inspiration.[135][122] In 2004, Hepburn was named the "most beautiful woman of all time"[136] and "most beautiful woman of the 20th century"[137] in polls by Evian and QVC respectively, and in 2015, was voted "the most stylish Brit of all time" in a poll commissioned by Samsung.[138] Her film costumes fetch large sums of money in auctions: one of the "little black dresses" designed by Givenchy for Breakfast at Tiffany's was sold by Christie's for a record sum of £467,200 in 2006.[139][e]

On 19 April 2015 a robot called Sophia, modelled after Hepburn, was activated.[143][144]


who plays clint on how i met your mother

Groener has performed regularly on TV, including guest appearances on Star Trek: The Next Generation (1990), Star Trek: Voyager (1996), Star Trek: Enterprise (2005) and several dozen other series; he was also a series regular on the sitcom Dear John. In 1998 and 1999, Groener portrayed Richard Wilkins, the evil mayor of Sunnydale on the third season of cult TV series Buffy the Vampire Slayer. Groener reprised his role in cameo appearances in Buffy's 4th and 7th seasons. From 2004 to 2006 he appeared as the chef Gunther on the TV series Las Vegas. Notable film work includes Road to Perdition and About Schmidt. He also appeared in two episodes of The West Wing as the Secretary of Agriculture and the Bones episode "The Woman at the Airport" as a plastic surgeon, Henry Atlas. In 2009, Groener appeared in the second season episode of Breaking Bad, "Bit by a Dead Bee", as protagonist Walter White's psychiatrist. He also portrayed the role of Clint, Ted's stepdad, in How I Met Your Mother.

Harry Groener

Harry Groener (born September 10, 1951) is a German-born American actor and dancer, perhaps best known for playing Mayor Wilkins in Buffy the Vampire Slayer (seasons 3, 4 and 7).

Groener was born in Augsburg, Bavaria, Germany, to an opera singer mother and a father who worked as a concert pianist, office clerk, and composer.[1] He emigrated to the United States with his family at the age of two. As a teenager, Groener was apprenticed at the San Francisco Ballet; he went on to study drama at the University of Washington.

Groener's reputation in New York City rests almost entirely on his work in musical theater, although the bulk of his roles outside New York have been in classical drama or contemporary plays like Eastern Standard. His Broadway credits include Is there life after high school?, Will Parker in Oklahoma! (Tony Award nomination, Theatre World Award), Munkustrap in Cats (Tony nomination), Georges/George in Sunday in the Park with George, and Bobby Child in Crazy for You (Tony, Drama Desk, and Outer Critics Circle Award nominations). In 1999 he performed off-Broadway with Twiggy at the Lucille Lortel Theater in If Love Were All, a musical revue based on the friendship of NoÃ«l Coward and Gertrude Lawrence. He has performed in regional theatres across the country, including the San Diego Old Globe Theatre (where he is an associate artist), Mark Taper Forum, Westwood Playhouse, South Coast Repertory, Pasadena Playhouse, Long Wharf Theater, A.C.T., and the Williamstown Theater Festival.

He was a regular vocalist for the Varèse Sarabande label, performing on such recordings as Shakespeare on Broadway, Cole Porter: A Musical Toast, and various installments of the Unsung Broadway and Lost in Boston series. He played King Arthur in Monty Python's Spamalot during 2006. In 2010, he appeared as the title role in the Antaeus Company's production of King Lear[2]. He won the L.A. Drama Critics Circle Award for this performance. In 2012 he starred in the debut of Christopher Hampton's play Appomattox at the Guthrie Theater in Minneapolis, playing a dual role as both U.S. President Abraham Lincoln in 1865 and Lyndon B. Johnson in 1965.[3]

Los Angeles Drama Critics Circle Awards

Joseph Jefferson Award


what phone did tony stark used in iron man

This phone was also featured in the movie Iron Man as the phone Tony Stark used to communicate to Obediah the successful presentation of Stark Industries Jericho missile. And in the movie Picture This starring Ashley Tisdale.

