Origins.

Oleg Vorotnikov, a philosophy graduate from Moscow State University (MSU), is generally considered to be the founder of Voina. Activist Anton Kotenev goes so far as to say that "Voina "is" Vorotnikov". In 2005, Vorotnikov and Natalia Sokol, then a physics student at MSU, created the art group "Sokoleg", which focused mainly on large-scale photography. In the spring of 2006, they met with Anton Nikolaev, leader of the art group "Bombily", with whom they began to collaborate. ("Bombila" is Russian slang for an unlicensed taxi driver, usually of Caucasian origin, who drives a "bomb"). The combined group was based at the studio of performance artist Oleg Kulik. In early 2007, the more radical and politically minded members of the project created Voina, led by Vorotnikov, also known as "Vor" ("Thief"), and his wife Natalia Sokol, also known as "Kozol", "Koza" or "Kozlyonok" ("Little She-Goat"). It was founded on a radical left agenda "because the left spectrum is generally absent in Russian art".  Other key members include Leonid Nikolayev ("Lyonya Yobnuty", "Crazy Lenya" or "Leo the Fucknut") and Alexei Plutser-Sarno ("Plut", "Crook"), chief author of the group's media art and texts.  The collective had no income, philosophically rejected salaried employment and the use of money. Its members lived a DIY scavenging ethic and putatively "made the lifting of food and drink from supermarkets...a form of art."  Pyotr Verzilov and his wife Nadezhda Tolokonnikova were members of Voina since its early stages, and lived with the group as squatters in an automobile garage. However, they split from the original group in acrimonious circumstances in late 2009, forming their own group. Tolokonnikova was later jailed for her role in the Pussy Riot "punk prayer" at Moscow's Cathedral of Christ the Saviour.  In late February 2011, activists Oleg Vorotnikov and Leonid Nikolayev were released on bail after four months in Moscow police custody, in connection with an anti-corruption protest. They faced up to seven years of prison.

Early activity.

"Mordovian Hour".

On 1 May 2007, Voina staged a celebration of International Workers' Day, entitled Mordovian Hour, by throwing live cats over the counters at the McDonald's restaurant at Serpukhovskaya, Moscow, "to break up the drudgery of workers' routine day". This was a combined project with the Bombily art group. The action was witnessed by two plain-clothes police, who arrested Pyotr Verzilov and kept two cats as evidence. Charges against Verzilov were eventually dropped.

"Feast".

On 24 August 2007, Voina conducted a wake for absurdist poet Dmitry Prigov, featuring a table with food and vodka, in a Moscow Metro car. Originally, they had planned an action involving Prigov but he died before they were able to implement it. They later carried out a similar action on the Kiev Metro.

"Fuck for the heir Puppy Bear!".

Voina came to widespread public attention with "Fuck for the heir Puppy Bear!", staged on 29 February 2008, the day before the election of Russian President Dmitry Medvedev. Five couples had public sex in Moscow's Timiryazev State Museum of Biology. Two of the performers were Vera Kondakova and Alexandre Karpenko. While there were no immediate legal repercussions, several participants faced disciplinary action by the philosophy department of Moscow University.  Alexei Plutser-Sarno, a linguist and author of a dictionary of Russian Mat (profanity) participated in this action in a minor capacity, and wrote about it in a detailed if somewhat fanciful blog post. Although he criticised the action for its lack of originality (similar actions had previously been staged by other Russian performance art groups), he was soon accepted as a full member of Voina, becoming their chief "media officer" and documenting the group's activities on his blog.

"Humiliation of a Cop in his House".

On 6 May 2008 Voina activists, entered a small police station in Bolshevo near Moscow. They hung a portrait of Dmitri Medvedev on the prison bars, and hung posters with phrases such as "Kill the immigrants" and "Abandon hope all ye who enter here". They then formed a human pyramid, and recited Prigov poems.

"Cop in a Priest's Cassock".

On 3 July 2008 Oleg Vorotnikov wore the robe of a Russian Orthodox priest and the hat of a police officer, entered a supermarket, then left without paying for a full cart of groceries, to demonstrate the "invulnerability" of these groups.

"In Memory of the Decembrists".

On 7 September 2008, to protest homophobic and racist comments by Moscow Mayor Yuri Luzhkov, Voina staged a mock-hanging of two homosexual men and three Central Asian guest workers in a department store in Moscow. The title of the piece references the Decembrist revolt, an 1825 military uprising against Emperor Nicholas I of Russia. Some members of the group held a sign saying "Nobody gives a fuck about Pestel", a reference to the executed Decembrist leader Pavel Pestel.  Later, in 2012, Putin used this action in his response to Angela Merkel's criticism on the Pussy Riot case. He accused the participants of "anti-Semitism" and claimed that they "said that we need to get rid of such people in Moscow". Writing at the Echo of Moscow website, gay activist Oleg Vasilyev identified himself as the Jewish man who was mock-executed. He flatly rejected Putin's version of events, saying that "practically everything about this statement is untrue". He also said that Jews were not even mentioned during the action itself, only in Plutser-Sarno's blog post, Plutser-Sarno himself being Jewish.

"The Storming of the White House".

On the night of 6–7 November 2008, Voina gained access to a room in the attic of the Hotel Ukraina, across from the Russian White House building, seat of the Government of the Russian Federation. Using subterfuge, they brought an enormous laser projector into the hotel. They became trapped with the projector in an elevator, but broke through the ceiling, and disabled its door mechanism. The equipment was used to project a skull and crossbones, 12 stories tall, onto the facade of the White House building. Meanwhile, other activists staged a "storming" of the building, by scaling the 8-meter iron gates in front of it.

"The Banning of the Clubs".

On 28 December 2008, members of Voina welded shut the entrance doors of the restaurant Oprichnik, using an acetylene torch and metal sheets. A message was left at the scene: "For the security of our citizens, the doors of the elite club Oprichnik have been reinforced".

"Dick in the Ass – Punk Concert in the Courtroom".

In May 2009, Voina members interrupted a courtroom hearing for the director of the Andrei Sakharov Museum and Public Center, which was being held in Moscow. They billed themselves as a punk band called "Dick in the Ass" and performed a song, "All Cops are Bаstards, Remember This", using instruments and a small amplifier which they had smuggled into the courtroom. The performance lasted less than two minutes as they were soon removed by security forces.

Split.

A schism of the Voina collective into two groups occurred in connection with a performance-art action in November 2009. Tolokonnikova and Verzilov went to Kiev, Ukraine, to assist in a performance by Ukrainian artist-activist Alexander Volodarsky.  At the Verkhovna Rada building, house of the Ukrainian Parliament, Volodarsky and his girlfriend were arrested for stripping naked and simulating public sex. As a result, Volodarsky served six weeks in police detention, and a six-month sentence in a penal colony.  According to other members, the reason for the split of Voina into two factions was that Tolokonnikova and Verzilov had turned police informant against Volodarsky, then had stolen Volodarsky's personal items, laptop computer, and money, while he was in detention. Several years later, Volodarsky said the sex performance in Kiev was a botched operation, rather than a betrayal, and described himself as "a bargaining chip in a factional conflict". However, the original Voina group also contend that Verzilov later stole hard disk drives, photographs, and other materials from them, for the purpose of self-promotion.  In December 2009, Tolokonnikova and Verzilov were expelled and moved elsewhere, to re-organize a separate group. The conflict later led to controversy over which faction should take credit for various artworks created under the name "Voina".  Verzilov has continued to use the name "Voina" despite the objections of Vorotnikov and other Voina members. His group is sometimes referred to as the "Moscow faction" of Voina, however Vorotnikov rejects this terminology, and continues to allege that Verzilov is a police provocateur. Verzilov considers himself to be a co-founder of Voina, and therefore entitled to continue to use the name. He rejects the allegations that he is a police informant but offers no further explanation.

Activities of the original members since 2009.

"Dick Captured by the FSB".

During the night of 14 June 2010, Voina painted a giant 65 m long phallus on the surface of the Liteyny drawbridge leading to the Bolshoy Dom, headquarters of the Federal Security Service in Saint Petersburg. This painting was entitled "Giant Galactic Space Penis". The group studied traffic patterns at the bridge, and practiced coordinated actions for two weeks beforehand, in a parking lot, because they would have only 30 seconds to complete the painting before the drawbridge was raised.

"How to Snatch a Chicken".

On 20 July 2010, Voina staged one of their more notorious actions in the Nakhodka supermarket in St. Petersburg. A female Voina activist nicknamed "Vacuous Cunt With Inconceivably Huge Tits" removed a chicken from the refrigerated section of the supermarket, then laboriously stuffed the entire chicken into her own vagina, while being filmed by other Voina members. She then shoplifted the chicken by leaving the supermarket without paying, with the chicken still inserted, and rejoined activists outside the store. The activists held signs spelling out the word ""bezblyadno"", which translates roughly as "without whoring", a reference to the group's rejection of paid employment and preference for stealing food, and a pun on the word "besplatno", "free (of charge)". (This stunt has sometimes been incorrectly attributed to Pussy Riot).

