History.

Imperial Russian nationalism.

The Russian motto "Orthodoxy, Autocracy, and Nationality" was coined by Count Sergey Uvarov and adopted by Emperor Nicholas I as official ideology. Three components of Uvarov's triad were:  The Slavophile movement became popular in 19th-century Russia. Slavophiles opposed influences of Western Europe in Russia and were determined to protect Russian culture and traditions. Aleksey Khomyakov, Ivan Kireyevsky, and Konstantin Aksakov are credited with co-founding the movement. A notable folk revival in Russian art was loosely related to Slavophilia. Many works concerning Russian history, mythology and fairy tales appeared. Operas by Nikolai Rimsky-Korsakov, Mikhail Glinka and Alexander Borodin; paintings by Viktor Vasnetsov, Ivan Bilibin and Ilya Repin; and poems by Nikolay Nekrasov, Aleksey Konstantinovich Tolstoy, among others, are considered masterpieces of Russian romantic nationalism. According to Fyodor Tyutchev, a notable Russian poet of 19th century:  Pan-Slavism, an ideal of unity of all Slavic Orthodox Christian nations, gained popularity in the mid- to late 19th century. Among its major ideologists were Nikolay Danilevsky. Pan-Slavism was fueled by and was the fuel for Russia's numerous wars against the Ottoman Empire with the goal of liberating Orthodox nations, such as Bulgarians, Romanians, Serbs and Greeks, from Muslim rule. The final goal was Constantinople; the Russian Empire still considered itself the "Third Rome" and saw its duty as conquering the "Second Rome". Pan-Slavism also played a key role in Russia's entry into World War I, since the 1914 war against Serbia by Austria-Hungary triggered Russia's response.  In the beginning of 20th century, new nationalist and rightist organizations and parties emerged in Russia, such as the Russian Assembly, the Union of the Russian People, the Union of Archangel Michael and others. Their motto was "Russia for Russians". These parties remained monarchist and anti-Semitic; they were organized by wealthy, powerful aristocrats such as Vladimir Purishkevich and Nikolai Yevgenyevich Markov.

Soviet nationalism.

The Bolshevik revolutionaries who seized power in 1917 were nominally "antinationalists" and "antipatriots". The newborn Soviet republic under Vladimir Lenin proclaimed internationalism as its official ideology using the Russian language—which was also the language of their party and government. Since Russian patriotism served as a legitimizing prop of old order, Bolshevik leaders were anxious to suppress its manifestations and ensure its eventual extinction. They officially discouraged Russian nationalism and remnants of Imperial patriotism, such as the wearing of military awards received before Civil War. Some their followers were unlike minded; in non-Russian territories Bolshevik power was often regarded as renewed Russian imperialism during 1919 to 1921. After 1923 a policy of nativization, which provided government support for non-Russian culture and languages within the non-Russian republics, was adopted.  Romantic Russian nationalist themes appeared in art, such as the historical epic films by Sergei Eisenstein and Vsevolod Pudovkin, as well as Sergei Sergeyev-Tsensky's patriotic novels.  The creation of an international communist state under control of the workers was perceived by some as accomplishment of Russian nationalistic dreams. Poet Pavel Kogan described his feelings of the Soviet patriotism just before World War II:  According to Nikolai Berdyaev: The Soviet Union's war against Nazi Germany became known as the Great Patriotic War, recalling the previous use of the term in the Napoleonic Wars, the Patriotic War. The Soviet state called for its citizens to defend the "Motherland"; Stalin proclaimed the slogan "Not a step back!". At the same time, Nazi Germany organised collaborationist military units such as Andrey Vlasov's Russian Liberation Army and Pyotr Krasnov's Cossacks. During the Second World War, the strong patriotism of Vlasov's army presented Russians with an alternative to the state-centered nationalism promoted by the Stalin's government. In 1944, the Soviet Union abandoned its communist anthem The Internationale and adopted new national anthem.

Contemporary nationalism.