LG VX9400

The LG VX9400 is a mobile phone manufactured by LG Electronics. This CDMA phone is supplied by Verizon Wireless in the United States. It was one of the first two phones on the market to support live mobile TV broadcasts using Qualcomm's MediaFLO technology. (Samsung's SCH-U620 was the other.) The unique design of the QVGA display allows it to swing up into landscape orientation for TV viewing. Other key features of the VX9400 includes stereo Bluetooth, a Secure Digital memory card slot, digital music player, EVDO high-speed data connectivity, and speakerphone.[1][2]

The phone is compatible with BitPim 1.0 and later to upload ringtones, transfer wallpapers and pictures, and to back up SMS messages, the phone book/contact list and the calendar. The current available software version is v03 and should be updated at your local Verizon store.

As with Verizon Wireless's EVDO coverage, MediaFLO TV is not available in all areas.

Also, the phone does have individual contact ringtones for text messages.


who builds the walls of thebes with song

Amphion became a great singer and musician after his lover Hermes taught him to play and gave him a golden lyre. Zethus became a hunter and herdsman, with a great interest in cattle breeding. They built the walls around the Cadmea, the citadel of Thebes. While Zethus struggled to carry his stones, Amphion played his lyre and his stones followed after him and gently glided into place.[2]

Amphion and Zethus

Amphion /ˈæmfiən/ (Ancient Greek: Ἀμφίων) and Zethus /ˈziːθəs/ (Ζῆθος, Zēthos) were, in ancient Greek mythology, the twin sons of Zeus by Antiope. They are important characters in one of the two founding myths of the city of Thebes, because they constructed the city's walls.

Amphion and Zethus were the sons of Antiope, who fled in shame to Sicyon after Zeus raped her, and married King Epopeus there. However, either Nycteus or Lycus attacked Sicyon in order to carry her back to Thebes and punish her. On the way back, she gave birth to the twins and was forced to expose them on Mount Cithaeron. Lycus gave her to his wife, Dirce, who treated her very cruelly for many years.[1]

Antiope eventually escaped and found her sons living near Mount Cithaeron. After they were convinced that she was their mother, they killed Dirce by tying her to the horns of a bull, gathered an army, and conquered Thebes, becoming its joint rulers.[1]

Amphion married Niobe, the daughter of Tantalus, the Lydian king. Because of this, he learned to play his lyre in the Lydian mode and added three strings to it.[3] Zethus married Thebe, after whom the city of Thebes was named.

Amphion's wife Niobe had many children, but had become arrogant and because of this she insulted the goddess Leto, who had only two children, Artemis and Apollo. Leto's children killed Niobe's children in retaliation (see Niobe). In Ovid, Amphion commits suicide out of grief; according to Telesilla, Artemis and Apollo murder him along with his children. Hyginus, however, writes that in his madness he tried to attack the temple of Apollo, and was killed by the god's arrows.[4]

Zethus had only one son, who died through a mistake of his mother Thebe, causing Zethus to kill himself.[2] In the Odyssey, however, Zethus's wife is called a daughter of Pandareus in book 19, who killed her son Itylos in a fit of madness and became a nightingale.[5]

After the deaths of Amphion and Zethus, Laius returned to Thebes and became king.

Compare with Castor and Polydeuces (the Dioscuri) of Greece, and with Romulus and Remus of Rome.

Amphion, son of Zeus and Antiope, and twin brother of Zethus

Amphion by NathanJacquin (November 16, 2015)

Mercury and Amphion by Jean Vignaud (1819)

Amphion by Krauss, Johann Ulrich (ca. 1690)

The Famese Bull

Amphion and Zethus

Julius Troschel, Amphion and Zethus (1840-1850), Neue Pinakothek.

Dirce being tied to a bull by Amphion as Zethus looks on; Antiope tries to stop her son's hand. (fresco, 1st century AD)

The Farnese Bull depicting the punishment of Dirke by Amphion and Zethos