"Palace Coup".

On 20 September 2010, members of Voina overturned a police car by rocking it from side to side, on the pretext of retrieving a football for Vorotnikov and Sokol's son Kasper.

"Cops Auto-da-fe, or Fucking Prometheus".

In a more drastic and destructive turn of events, on 31 December 2011, Voina committed an arson attack in St. Petersburg, in which a police paddy wagon vehicle was destroyed.

Activities of the Moscow faction since 2009.

"Cockroach Court".

On 12 July 2010, Yuri Samodurov and Andrei Erofeev, curators of the exhibition "Forbidden Art 2006", were being sentenced in the Tagansky Courthouse, Moscow, on charges of "inciting religious hatred". The conservative Orthodox group "People's Synod" had objected to exhibits which depicted Mickey Mouse and Lenin as Jesus Christ.  Members of Voina entered the court building, intending to release approximately 3500 live Madagascan giant cockroaches. It is not clear to what extent they succeeded. The process of raising and collecting the roaches is documented, but no photographic evidence from inside the courthouse has been released. Activist Yekaterina Samutsevich, among those who planned to infiltrate the court with insects, was later prosecuted in the same courtroom, before being sentenced to probation in the Pussy Riot trial.

"Operation: Kiss Garbage".

In January and February 2011, Voina enacted a series of provocations in Moscow public areas, entitled "Operation: Kiss Garbage" (, roughly translated as "Kiss a Pig"). In Russian, the word "musor" (literally: 'garbage') is derogatory slang for "police officer", similar to the English "pig". The action consisted of female activists approaching and kissing policewomen without warning or consent; took place in the subway stations and on the streets. It was done as an anticipatory protest of the New Law on Police signed by President Medvedev, which went into effect on 1 March 2011.

Pussy Riot.

The group Pussy Riot was formed in August 2011, and included Nadezhda Tolokonnikova and Yekaterina Samutsevich, members of the Moscow faction of Voina.

Aftermath of split.

On 15 November 2010, Leonid Nikolayev and Oleg Vorotnikov were arrested for overturning seven empty police cars as an art performance act, "Palace Revolution". The official charges were violations of Article 213, Paragraph 1, Item B of the Criminal Code – hooliganism motivated by hatred or hostility towards a social group. No bail was allowed, and the trial was set for 28 February 2011. When bailed out from prison in late February 2011, Vorotnikov skipped on his bail and went into hiding.  On 31 March 2011, Vorotnikov was arrested again in an unrelated incident, for assaulting a police officer at an unsanctioned political rally. Activists aligned with the group Strategy-31 were demonstrating in favor of proper enforcement of Article 31 of the Russian constitution, which guarantees the right to peaceful assembly. The demonstration turned into an ugly confrontation, after activists doused police officers with bottles containing their own urine. Vorotnikov was detained and released. However, an international warrant was later issued for his re-arrest, in July 2011. Nikolayev, Vorotnikov, and a third Voina member, Natalya Sokol, allege to have been attacked by plainclothes members of the anti-extremism police in St. Petersburg. The beating followed a press conference where Voina discussed the conditions of their detention. They have been living as fugitives in the St. Petersburg area, and have attempted to evade police by frequently changing location.  On 7 April 2011 the group was awarded the "Innovation" prize in the category "Work of Visual Art", established by the Ministry of Culture. The award was given for the phallus on Foundry Bridge in St. Petersburg, drawn on the night of 15 June 2010. When the bridge opened the 65-meter long penis faced the St. Petersburg FSB (former KGB headquarters). The prize was 400,000 roubles (approx €10,000). The participants of the art group did not attend the prize giving. Leonid Nikolayev and Oleg Vorotnikov explained this action by the fact that their work does not require formal approval.  On 1 July 2011, it became known they gave the 400,000 rubles state award "Innovation" as a gift to the human rights organisation Agora to help political prisoners.  Some time in late 2012 or early 2013, Vorotnikov, Sokol and their two children fled Russia for Italy, despite their outstanding Interpol arrest warrant. On 10 January 2013 a video was uploaded to YouTube showing Vorotnikov apparently giving a lecture at "Sale", an independent art gallery based in a disused salt warehouse in Venice.  On 24 September 2015, prominent member Leonid Nikolaev died after a fall while pruning trees.  In September 2016 Oleg Vorotnikov stated (while he and his wife Natalia Sokol were seeking asylum in Czech Republic) that he had become a supporter of President Vladimir Putin and his policies and entourage. He claimed he had a change of heart after he had concluded that the leaders of the 2011–13 anti-Putin demonstrations “should not be allowed anywhere near politics.”

Voina () is a Russian street-art group known for their provocative and politically charged works of performance art. The group has had more than sixty members, including former and current students of the Rodchenko Moscow School of Photography, Moscow State University, and University of Tartu. However, the group does not cooperate with state or private institutions, and is not supported by any Russian curators or gallerists.

Vojna (; Válka) je ruská radikální umělecká skupina známá pro své provokativní a politicky orientované performance. Vojna byla založena studenty filosofie Lomonosovovy univerzity. V současnosti jsou dva členové Vojny zadržováni moskevskou policií v souvislosti s protikorupčními protesty, které realizovali převracením policejních aut, za což jim hrozí až 7 let vězení. Pod hesly „Pomoz dítěti, pomůžeš zemi“, „Dejte nám pevný bod a my svrhneme fízlárnu“ a „Fízle, pros o odpuštění“ proběhla tato akce s názvem „Palácový převrat“. V reakci na jejich zadržení se britský graffiti umělec Banksy rozhodl poslat jim finanční pomoc ve výší 80 000 £. Skupina sympatizuje s anarchismem a socialismem a bojuje proti pravicové reakci.


Construction.

"Endeavour" was originally the merchant collier "Earl of Pembroke", built by Thomas Fishburn for Thomas Millner, launched in June 1764 from the coal and whaling port of Whitby in North Yorkshire. She was a type known locally as the "Whitby Cat". She was ship-rigged and sturdily built with a broad, flat bow, a square stern, and a long box-like body with a deep hold.  A flat-bottomed design made her well-suited to sailing in shallow waters and allowed her to be beached for loading and unloading of cargo and for basic repairs without requiring a dry dock. Her hull, internal floors, and futtocks were built from traditional white oak, her keel and stern post from elm, and her masts from pine and fir. Plans of the ship also show a double keelson to lock the keel, floors and frames in place.  Some doubt exists about the height of her standing masts (excludes top and gallant masts), as surviving diagrams of "Endeavour" depict the body of the vessel only, and not the mast plan. While her main and foremast standing spars (excludes top and gallant masts) are accepted to be a standard (standards differed from shipyard to shipyard and country to country), respectively from an annotation on one surviving ship plan National Maritime Museum in Greenwich NMM ZAZ6594, which records these lengths has the mizzen as "16 yards 29 inches" ( m). If correct, this would produce an oddly truncated mast a full shorter than the naval standards of the day. Late 20th-century research suggested the annotation may be a transcription error with "19 yards 29 inches" ( m) being the true reading, which would more closely conform with both

Purchase and refit by the Admiralty.

On 16 February 1768, the Royal Society petitioned King George III to finance a scientific expedition to the Pacific to study and observe the 1769 transit of Venus across the sun. Royal approval was granted for the expedition, and the Admiralty elected to combine the scientific voyage with a confidential mission to search the south Pacific for signs of the postulated continent "Terra Australis Incognita" (or "unknown southern land").  The Royal Society suggested command be given to Scottish geographer Alexander Dalrymple, whose acceptance was conditional on a brevet commission as a captain in the Royal Navy. First Lord of the Admiralty Edward Hawke refused, going so far as to say he would rather cut off his right hand than give command of a navy vessel to someone not educated as a seaman. In refusing Dalrymple's command, Hawke was influenced by previous insubordination aboard the sloop in 1698, when naval officers had refused to take orders from civilian commander Dr. Edmond Halley. The impasse was broken when the Admiralty proposed James Cook, a naval officer with a background in mathematics and cartography. Acceptable to both parties, Cook was promoted to Lieutenant and named as commander of the expedition. On 27 May 1768, Cook took command of "Earl of Pembroke", valued in March at £2,307. 5s. 6d. but ultimately purchased for £2,840. 10s. 11d. and assigned for use in the Society's expedition. She was refitted

Voyage of discovery.

Outward voyage.

"Endeavour" departed Plymouth on 26 August 1768, carrying 18 months of provisions for 94 people. Livestock on board included pigs, poultry, two greyhounds and a milking goat.  The first port of call was Funchal in the Madeira Islands, which "Endeavour" reached on 12 September. The ship was recaulked and painted, and fresh vegetables, beef and water were brought aboard for the next leg of the voyage. While in port, an accident cost the life of master's mate Robert Weir, who became entangled in the anchor cable and was dragged overboard when the anchor was released. To replace him, Cook shanghaied a sailor from an American sloop anchored nearby.  "Endeavour" then continued south along the coast of Africa and across the Atlantic to South America, arriving in Rio de Janeiro on 13 November

Pacific exploration.