After the dissolution of the Soviet Union, the Russian Orthodox Church restored much of its Tsarist-Russian influence on the society. The church became a common source of Russian pride and nationalism. The official ideology did not completely turn to Imperial monarchist sentiment but tried to maintain a balance between Tsarist and Soviet ideals. The ruling United Russia party said its view of Russia is that of a multi-national republic and calls for national tolerance one of its key platforms. Vladimir Putin's government is also using natalist policies by giving rewards and promoting more children in families.  Many nationalist movements, both radical and moderate, have arisen in modern Russia. One of the oldest and most popular is Vladimir Zhirinovsky's right-wing populist LDPR, which had been a member of the State Duma since its creation in 1993. Rodina was a popular moderate left-wing nationalist party under Dmitry Rogozin, which eventually abandoned its nationalist ideology and merged with the larger socialist party A Just Russia. One of the more radical, ultranationalist movements is Russian National Unity, a far-right group that organises paramilitary brigades of its younger members. Others include BORN (Militant Organization of Russian Nationalists) which was involved in the murder of Stanislav Markelov, the neo-monarchist Pamyat, the Union of Orthodox Banner-Bearers, and the Movement Against Illegal Immigration, which revived the slogan "Russia for Russians" and usually attract young skinheads. These parties organise an annual rally called the Russian March.  A rise of radical nationalism in modern Russia is considered to be a result of several factors; the humiliation felt after the fall of the Soviet Union; a response to the activity of ethnic criminal groups from the South Caucasus and Central Asia and ongoing illegal immigration from these regions; and a reaction to modern, Russian-enforced national tolerance. It is also alleged that the FSB is selectively using nationalist extremism to drive sentiments in the society in desired direction. In modern Russia, the term националист () or "nationalist" bears the negative connotation of far-right nationalists and neo-fascists, rather than in the word's original meaning. Some parties like United Russia use the word as a pejorative synonymous with chauvinism regarding their right-wing opponents.  The financial crisis starting 2008-2009 saw the anti-immigration sentiment become more accepted in Russia because of an increased concern that immigrants—particularly illegals—would compete for jobs with the domestic workforce, and if not getting jobs, would turn to crime.  Outside Russia, with the fall of Soviet ideology of enforced internationalism, national clashes among the ethnic groups within its former borders erupted. Because of repressive Soviet occupation politics and the privileged status of Russians in Soviet society, some post-Soviet states rejected all things Russian and Soviet as a symbols of occupation, and particularly in the Baltic states and Georgia, with some embracing anti-Russian sentiment.  Following the 2014 Russian military intervention in Ukraine, United Russia has increasingly relied on Russian nationalism for support. Politicians like Vladimir Zhirinovsky started building their narrative on categorically denying Ukrainian ethnos. At the same time, the ruling party cultivated close ties with Eurosceptic, far-right and far-left political movements, supporting them financially and inviting them to Eurasian conferences in Crimea and Saint Petersburg.  In March 2015, the Russian nationalist party Rodina organized the International Russian Conservative Forum in Saint Petersburg, inviting a majority of its far-left and far-right (including openly neo-Nazi) supporters from abroad, many of whom had visited a similar event in Crimea in 2014: Udo Voigt, Jim Dowson, Nick Griffin, Jared Taylor, Roberto Fiore, Georgios Epitidios (Golden Dawn) and others.

Extremist nationalism.

"Extremist nationalism in Russia" refers to many far-right and a few far-left ultra-nationalist movements and organizations. Of note, the term "nationalism" in Russia often refers to extremist nationalism. However, it is often mixed up with "fascism" in Russia. While this terminology does not exactly match the formal definitions of fascism, the common denominator is chauvinism. In all other respects the positions vary over a wide spectrum. Some movements hold a political position that the state must be an instrument of nationalism (such as the National Bolshevik Party, headed by Eduard Limonov), while others (for example, Russian National Unity) resolve to vigilante tactics against the perceived "enemies of Russia" without going into politics.  Historically, the first prototype of such groups started with the Black Hundreds in Imperial Russia. More recent antisemitic, supremacist and neo-fascist organizations include Pamyat, Russian National Socialist Party and others.  In 1997, the Moscow Anti-Fascist Center estimated there were 40 (nationalist) extremist groups operating in Russia. The same source reported 35 extremist newspapers, the largest among these being "Zavtra". In spite of repression by governmental authorities, a far-right extremist movement has established itself in Russia.

Russian nationalism, the Russian version of nationalism, promotes the celebration and appreciation of Russian culture and history, as well as Russian cultural identity and unity. Russian nationalism first rose to prominence in the early 19th century, and became closely related to pan-Slavism, from its origin during the Russian Empire to the Soviet Union and beyond. Although often viewed in ethnic terms, this is not characteristic of Russian nationalism more generally.