The transit observed, "Endeavour" departed Tahiti on 13 July and headed northwest to allow Cook to survey and name the Society Islands. Landfall was made at Huahine, Raiatea and Borabora, providing opportunities for Cook to claim each of them as British territories. An attempt to land the pinnace on the Austral Island of Rurutu was thwarted by rough surf and the rocky shoreline. On 15 August, "Endeavour" finally turned south to explore the open ocean for "Terra Australis Incognita".  In October 1769, "Endeavour" reached the coastline of New Zealand, becoming the first European vessel to do so since

Shipwreck.

For the next four months, Cook charted the coast of Australia, heading generally northward. Just before 11 pm on 11 June 1770, the ship struck a reef, today called Endeavour Reef, within the Great Barrier Reef system. The sails were immediately taken down, a kedging anchor set and an unsuccessful attempt was made to drag the ship back to open water. The reef "Endeavour" had struck rose so steeply from the seabed that although the ship was hard aground, Cook measured depths up to less than one ship's length away.  Cook then ordered that the ship be lightened to help her float off the reef. Iron and stone ballast, spoiled

Northward to Batavia.

After waiting for the wind, "Endeavour" resumed her voyage on the afternoon of 5 August 1770, reaching the northernmost point of Cape York Peninsula fifteen days later. On 22 August, Cook was rowed ashore to a small coastal island to proclaim British sovereignty over the eastern Australian mainland. Cook christened his landing place Possession Island, and ceremonial volleys of gunfire from the shore and "Endeavour"s deck marked the occasion. "Endeavour" then resumed her voyage westward along the coast, picking a path through intermittent shoals and reefs with the help of the pinnace, which was rowed ahead to test the water depth. By 26 August she was out of sight of land, and had entered the open waters of the Torres Strait between Australia and New Guinea, earlier navigated by Luis Váez de Torres in 1606. To keep "Endeavour"s voyages and discoveries secret, Cook confiscated the log books and journals of all on board and ordered them to remain silent about where they had been.  After a three-day layover off the island of Savu, "Endeavour" sailed on to Batavia, the

Return voyage.

Though "Endeavour" was now in good condition, her crew were not. During the ship's stay in Batavia, all but 10 of the 94 people aboard had been taken ill with malaria and dysentery. By the time "Endeavour" set sail on 26 December, seven crew members had died and another forty were too sick to attend their duties. Over the following twelve weeks, a further 23 died from disease and were buried at sea, including Spöring, Green, Parkinson, and the ship's surgeon William Monkhouse.  Cook attributed the sickness to polluted drinking water, and ordered that it be purified with lime juice, but this had little effect. Jonathan Monkhouse, who had proposed fothering the ship to save her from sinking on the reef, died on 6 February, followed six days later by

Later service.

While Cook was fêted for his successful voyage, "Endeavour" was largely forgotten. Within a week of her return to England, she was directed to Woolwich Dockyard for refitting as a naval transport. Under the command of Lieutenant James Gordon she then made three return voyages to the Falkland Islands.  The first, with Joseph Irving as sailing master (replaced by John Dykes at Portsmouth due to illness), was to deliver "sufficient provisions to serve 350 men to the end of the year 1772"; she sailed from Portsmouth on 8 November 1771, but due to terrible weather did not arrive at Port Egmont (the British base in the Falkland Islands) until 1 March. "Endeavour" sailed from Port Egmont on 4 May in a three-month non-stop voyage until she anchored at Portsmouth.  The second voyage was to reduce the garrison and replace "HM Sloop Hound", John Burr Commander, with a smaller vessel, namely the 36-ton shallop "Penguin", commander Samuel Clayton. She was a collapsible vessel and was no sooner built than taken apart, and the pieces were stowed in "Endeavour". "Endeavour" sailed in November with Hugh Kirkland as the sailing master, and additionally the crew of "Penguin", and four ship's carpenters whose job was to reassemble "Penguin" on arrival, which was 28 January 1773. On 17 April "Endeavour" and "Hound" sailed for England with their crew. One of "Penguin" crew was Bernard Penrose who wrote an account. Samuel Clayton also wrote an account.  The third voyage sailed in January 1774 with her purpose to evacuate the Falklands entirely as Britain was faced with political difficulties from the American Colonies, the French and the

Final resting place.

The surrender of British General John Burgoyne's army at Saratoga brought France into the war, and in the summer of 1778 a pincer plan was agreed to recapture Newport: the Continental Army would approach overland, and a French Fleet would sail into the harbour. To prevent the latter the British commander, Captain John Brisbane, determined to blockade the bay by sinking surplus vessels at its mouth. Between 3 and 6 August a fleet of Royal Navy and hired craft, including "Lord Sandwich 2", were scuttled at various locations in the Bay. "Lord Sandwich" "2", previously "Endeavour", previously "Earl of Pembroke", was sunk on 4 August 1778.  The owners of the sunken vessels were compensated by the British government for the loss of their ships. The Admiralty valuation for 10 of the sunken vessels recorded that many had been built in Yorkshire, and the details of the "Lord Sandwich" transport matched those of the former "Endeavour" including construction in Whitby, a burthen of 368 tons, and re-entry into Navy service on 10 February 1776.  In 1834 a letter appeared in the "Providence Journal" of Rhode Island, drawing attention to the possible presence of the former "Endeavour" on the seabed of the bay. This was swiftly disputed by the British consul in Rhode Island, who wrote claiming that "Endeavour" had been bought from Mather by the French in 1790 and renamed "Liberté". The consul later admitted he had heard this not from the Admiralty, but as hearsay from the former owners of the French ship. It was

"Endeavour" relics and legacy.

In addition to the search for the remains of the ship herself, there was substantial Australian interest in locating relics of the ship's south Pacific voyage. In 1886, the Working Men's Progress Association of Cooktown sought to recover the six cannon thrown overboard when "Endeavour" grounded on the Great Barrier Reef. A £300 reward was offered for anyone who could locate and recover the guns, but searches that year and the next were fruitless and the money went unclaimed. Remains of equipment left at Endeavour River were discovered in around 1900, and in 1913 the crew of a merchant steamer erroneously claimed to have recovered an "Endeavour" cannon from shallow water near the Reef.  In 1937, a small part of "Endeavour" keel was given to the Australian Government by philanthropist Charles Wakefield in his capacity as president of

Replica vessels.

In January 1988, to commemorate the Australian Bicentenary of European settlement in Australia, work began in Fremantle, Western Australia, on a replica of "Endeavour". Financial difficulties delayed completion until December 1993, and the vessel was not commissioned until April 1994. The replica vessel commenced her maiden voyage in October of that year, sailing to Sydney Harbour and then following Cook's path from Botany Bay northward to Cooktown. From 1996 to 2002, the replica retraced Cook's ports of call around the world, arriving in the original "Endeavour" home port of Whitby in May 1997 and June 2002. Footage of waves shot while rounding Cape Horn on this voyage was later used in digitally composited scenes in the 2003 film "".  The replica "Endeavour" visited various European ports before undertaking her final ocean voyage from Whitehaven to Sydney Harbour on 8 November 2004. Her arrival in Sydney was delayed when

Notes.

Footnotes.

Other sources give "Endeavour"s length overall as. In today's terms, this equates to a valuation for "Endeavour" of approximately £265,000 and a purchase price of £326,400. Provisions loaded at the outset of the voyage included 6,000 pieces of pork and 4,000 of beef, nine tons of bread, five tons of flour, three tons of sauerkraut, one ton of raisins and sundry quantities of cheese, salt, peas, oil, sugar and oatmeal. Alcohol supplies consisted of 250 barrels of beer, 44 barrels of brandy and 17 barrels of rum. The shanghaiied man was John Thurman, born in New York but a British subject and therefore eligible for involuntary impressment aboard a Royal Navy vessel. Thurman journeyed with "Endeavour" to Tahiti where he was promoted to the position of sailmaker's assistant, and

HMS "Endeavour, also known as HM Bark "Endeavour, was a British Royal Navy research vessel that Lieutenant James Cook commanded to Australia and New Zealand on his first voyage of discovery from 1768 to 1771.

HMS "Endeavour, též HMB "Endeavour, byla britská průzkumná loď. Této lodi velel kapitán James Cook na své první plavbě po Tichém oceánu.


Composition.

"The Flood" was written by Priscilla Hamilton and Wayne Wilkins, who also produced the song, along with Antwoine "T-Wiz" Collins. It is a pop song with synthesised strings. The song composed in the key of C major and is set in time signature of common time with a tempo of 80 beats per minute. The song has a basic sequence of C–C–G/D–Am–C/E as its chord progression. Cole's vocals range from G4-D6. The lyrical content of the song was described as "a massive, strong-laden, Christmassy tear-jerker about 'wreckage', 'drowning' and 'natural disaster love.'" "The Flood" received comparisons to songs by singer-songwriter Natalie Imbruglia.

Critical reception.

The song received a positive review from "Digital Spy" reviewer Nick Levine who gave the song four out of five stars. He wrote, "Cole's no Leona of course, but she more than holds her own vocally as she delivers an extended and just-slightly-strained love-as-h20 metaphor." Critics questioned Cole's effectiveness as a balladeer. "The Guardian"'s Maddy Costa criticized the song's "lacklustre quality exacerbated by Cole's weakness as a balladeer and her (understandable) difficulty injecting feeling into a love song." Tom Hocknell of BBC Music wrote, Cole "loses focus with The Flood, stretching a shipwreck analogy over an uncomfortable four minutes." Luke Turner of "NME" gave the song a negative review comparing it to "a flood of stool."

Chart performance.

On the week of 13 November 2010, "The Flood" debuted at number eighty-one in the United Kingdom. The song peaked at number eighteen six weeks later, making it the first solo single by Cole not to reach the top five in the UK. It also became only the second single in her entire career to miss the Top 10 in the United Kingdom, the first being "Untouchable" two years before with Girls Aloud. "The Flood" was Cole's lowest-charting single, until it was surpassed by "Only Human", which peaked at number 70 in 2014. The song also peaked at number twenty-six in Ireland.

Music video.

Before the release of the album, a preview of "The Flood" was first premiered through Cole's official website. Later, the music video for the song, directed by Sophie Muller, premiered on 24 November 2010, three weeks after the album's release. It was filmed against a backdrop of white cliffs on England's south coast.

Live performances.

"The Flood" was performed at the 82nd annual Royal Variety Performance, held at the London Palladium theatre with Charles, Prince of Wales and Camilla, Duchess of Cornwall in attendance. She wore a gown from Roberto Cavalli's spring 2011 collection with jewelry by David Morris. Cole also performed on the 20 December 2010 episode of "", singing "The Flood" and an acoustic version of "Promise This".

Credits and personnel.

Source:

"The Flood" is a song by English recording artist Cheryl Cole. The song was written by Priscilla Hamilton and Wayne Wilkins, for Cole's second studio album, "Messy Little Raindrops" (2010). It was released on 2 January 2011 through Fascination Records (Polydor Records), as the album's second and final single. The song, produced by Wilkins and Antwoine Collins, has lyrics that refer to a "natural disaster love" and make many allusions to shipwreck, the sea, and water.

The Flood je píseň britské popové zpěvačky Cheryl Cole. Píseň pochází z jejího druhého studiového alba "Messy Little Raindrops". Píseň pro Cheryl Cole napsal Wayne Wilkins. Produkce se ujali producenti Wayne Wilkins a Antwoine "T-Wiz" Collins


Political career.

Ghannouchi was a member of the Tunisian parliament for the Democratic Constitutional Rally. He was Minister of Finance from 1989 to 1992. From 1992 to 1999, he served as Minister of International Co-operation and Foreign Investment, and from 1999 to 2011 he was the Prime Minister of Tunisia, making him the longest serving prime minister since the proclamation of independence, surpassing his predecessor Hamed Karoui.  After the fall of President Zine El Abidine Ben Ali on 14 January 2011 in the wake of the 2010–2011 Tunisian uprising, he was the self-proclaimed acting President of the country for a few hours starting on 14 January 2011, under Article 56 of the Constitution of Tunisia. He remained Prime Minister for six weeks before stepping down.

WikiLeaks description.

In a 2006 diplomatic cable from the United States that was leaked by WikiLeaks during the United States diplomatic cables leak, Ghannouchi was described as being generally popular among the population of Tunisia. Ghannouchi was seen as a respected technocrat by US diplomats in early 2010, with a cable stating, "Prime Minister Ghannouchi, the respected,, pragmatic, and apolitical technocrat, has served in his post since 1999 and with his reappointment appears set to surpass longevity records for senior officials since Tunisia's independence in 1956. Tunis oddsmakers had expected Ghannouchi, reportedly tired after a decade on the job, to move on, but it appears Ben Ali has come to view him as indispensable." Passport, a blog by "Foreign Policy", gave a different view of Ghannouchi, saying he "is not necessarily any more popular than Ben Ali, though he's not nearly as tainted by the lurid tales of corruption and excess that so damaged the ruling family. But Tunisians certainly don't respect the prime minister; they call him 'Mr. Oui Oui' because he's always saying yes to Ben Ali".

Role following 2010–2011 Tunisian uprising.

On 14 January 2011, before Ben Ali had fled the country during the Tunisian Revolution, Ghannouchi announced that Ben Ali had called for parliamentary elections in six months, dismissed the government, and asked him to form a new government. During the evening, Ghannouchi announced that he was taking temporary control of the country on state television. Ghannouchi promised to begin discussing political and economic reforms the next day. Ghannouchi said he would hold new elections within sixty days, as required by the Tunisian Constitution. On January 15, "The Economist" reported that some protesters were calling for Ghannouchi to step down. On that same day, it was announced that Congress Speaker Fouad Mebazaa was taking the post of Acting President of Tunisia.  Al Jazeera claimed that some lawyers disagreed with Ghannouchi's claim to power, interpreting the constitution differently, in particular referring to Article 57.  Afterwards he resumed as Prime Minister and formed a new national unity government that included members of opposition parties, civil society representatives, and even a blogger, Slim Amamou, who only a week previous had been imprisoned by the regime of the deposed President.  Ghannouchi resigned his membership of the RCD on 18 January. His resignation was followed by similar action by the other RCD members within the government; but on 27 January, Ghannouchi carried out a major reshuffle of the government to remove all former RCD members other than himself.  After a new wave of protests, Ghannouchi resigned as PM on 27 February 2011. The current whereabouts of Ghannounchi to this day are unknown, but it is likely Ghannounchi is still residing in Tunisia with his family.

Personal life.

Ghannouchi is married and has two children.

Mohamed Ghannouchi ( "Muhammad Al-Ghannushi"; born 18 August 1941) is a Tunisian politician who was Prime Minister of Tunisia from 1999 to 2011. Regarded as a technocrat, Ghannouchi was a long-standing figure in the Tunisian government under President Zine El Abidine Ben Ali. He also served as the Acting President of Tunisia from 14 January 2011 to 15 January 2011, holding the powers and duties of the office nominally for the absent President Zine El Abidine Ben Ali, who had fled the country due to the 2011 revolution. On 15 January 2011 the presidency was declared vacant by the Constitutional Court and Ben Ali's term was officially terminated, leading to Speaker of Parliament Fouad Mebazaa taking office as Acting President. Ghannouchi stayed on as Prime Minister for six more weeks after Ben Ali's overthrow before himself resigning.

Muhammad Ghannúší (arabsky محمد الغنوشي, narozen 18. srpna 1941) je tuniský politik, který v letech 1999-2011 zastával úřad premiéra této země. Je považován za technokrata a patří k dlouholetým členům tuniské vlády, byl ministrem financí (1989–1992), ministrem pro mezinárodní spolupráci (1992–1999) a po pádu prezidenta Zína Abidína bin Alího při pouličních nepokojích byl od 14. ledna do 15. ledna 2011 úřadujícím prezidentem Tuniska. Po těchto nepokojích stál v čele prozatímní vlády, ale demonstrantům vadilo jeho spojení s předchozím režimem, a tak 27. ledna podal rovněž demisi s přesvědčením, že "jeho demise usnadní přechod země do nové éry".


Structure.

Tin(IV) oxide crystallises with the rutile structure. As such the tin atoms are six coordinate and the oxygen atoms three coordinate. SnO is usually regarded as an oxygen-deficient n-type semiconductor.  Hydrous forms of SnO have been described as stannic acid. Such materials appear to be hydrated particles of SnO where the composition reflects the particle size.

Preparation.

Tin(IV) oxide occurs naturally. Synthetic tin(IV) oxide is produced by burning tin metal in air. Annual production is in the range of 10 kilotons. SnO is reduced industrially to the metal with carbon in a reverberatory furnace at 1200–1300 °C.

Amphoterism.

Although SnO is insoluble in water, it is amphoteric, dissolving in base and acid. "Stannic acid" refers to hydrated tin (IV) oxide, SnO, which is also called "stannic hydroxide."  Tin oxides dissolve in acids. Halogen acids attack SnO to give hexahalostannates, such as [SnI]. One report describes reacting a sample in refluxing HI for many hours. Similarly, SnO dissolves in sulfuric acid to give the sulfate:  SnO dissolves in strong bases to give "stannates," with the nominal formula NaSnO. Dissolving the solidified SnO/NaOH melt in water gives Na[Sn(OH)], "preparing salt," which is used in the dye industry.

Uses.

In conjunction with vanadium oxide, it is used as a catalyst for the oxidation of aromatic compounds in the synthesis of carboxylic acids and acid anhydrides.

Ceramic glazes.