Le nationalisme russe est la version russe du nationalisme, promeut la célébration, l'appréciation et l'amour pour la culture et l'histoire (ethniques) russes, ainsi que l'identité et l'unité culturelles russes. Le nationalisme russe a pris naissance au début du et est devenu étroitement lié au panslavisme, depuis son origine pendant l’Empire russe jusqu’à l’ère soviétique et au-delà.


Background.

Hungarian nobiliary historical tradition considered the Turkish peoples the closest relatives of Hungarians. This tradition was preserved in medieval chronicles (such as Gesta Hungarorum and Gesta Hunnorum et Hungarorum, the Chronicon Pictum, and Chronica Hungarorum by Johannes de Thurocz) as early as the 13th century. According to Chronica Hungarorum, the Hungarians are descendants of the Huns, and came from the Asian parts of Scythia, and Turks share this Scythian origin with them. This tradition served as starting point for the scientific research of the ethnogenesis of Hungarian people, which began in the 18th century, in Hungary and abroad. Sándor Kőrösi Csoma (the writer of the first Tibetan-English dictionary) traveled to Asia in the strong belief that he could find the kindred of Magyars in Turkestan, amongst the Uyghurs.  Before the Hungarian conquest of the Carpathian Basin, the Hungarians were semi-nomadic and their culture was similar to other steppe peoples. Most scientists presume a Uralic homeland for the ancient Hungarian conquerors (mainly on genealogical linguistic grounds, and on the basis of genetic research carried out on a limited number of ancient skeletons found in graves from the age of the conquest). The proto-Hungarian tribes lived in the Eurasian forest steppe zone, and so these ancient ancestors of Hungarians and their relationship with other equestrian nomadic peoples has been and still is a topic for research.  As a scientific movement, Turanism was concerned with research into Asian cultures in the context

Its roots, origins, and development.

The beginnings.

Friedrich Max Müller, the German Orientalist and philologist, published and proposed a new grouping of the non-Aryan and non-Semitic Asian languages in 1855. In his work "The languages of the seat of war in the East. With a survey of the three families of language, Semitic, Arian, and Turanian." he called these languages "Turanian". Müller divided this group into two subgroups, the Southern Division, and the Northern Division. Hungarian language was classed by him as a member of this Northern Division, in the Finnic Class, in the Ugric Branch, with the Voguls and Ugro-Ostiakes as closest relatives. (In the long run, his evolutionist theory about languages' structural development, tying growing grammatical refinement to socio-economic development, and grouping languages into 'antediluvian', 'familial', 'nomadic', and 'political' developmental stages proved unsound, but his Northern Division was renamed and re-classed as the Ural-Altaic languages.) His theory was well known and widely discussed in international scientific circles, and was known to Hungarian scientists as well. He was invited to Budapest, the Hungarian capital, by Ármin Vámbéry, the Orientalist and Turkologist, in 1874, and become an associate member of the Hungarian Aceademy of Sciences. His public lectures received wide attention, and his terms (originally borrowed by him from Persian texts like the Shahnameh which used the

The role of the Habsburgs.

Hungary's constitution and her territorial integrity were abolished, and her territory was partitioned into crown lands. This signalled the start of a long era of absolutist rule. The Habsburgs introduced dictatorial rule, and every aspect of Hungarian life was put under close scrutiny and governmental control. Press and theatrical/public performances were censored.  German became the official language of public administration. The edict issued on 1849.X.9. (Grundsätze für die provisorische Organisation des Unterrichtswesens in dem Kronlande Ungarn), placed education under state control, the curriculum was prescribed and controlled by the state, the education of national history was confined, and history was educated from a Habsburg viewpoint. Even the bastion of Hungarian culture, the Academy was kept under control: the institution was staffed with foreigners,

Ármin Vámbéry's work.

Vámbéry started his second journey into Asia in July 1861 with the approval and monetary help of the Akadémia and its president, Emil Dessewffy. After a long and perilous journey he arrived at Pest in May 1864. He went to London to arrange the English language publication of his book about the travels. "Travels in Central Asia" and its Hungarian counterpart "Közép-ázsiai utazás" were published in 1865. Thanks to his travels Vámbéry became an internationally renowned writer and celebrity. He became acquainted with members of British social elite. The

The "Ugric-Turkic War".