Tin(IV) oxide has long been used as an opacifier and as a white colorant in ceramic glazes. This has probably led to the discovery of the pigment lead-tin-yellow, which was produced using tin(IV) oxide as a compound. The use of tin(IV) oxide has been particularly common in glazes for earthenware, sanitaryware and wall tiles; see the articles tin-glazing and Tin-glazed pottery. Tin oxide remains in suspension in vitreous matrix of the fired glazes, and, with its high refractive index being sufficiently different from the matrix, light is scattered, and hence increases the opacity of the glaze. The degree of dissolution increases with the firing temperature, and hence the extent of opacity diminishes. Although dependent on the other constituents the solubility of tin oxide in glaze melts is generally low. Its solubility is increased by NaO, KO and BO, and reduced by CaO, BaO, ZnO, AlO, and to a limited extent PbO.  SnO has been used as pigment in the manufacture of glasses, enamels and ceramic glazes. Pure SnO gives a milky white colour; other colours are achieved when mixed with other metallic oxides e.g. VO yellow; CrO pink; and SbO grey blue.

Polishing.

Tin(IV) oxide can be used as a polishing powder, sometimes in mixtures also with lead oxide, for polishing glass, jewelry, marble and silver. Tin(IV) oxide for this use is sometimes called as "putty powder" or "jeweler's putty".

Glass coatings.

SnO coatings can be applied using chemical vapor deposition, vapour deposition techniques that employ SnCl or organotin trihalides e.g. butyltin trichloride as the volatile agent. This technique is used to coat glass bottles with a thin (<0.1 μm) layer of SnO, which helps to adhere a subsequent, protective polymer coating such as polyethylene to the glass.  Thicker layers doped with Sb or F ions are electrically conducting and used in electroluminescent devices and photovoltaics.

Gas sensing.

SnO is used in sensors of combustible gases including carbon monoxide detectors. In these the sensor area is heated to a constant temperature (few hundred °C) and in the presence of a combustible gas the electrical resistivity drops. Doping with various compounds has been investigated (e.g. with CuO). Doping with cobalt and manganese, gives a material that can be used in e.g. high voltage varistors. Tin(IV) oxide can be doped with the oxides of iron or manganese.

Tin(IV) oxide, also known as stannic oxide, is the inorganic compound with the formula SnO. The mineral form of SnO is called cassiterite, and this is the main ore of tin. With many other names, this oxide of tin is an important material in tin chemistry. It is a colourless, diamagnetic, amphoteric solid.

Oxid cíničitý je spolu s oxidem cínatým jedním ze dvou oxidů cínu. Cín je v něm přítomen v oxidačním čísle IV. Jedná se o bílou práškovitou látku s vyššími teplotami tání a varu, nerozpustnou ve vodě, rozpustnou ovšem v silných kyselinách a zásadách. V přírodě se vyskytuje v podobě minerálu kasiteritu (česky "cínovce") a jeho největší ložisko se nacházelo v Krušných horách u obce Cínovec. Minerál slouží jako hlavní ruda cínu a oxid cíničitý je proto základní sloučenina na jeho výrobu. Kromě výroby cínu se využívá zejména v keramických glazurách, kterým dává bílou barvu.


Biography.

Early years.

Angus William MacLise was born on March 14, 1938 in Bridgeport, Connecticut, the son of a book dealer. Despite some formal training as a percussionist, his playing style became so idiosyncratic that many assumed he was self-taught.

The Velvet Underground.

MacLise was a member of La Monte Young's Theatre of Eternal Music, with John Cale, Tony Conrad, Marian Zazeela and sometimes Terry Riley. He contributed to the early Fluxus newspaper VTre, edited by George Brecht, and was also an early member of the Velvet Underground, having been brought into the group by flatmate John Cale when they were living at 56 Ludlow Street in Manhattan. Lou Reed recruited his friend Sterling Morrison, whom he knew from Syracuse University, and the initial line-up of the Velvets consisted of Reed, Cale, Morrison and MacLise.  MacLise played bongos and hand drums during 1965 with the first incarnation of the Velvet Underground and he was also capable of playing tabla, cimbalom and tambourine. Although the band regularly extemporised soundtracks to underground films during this era, MacLise never officially recorded with them, and is often considered something of a shadowy, legendary figure in their history. Demos recorded during this period are included on the "Peel Slowly and See" box set, but MacLise plays on none of them because (according to John Cale) he did not appreciate the need to turn up on time.  Cale describes MacLise as "living on the Angus calendar", showing up to gigs hours or even days after the band had finished.  When the band's first paying gig in November 1965 arose, MacLise quit, suggesting the group were selling out. He was replaced by Maureen Tucker, resulting in the "classic" lineup of the Velvet Underground.

Brief return to the Velvet Underground.

In 1966 when Velvet Underground lead singer and guitarist Lou Reed was in hospital with hepatitis, MacLise rejoined the group for a five-day run of performances at Poor Richard's in Chicago, June 21–26, 1966 during the Exploding Plastic Inevitable performances, sharing duties with Gerard Malanga, whom Angus had taught to play tabla. Cale took over lead vocals and organ, drummer Maureen Tucker switched to bass and MacLise drummed; by now, Tucker's idiosyncratic tribal style of drumming was integral to the group's music.  During an Exploding Plastic Inevitable performance in 1966, MacLise showed up half an hour late and carried on drumming for half an hour after the set had finished to compensate for his late arrival.  By this time the Velvet Underground had found some recognition (if not great financial success) and MacLise was anxious to rejoin the group, but according to the notes of the box set "Peel Slowly and See", the VU's primary songwriter and "de facto" bandleader Lou Reed had specifically prohibited MacLise from rejoining the band full-time due to his erratic behavior.

Later years.

After leaving the Velvet Underground for good, MacLise moved to Berkeley, California, and married Hetty McGee in a wedding ceremony at Golden Gate Park in San Francisco, presided over by renowned LSD guru Timothy Leary, and they had a son Ossian Kennard MacLise, who was recognized by Rangjung Rigpe Dorje, the 16th Karmapa, as a reincarnation of a Tibetan saint, or tulku, and at age four became a Buddhist monk. The MacLises travelled to Canada, France, Greece and India, before finally settling in Nepal.  A student of Aleister Crowley (he was working on a script for a film version of Crowley's "Diary of a Drug Fiend" before he died), he began to blend Tibetan mysticism with his music to create sound through various drone techniques.

Death.

A heavy drug user who was never particularly mindful of his physical health, MacLise died of hypoglycemia and pulmonary tuberculosis at the Shanta Bhawan Hospital in Kathmandu on June 21, 1979, aged 41. The cause of death has also been attributed to malnutrition. He was cremated to the traditions of Tibetan Buddhists in a funeral pyre.

Recorded music.

MacLise recorded a vast amount of music that went largely unreleased until 1999. These recordings, produced between the mid-'60s and the late-'70s, consist of tribal trance workouts, spoken word, poetry, Brion Gysin-like tape cut-ups and minimalist droning and electronics, as well as many collaborations with his wife Hetty. In 2008, Hetty MacLise bequeathed a collection of her husband's tapes to the Yale Collection of American Literature.  Selections can be found on:  MacLise also collaborated with Tony Conrad, John Cale and La Monte Young on several other recordings:  He worked on soundtracks for several underground films by Piero Heliczer, and appears in at least two: "Venus in Furs" and "Satisfaction" (1965). He also worked on the soundtrack for "Voyage", a short film by Jerry Jofen.

Influence.

As co-founder of the Dead Language Press with Piero Heliczer, MacLise published works by influential writers, including early work by the Beat poet Gregory Corso.  English experimental music group Coil regarded MacLise as an important influence in the later years of their career; lead member Jhonn Balance referred to MacLise as a "a liminal genius and, alongside such people as Ira Cohen, largely and unjustly semi-neglected", and the title of their album "Astral Disaster" is an intentional tribute to MacLise's archival release "Astral Collapse".

Dreamweapon.

In May 2011 a major retrospective exhibit "Dreamweapon: The Art and Life of Angus MacLise (1938-1979)" was mounted by the Boo-Hooray Gallery in Chelsea, New York City. The exhibit features the contents of a recently discovered suitcase containing photographs, notes, poetry, and 100 reels of music. In addition to the gallery exhibit there are sound installations at Boo-Hooray's second location in Chinatown and film screenings at the Anthology Archives.  In 1965 a work by MacLise titled "Rites of the Dream Weapon" was included in the New Cinema Festival (also known as the Expanded Cinema Festival), an extensive series of multimedia productions in New York presented by Jonas Mekas and featuring the work of such artists as Robert Rauschenberg and Claes Oldenburg. Mekas was impressed with MacLise, writing in the "Village Voice", "The first three programs of the New Cinema Festival – the work of Angus McLise [sic], Nam June Paik, and Jerry Joffen [sic] – dissolved the edges of this art called cinema into a frontiersland mystery." MacLise's entry also made a lasting impression on the playwright Richard Foreman, who praised it years later in an interview. According to Sterling Morrison, Andy Warhol's multimedia shows (Andy Warhol Uptight and the Exploding Plastic Inevitable) were based on similar works by MacLise and Heliczer, which they called "ritual happenings."

Angus William MacLise (March 14, 1938 – June 21, 1979) was an American percussionist, composer, poet, occultist and calligrapher, known as the first drummer for the Velvet Underground who abruptly quit due to disagreements with the band's ethic.

Angus MacLise, rodným jménem Angus William MacLise, (4. března 1938 Bridgeport, Connecticut, USA − 21. června 1979 Káthmándú, Nepál) byl americký hudebník, básník, herec, novinář, učitel a kaligraf. V roce 1965 spoluzaložil hudební skupinu, ze které však odešel ještě dříve, než stačila nahrát jakékoliv nahrávky a předtím, než se jejím manažerem stal Andy Warhol. Před svým působením v hrál v uskupení kolem La Monte Younga, kde se seznámil s Johnem Calem, který později také hrál s Velvet Underground. Spolu s dalšími avantgardními hudebníky pořídil řadu nahrávek, které po více než čtyřiceti letech vyšly na několika albech. Mimo svou hudební činnost vydal několik sbírek básní, nahrával hudbu k filmům a v některých undergroundových filmech i hrál.


Creation and recording.

The original recording of the song is one of the duo's most highly produced, and took over 100 hours to record. The recording was performed at multiple locations, including St. Paul's Chapel (Columbia University) in New York City and Columbia studios in Nashville.  The version originally released by the duo features an instrumental melody played in unison on pedal steel guitar played by Curly Chalker and piccolo trumpet. The song also features a bass harmonica, played by Charlie McCoy, heard during the second and final verses.  In the magazine "Fretboard Journal" Fred Carter, Jr. recounts:  I had a baby Martin, which is a 000-18, and when we started the record in New York with Roy Halee, the engineer, and Paul [Simon] was playin' his Martin—I think it's a D-18 and he was tuned regular—he didn't have the song totally written lyrically, but he had most of the melody. And so all I was hearin' was bits and pieces while he was doin' his fingerpicking... I think he was fingerpicking in an open C. I tried two or three things and then picked up the baby Martin, which was about a third above his guitar, soundwise.  And I turned down the first string to a D, and tuned up the bass string to a G, which made it an open-G tuning, except for the fifth string, which was standard. Did some counter fingerpicking with him, just did a little backward roll, and lucked into a lick. And that turned into that little roll, and we cut it, just Paul and I, two guitars. Then we started to experiment with some other ideas and so forth. At the end of the day, we were still on the song. Garfunkel was amblin’ around the studio, hummin’, and havin’ input at various times. They were real scientists. They’d get on a part, and it might be there [unfinished] six weeks later.  On my guitar, they had me miked with about seven mics. They had a near mic, a distant mic, a neck mic, a mic on the hole. They even miked my breathing. They miked the guitar in back. So Roy Halee was a genius at getting around. The first time we were listenin’, they killed the breathing mic. And they had an ambient mic overhead, which picked up the two guitars together, I suppose. And so, I was breathin’, I guess, pretty heavy in rhythm. And they wanted to take out that noise, and they took it out and said, ‘Naw, we gotta leave that in.’ That sounds almost like a rhythm on the record. So they left the breathin’ mic on for the mix. I played Tele on it and a 12-string, three or four guitars on it. I was doing different guitar parts. One was a chord pattern and rhythm pattern. Did the Dobro lick on the regular six-string finger Dobro—not a slide Dobro.  I never heard the total record until I heard it on the air... I thought: That’s the greatest record I heard in my life, especially after the scrutiny and after all the time they spent on it and breakin’ it apart musically and soundwise and all of it. There was some magic in the studio that day, and Roy Halee captured it. Paul and I had a really nice groove.  The song has only one drumbeat, and played during the 'lie-la-lie' refrain. The session drummer Hal Blaine created the huge drum sound with the help of producer Roy Halee, who found a spot for the drums in front of an elevator in the Columbia offices. The recording of the drum was recorded as the song was being played live by the musicians. Blaine would pound the drums at the end of the "Lie la lie" vocals that were playing in his headphones, and at one point, an elderly security guard got a big surprise when he came out of the elevator and was startled by Blaine's thunderous drums. Hal Blaine recounted the recording process, "There we were with all these mic cables, my drums, and a set of headphones," says Blaine. "When the chorus came around — the 'lie-la-lie' bit — Roy had me come down on my snare drum as hard as I could. In that hallway, right next to this open elevator shaft, it sounded like a cannon shot! Which was just the kind of sound we were after."

Lyric.

The song's lyric takes the form of a first-person lament, as the singer describes his struggles to overcome loneliness and poverty in New York City. The final verse switches to a third-person sketch of a boxer, who, despite the fact that "he carries the reminders of every glove that laid him down or cut him till he cried out", "I am leaving, I am leaving"—"but", the lyrics continue, "the fighter still remains."  The chorus of the song is wordless, consisting of a nine-time chant of "lie-la-lie". Simon stated that this was originally intended only as a placeholder, but became part of the finished song.  I didn't have any words! Then people said it was 'lie' but I didn't really mean that. That it was a lie. But, it's not a failure of songwriting, because people like that and they put enough meaning into it, and the rest of the song has enough power and emotion, I guess, to make it go, so it's all right. But for me, every time I sing that part... [softly], I'm a little embarrassed.  It has sometimes been suggested that the words represent a "sustained attack on Bob Dylan". Under this interpretation, Dylan is identified by his experience as an amateur boxer, and the "lie-la-lie" chorus represents allegations of Dylan lying about his musical intentions. Biographer Marc Eliot wrote in "Paul Simon: A Life", "In hindsight, this seems utterly nonsensical."  Bob Dylan in turn covered the song on his "Self Portrait" album, replacing the word "glove" with "blow." Paul Simon himself has suggested that the lyrics are largely autobiographical, written during a time when he felt he was being unfairly criticized:  I think I was reading the Bible around that time. That's where I think phrases such as "workman's wages" came from, and "seeking out the poorer quarters". That was biblical. I think the song was about me: everybody's beating me up, and I'm telling you now I'm going to go away if you don't stop.  It was during the recording of "The Boxer" that Art Garfunkel met his future wife, Linda Grossman. As he recalled: During a New York City concert in October 2010, Paul Simon stopped singing midway through "The Boxer" to tell the story of a woman who stopped him on the street to tell him that she edits the song when singing it to her young child. Simon told the audience that she removed the words "the whores" and altered the song to say, "I get no offers, just a come-on from "toy stores" on Seventh Avenue." Simon laughingly commented that he felt that it was "a better line."  On 3 June 2016 at his concert in Berkeley, California, Paul Simon again stopped singing partway through "The Boxer", this time to announce in one sentence breaking news: "I’m sorry to tell you this in this way, but Muhammad Ali passed away." He then finished the song with the last verse modified as: "In the clearing stands a boxer and a fighter by his trade..."

Additional verse.

"The Boxer" was originally written with a verse that is not present in the "Bridge over Troubled Water" version: This verse was performed by Simon & Garfunkel on tour in November 1969 (this version of the song is included on the "Live 1969" album), and sometimes by Simon in solo after the duo's breakup (on his "" album and on "Late Night with David Letterman" in 1987). The duo also added the verse on "Saturday Night Live" in 1975 and when they reunited for "The Concert in Central Park" in 1981. Simon in March 30th 2020 released a YouTube version dedicated to fellow New Yorkers during the Coronavirus pandemic including this verse.

Subsequent versions.

Cover versions of the song have been recorded by Me First and the Gimme Gimmes, Bob Dylan, Neil Diamond, Emmylou Harris, The Samples, Paula Fernandes, Tommy Fleming, Hell Or Highwater, The Celtic Tenors, Bruce Hornsby, Cake and Jonne Järvelä; Harris' version reached the top fifteen on the US country charts in June 1980. Joan Baez has also made the song a staple of her live concert performances, from the late 1970s to the present, including once in Italy with the Italian songwriter Francesco De Gregori, who was also singing this song during his concerts; Baez performed the song with Paul Simon and Richard Thompson at her 75th Birthday Concert at New York's Beacon Theater in January 2016. Mumford and Sons' 2012 album "Babel" includes a cover of the song, which features Jerry Douglas and Simon himself. Waylon Jennings also recorded a version of this song on his 1996 album "Right for the Time".  Simon sang the song to open "Saturday Night Live" on September 29, 2001, the first live show following the September 11, 2001 attacks on New York City and Washington, DC.  In 2007, Simon was awarded the inaugural Gershwin Prize by the Library of Congress where "The Boxer" was performed live by Jerry Douglas, Shawn Colvin and Alison Krauss. Also in 2007, country music artist Deana Carter released a cover of the song on her sixth studio album, "The Chain", which was recorded as a duet with Harper Simon. In 2008, The Bluecoats Drum and Bugle Corps performed "The Boxer" as their ballad for Drum Corps International. In 2018, Jess & Matt covered the song on their album, "Songs from the Village".

"The Boxer" is a song recorded by the American music duo Simon & Garfunkel from their fifth studio album, "Bridge over Troubled Water" (1970). Produced by the duo and Roy Halee, it was released as the lead single from the album on March 21, 1969. The song, written by Paul Simon, is a folk rock ballad that variously takes the form of a first-person lament as well as a third-person sketch of a boxer. The lyrics are largely autobiographical and partially inspired by the Bible, and were written during a time when Simon felt he was being unfairly criticized. The song's lyrics discuss poverty and loneliness. It is particularly known for its plaintive refrain, in which they sing 'lie-la-lie', accompanied by a heavily reverbed snare drum.

„The Boxer“ je folk rocková píseň od Simona & Garfunkela. Časopis "Rolling Stone" zařadil tuto píseň na 105. místo seznamu 500 nejlepších písní všech dob.


Overview.

The Kebaran is the last Upper Paleolithic phase of the Levant (Syria, Jordan, Lebanon and Israel). The Kebarans were characterized by small, geometric microliths, and are thought to lack the specialized grinders and pounders found in later Near Eastern cultures. Small stone tools called microliths and retouched bladelets can be found for the first time. The microliths of this culture period differ greatly from the Aurignacian artifacts. The Kebaran is preceded by the Athlitian phase of the Upper Paleolithic Levantine Aurignacian (formerly called Antelian) and followed by the proto-agrarian Natufian culture of the Epipalaeolithic. The appearance of the Kebarian culture, of microlithic type implies a significant rupture in the cultural continuity of Levantine Upper Paleolithic. The Kebaran culture, with its use of microliths, is associated with the use of the bow and arrow and the domestication of the dog. The Kebaran is also characterised by the earliest collecting of wild cereals, known due to the uncovering of grain grinding tools. It was the first step towards the Neolithic Revolution. The Kebaran people are believed to have practiced dispersal to upland environments in the summer, and aggregation in caves and rockshelters near lowland lakes in the winter. This diversity of environments may be the reason for the variety of tools found in their kits.  Situated in the Terminal Pleistocene, the Kebaran is classified as an Epipalaeolithic society. They are generally thought to have been ancestral to the later Natufian culture that occupied much of the same range, who advanced the use of wild grains, building on the Kebaran traits to acquire some symptoms of permanent settlements, agriculture, and hints of civilization.

Artistic expression.

Evidence for symbolic behavior of Late Pleistocene foragers in the Levant has been found in engraved limestone plaquettes from the Epipaleolithic open-air site Ein Qashish South in the Jezreel Valley, Israel. The engravings were uncovered in Kebaran and Geometric Kebaran deposits (ca. 23,000 and ca. 16,500 BP), and include the image of a bird, the first figurative representation known so far from a pre-Natufian Epipaleolithic site, together with geometric motifs such as chevrons, cross-hatchings and ladders. Some of the engravings closely resemble roughly contemporary European finds, and may be interpreted as "systems of notations" or "artificial memory systems" related to the timing of seasonal resources and related important events for nomadic groups.  Similar looking signs and patterns are well known from the context of the local Natufian, a final Epipaleolithic period when sedentary or semi-sedentary foragers started practicing agriculture.  The engravings found in Ein Qashish South involve symbolic conceptualization. They suggest that the figurative and non-figurative images comprise a coherent assemblage of symbols that might have been applied in order to store, share and transmit information related to the social activities and the subsistence of mobile bands. They also suggest a level of social complexity in pre-Natufian foragers in the Levant. The apparent similarity in graphics throughout the Late Pleistocene world and the mode of their application support the possibility that symbolic behavior has a common and much earlier origin.

The Kebaran or Kebarian culture, also known as the Early Near East Epipalaeolithic, was an archaeological culture in the eastern Mediterranean area (c. 18,000 to 12,500 BP), named after its type site, Kebara Cave south of Haifa. The Kebaran were a highly mobile nomadic population, composed of hunters and gatherers in the Levant and Sinai areas who used microlithic tools.

Kebaran je mladopaleolitická kultura, která byla rozšířena ve východním Středomoří asi od 18 tisíc do 12,5 tisíc př. n. l. Pojmenována je podle jednoho ze svých typických nalezišť v jeskyni Kebara u Haify. Následující kulturou v této oblasti je natúfien.


Biography.

Antoine Hennepin was born in Ath in the Spanish Netherlands (present-day Hainaut, Belgium). In 1659, while he was living in the town of Béthune, it was captured by the army of Louis XIV of France. Henri Joulet, who accompanied Hennepin and wrote his own journal of their travels, called Hennepin a Fleming (a native of Flanders), although Ath was and still is a Romance-speaking area found in present-day Wallonia. Joulet's use of the term "Fleming" here denotes a lack of understanding or generalization of this demonym, which was common at that time. Hennepin joined the Franciscans, and preached in Halles (Belgium) and in Artois. He was then put in charge of a hospital in Maestricht. He was also briefly an army chaplain.  At the request of Louis XIV, the Récollets sent four missionaries to New France in May 1675, including Hennepin, accompanied by René Robert Cavelier, Sieur de la Salle. In 1676 Hennepin went to the Indian mission at Fort Frontenac, and from there to the Mohawks.  In 1678, Hennepin was ordered by his provincial superior to accompany La Salle on an expedition to explore the western part of New France. Hennepin departed in 1679 with La Salle from Quebec City to construct the 45-ton barque Le Griffon, sail through the Great Lakes, and explore the unknown West.  Hennepin was with La Salle at the construction of "Fort Crevecoeur" (near present-day Peoria, Illinois) in January 1680. In February, La Salle sent Hennepin and two others as an advance party to search for the Mississippi River. The party followed the Illinois River to its junction with the Mississippi. Shortly thereafter, Hennepin was captured by a Sioux war party and carried off for a time into what is now the state of Minnesota.  In September 1680, thanks to Daniel Greysolon, Sieur Du Lhut, Hennepin and the others were given canoes and allowed to leave, eventually returning to Quebec. Hennepin returned to France and was never allowed by his order to return to North America. Local historians credit the Franciscan Récollet friar as the first European to step ashore at the site of present-day Hannibal, Missouri.  Two great waterfalls were brought to the world's attention by Hennepin: Niagara Falls, with the most voluminous flow of any in North America, and the Saint Anthony Falls in what is now Minneapolis, the only natural waterfall on the Mississippi River. In 1683, he published a book about Niagara Falls called "A New Discovery". The Regionalist painter Thomas Hart Benton created a mural, "Father Hennepin at Niagara Falls" for the New York Power Authority at Lewiston, New York.

Books by Hennepin.

Hennepin authored:  The truth of much of Hennepin's accounts has been called into question — or flatly denied — notably by American historian Francis Parkman, himself also cited for cultural bias, including against both French and Native Americans.

Legacy.

Places named after Hennepin are found in the United States and Canada:  Illinois:  Michigan: Minnesota: New York:  Niagara Falls, Ontario:

Pop culture references to Hennepin.

The final track on the 2006 album 13 by Brian Setzer is entitled "The Hennepin Avenue Bridge." Its lyrics tell a fictitious story of Fr. Hennepin and his leap from the Hennepin Avenue Bridge over the Mississippi River.

Father Louis Hennepin, O.F.M. baptized Antoine, (12 May 1626 – 5 December 1704) was a Belgian Roman Catholic priest and missionary of the Franciscan Recollet order (French: "Récollets") and an explorer of the interior of North America.

Jean Louis Hennepin (12. května 1626, Ath, Belgie – cca 1705, Řím, Itálie) byl francouzský misionář a cestovatel. I když se narodil v Belgii, získal v roce 1659 občanství Francie. V roce 1675 je vyslán králem Ludvíkem XIV. do Nové Francie. V Americe se v roce 1678 připojil k výpravě francouzského cestovatele Caveliera de La Salle při hledání řeky Mississippi. V roce 1680 při plavbě po řece byl zajat indiánským kmenem Siouxů a byl nucen s nimi putovat na západ od Velkých jezer, čímž poznal rozsáhlé území, která nebyla dosud prozkoumána. Po osvobození se vrátil přes Velká jezera kolem Niagarských vodopádů do Quebecu a poté do Francie.


History.

Neuromarketing is a recent emerging disciplinary field in marketing. It also borrows similar tools and methodologies from other fields such as neuroscience and psychology. The term "neuromarketing" was introduced in 2002 by Dutch marketing professor Ale Smidts, but research in the field can be found earlier in 1990s.  Gerald Zaltman is associated with one of the first experiments in neuromarketing. In the late 1990s, both Gemma Calvert (UK) and Gerald Zaltman (USA) had established consumer neuroscience companies. Marketing professor Gerald Zaltman patented the "Zaltman metaphor elicitation technique" (ZMET) in the 1990s with the purpose to sell advertising. ZMET explored the human subconscious with specially selected sets of images that cause a positive emotional response and activate hidden images, metaphors stimulating the purchase. Graphical collages were constructed on the base of detected images, which lays in the basis for commercials. ZMET quickly gained popularity among hundreds of major companies-customers including Coca-Cola, General Motors, Nestle, Procter & Gamble. Zaltman and his associates were employed by those organizations to investigate brain scans and observe neural activity of consumers. In 1999, he began to use the fMRI to show correlations between consumer brain activity and marketing stimuli. Zaltman's marketing research methods enhanced psychological research used in marketing tools.  The term 'neuromarketing' was first published in 2002 in an article by "BrightHouse", a marketing firm based in Atlanta. BrightHouse sponsored neurophysiologic (nervous system functioning) research into marketing divisions; they constructed a business unit that used fMRI scans for market research purposes. The firm rapidly attracted criticism and disapproval concerning conflict of interest with Emory University, who helped establish the division. This enterprise disappeared from public attention and now works with over 500 clients and consumer-product businesses. The "Pepsi Challenge", a blind taste test of Coca-Cola and Pepsi, was a study conducted in 2004 that brought attention to neuromarketing. In 2006, Dr. Carl Marci (USA) founded Innerscope Research that focused on Neuromarketing research. Innerscope research was later acquired by the Nielsen Corporation in May 2015 and renamed "Nielsen Consumer Neuroscience". Unilever's "Consumer Research Exploratory Fund" (CREF) too had been publishing white papers on the potential applications of neuromarketing.

Concept.

Collecting information on how the target market would respond to a product is the first step involved for organisations advertising a product. Traditional methods of marketing research include focus groups or sizeable surveys used to evaluate features of the proposed product. Some of the conventional research techniques used in this type of study are the measurement of cardiac electrical activity (ECG) and electrical activity of the dermis (AED) of subjects. However, it results in an incompatibility between market research findings and the actual behavior exhibited by the target market at the point of purchase. Human decision-making is both a conscious and non-conscious process in the brain, and while this method of research succeeded in gathering explicit (or conscious) emotions, it failed to gain the consumer's implicit (or unconscious) emotions. Non-conscious information has a large influence in the decision-making process.  A greater understanding of human cognition and behaviour has led to the integration of biological and social sciences: Neuromarketing, a recent method utilized to understand consumers. The concept of neuromarketing combines marketing, psychology and neuroscience. Research is conducted around the implicit motivations to understand consumer decisions by non-invasive psychoanalysis methods of measuring brain activity. These include electroencephalography (EEG), magnetoencephalography (MEG) and functional magnetic resonance imaging (fMRI), eye tracking, electrodermal response measures and other neuro-technologies. Researchers investigate and learn how consumers respond and feel when presented with products and/or related stimuli. Observations can then be correlated with a participants surmised emotions and social interactions. Market researchers use this information to determine if products or advertisements stimulate responses in the brain linked with positive emotions. The concept of neuromarketing was therefore introduced to study relevant human emotions and behavioral patterns associated with products, ads and decision-making. Neuromarketing provides models of consumer behavior and can also be used to re-interpret extant research. It provides theorization of emotional aspects of consumer behavior.  Consumer behavior investigates both an individuals conscious choices and underlying brain activity levels. For example, neural processes observed provide a more accurate prediction of population-level data in comparison to self-reported data. Neuromarketing can measure the impacts of branding and market strategies before applying them to target consumers. Marketers can then advertise the product so that it communicates and meets the needs of potential consumers with different predictions of choice.  Neuromarketing is also used with Big Data in understanding modern-day advertising channels such as social networking, search behavior and website engagement patterns.. Agencies like Darling help organizations use this kind of neuroscience in their marketing to better communicate with consumers at the subconscious level.

Segmentation and positioning.

Based on the proposed neuromarketing concept of decision processing, consumer buying decisions rely on either System 1 or System 2 processing or Plato's two horses and a chariot. System 1 thinking was intuitive, unconscious, effortless, fast and emotional. In contrast, decisions driven by System 2 were deliberate, conscious reasoning, slow and effortful. Zurawicki says that buying decisions are driven by one's mood and emotions; concluding that compulsive and or spontaneous purchases were driven by System 1.  Young people represent a high share of buyers in many industries including the electronics market and fashion industry. Due to the development of brain maturation, adolescents are subject to strong emotional reaction, although can have difficulty identifying the emotional expression of others. Marketers can use this neural information to target adolescents with shorter, attention-grabbing messages (using various media, like sound or moving images), and ones that can influence their emotional expressions clearly. Teenagers rely on more 'gut feeling' and don't fully think through consequences, so are mainly consumers of products based on excitement and impulse. Due to this behavioural quality, segmenting the market to target adolescent's can be beneficial to marketers that advertise with an emotional, quick response approach.  Marketers use segmentation and positioning to divide the market and choose the segments they will use to position themselves to strategically target their ad. Using the neurological differences between genders can alter target market and segment. Research has shown that structural differences between the male and female brain has strong influence on their respective decisions as consumers.

Criticism.

Pseudoscience.

Many of the claims of companies that sell neuromarketing services are not based on actual neuroscience and have been debunked as hype, and have been described as part of a fad of pseudoscientific "neuroscientism" in popular culture. Joseph Turow, a communications professor at the University of Pennsylvania, dismisses neuromarketing as another reincarnation of gimmicky attempts for advertisers to find non-traditional approaches toward gathering consumer opinion. He is quoted in saying, "There has always been a holy grail in advertising to try to reach people in a hypodermic way. Major corporations and research firms are jumping on the neuromarketing bandwagon, because they are desperate for any novel technique to help them break through all the marketing clutter. 'It's as much about the nature of the industry and the anxiety roiling through the system as it is about anything else."

Privacy Invasion.

Some consumer advocate organizations, such as the Center for Digital Democracy, have criticized neuromarketing's potentially invasive technology. Neuromarketing is a controversial field that uses medical technologies to build successful marketing campaigns according to Gary Ruskin, an Executive Director of Commercial Alert. The issue in privacy comes from consumers being unaware of the purpose of the research, how the results will be used, or haven't even given consent in the first place. Some are even afraid that neuromarketers will have the ability to read a consumer's mind and put them at "risk of discrimination, stigmatization, and coercion."  However, many industry associations across the world have taken measures to address the issue around privacy. For example, The Neuromarketing Science & Business Association has established general principles and ethical guidelines surrounding best practices for researchers to adhere to such as:  The above is not a full list of what researchers should abide by, but it mitigates the risk of researchers breaching a participant's privacy if they want their research to be academically recognized.

Manipulation.

Jeff Chester, the executive director of the Center for Digital Democracy, claims that neuromarketing is “having an effect on individuals that individuals are not informed about." Further, he claims that though there has not historically been regulation on adult advertising due to adults having defense mechanisms to discern what is true and untrue, regulations should now be placed: "if the advertising is now purposely designed to bypass those rational defenses... protecting advertising speech in the marketplace has to be questioned."  Advocates nonetheless argue that society benefits from neuromarketing innovations. German neurobiologist Kai-Markus Mueller promotes a neuromarketing variant, "neuropricing", that uses data from brain scans to help companies identify the highest prices consumers will pay. Müller says "everyone wins with this method," because brain-tested prices enable firms to increase profits, thus increasing prospects for survival during economic recession.

Limitations.

Neuromarketing isn't a replacement of traditional marketing methods but, rather, a field to be used alongside traditional methods to gain a clearer picture of a consumer's profile. Neuromarketing provides insights into the implicit decisions of a consumer, but its still important to know the explicit decisions and attractions of consumers.  To run a complete marketing research, the usage of both neuromarketing and traditional marketing experiments are necessary. As we know that customers say what they think they should say, not what they feel, an accurate research will happen in two steps: 1. understand what drive customers attention, emotions and memories towards the brand or the product, using neuromarketing methodologies. 2. conduct conventional marketing researches such as focus group to establish the marketing mix.  Neuromarketing is also limited by the high costs of conducting research. Research requires a variety of technologies such as fMRI, EEG, biometrics, facial coding, and eye-tracking to learn how consumers respond and feel to stimuli. However, the cost to rent or own these technologies and even then a lab may be needed to operate the aforementioned technologies.

In Popular Culture.

The Off-Broadway play "The Neurology of the Soul", by Edward Einhorn, was set at a fictional neuromarketing firm. , A brief about neuromarketing by Shashira HP

Neuromarketing is a commercial marketing communication field that applies neuropsychology to marketing research, studying consumers' sensorimotor, cognitive, and affective response to marketing stimuli. Neuromarketing seeks to understand the rationale behind how consumers make purchasing decisions and their responses to marketing stimuli in order to apply those learnings in the marketing realm. The potential benefits to marketers include more efficient and effective marketing campaigns and strategies, fewer product and campaign failures, and ultimately the manipulation of the real needs and wants of people to suit the needs and wants of marketing interests.

Neuromarketing studuje funkce mozku při rozhodování o koupi produktu. Jedná se o marketingový obor, spadajíci pod neuroekonomii, který sleduje, jak mozek reaguje na určité podněty obsažené v reklamě, značku a pod. Pokouší se v mozku najít „spouštěč nákupu“.