"The fight, which my fanatical opponents, regrettably, brought over also to the field of personal remarks, lasted quite a long time, but the old Latin proverb was proven once again: Philologi certant, tamen sub judice lis."  ""A küzdelem, melyet fanatikus ellenfeleim, sajnos, átvittek a személyeskedés terére is, eltartott jó sokáig, de ezúttal is bevált a régi diák közmondás: Philologi certant, tamen sub judice lis."" in: Vámbéry Ármin: Küzdelmeim. Ch. IX. p. 130.  Vámbéry's work was criticized by Finno-Ugrist József Budenz in "Jelentés Vámbéry Ármin magyar-török szóegyezéséről.", published in 1871. Budenz criticised Vámbéry and his work in an aggressive, derogatory style, and questioned Vámbéry's (scientific) honesty and credibility. (Budenz's work was investigated and analysed by a group of modern linguists, and they found it neither as scientific nor as conclusive in the question of the affiliation of Hungarian language, as the author stated.)  The historian Henrik Marczali, linguist Károly Pozder, linguist József Thúry, anthropologist Aurél Török, and others supported Vámbéry.  The Finn-Ugrist Pál Hunfalvy widened the front of the "Ugric-Turk War" with his book "Magyarország ethnographiája.", published in 1876. In this book he stresses the very strong connection between language and nation (p. 48.), tries to prove that the Huns were Finn-Ugric (p. 122.), questions the credibility and origin of the Gestas (p. 295.),

Political Turanism.

Hungarians and their ancestors lived amongst or in direct contact with Turanian/Turkic peoples from time immemorial to 1908. (A common Hungarian-Turkish border ceased to exist after 1908, in the wake of the annexation of Bosnia and Herzegovina and the evacuation of the Sanjak of Novibazar.) These peoples played an eminent role in the birth and formation of Hungarian people, language, culture, state and nation. During the ethnogenesis of Hungarian people Kabar, Jász (Alan), Avar, Bulgar, Besenyő (Pecheneg), Kun (Cuman) tribes and population fragments merged and amalgamated into the Hungarian population.  Hungary warred with the Ottoman Empire for centuries. As a result of a discord of succession Hungary broke up into three parts in the 16th century: one was under Habsburg rule, one became part of the Ottoman Empire (1541.VIII.29.), and the third formed the “keleti Magyar Királyság” (Eastern Hungarian Kingdom)/ “Erdélyi Fejedelemség” (Principality of Transylvania). Erdély became an ally of the Ottomans (1528.II. 29.). The intensive everyday contacts in the one and a half centuries that followed resulted in pronounced Ottoman Turkish influence on Hungarian art and culture from music to jewellery and clothing, from agriculture to warfare. In the last third of the 17th century strife intensified between the Ottomans and the Habsburgs. The main scene of these power struggles was the territory of Hungary. The Ottoman attempts at further territorial expansion failed in the end and the Habsburgs reconquered the Hungarian territories. But there was a conflict in the circles of Hungarian political elite: many members of it were unwilling to swap the Ottoman alliance for direct Habsburg rule. A large group aspired for full independence, but felt Turkish dependence more amenable than Habsburg reign. Thököly's liberation movement and Rákóczi's War of Independence meant the climax of this Turkism. So, as one can see, Turkish orientation had a long tradition in Hungary.  Turkism was reborn in the wake of the 1848-49 War of Independence. During the war Hungary was attacked by the Habsburgs, and many of her ethnic minorities turned against the country. Serious clashes occurred between the Hungarians and the Vlachs of Eastern Hungary and the Serbs of the South. There were serious atrocities against ethnic Hungarians; these events are remembered as "oláhjárások" and "rácjárások" ("Vlach rampages" and "Rascian rampages"). Hungary was defeated with the help of Russian military intervention.  These painful events and experiences changed Hungarians' attitudes profoundly: They began to feel themselves insecure and endangered in their own home. From this time on, Pan-Slavism and Pan-Germanism were seen as serious threats to the existence of Hungary and Hungarians. Hungarians looked for allies and friends to secure their position. They turned towards the rivals of the Habsburgs - to Turkey, to the Italians, even to the Prussians - for support and help. Hungarians were interested in a stable, strong and friendly Turkey, capable of preventing Russian and/or Habsburg expansion in the Balkans.  Hungarian political movements and attempts to regain independence proved unfruitful. At the same time, the Habsburgs were unable to acquire the leading position of the German union, and Germany became united

Turanism and Hungarian fascism.

According to Andrew C. János, while some Hungarian Turanists went as far as to argue they were racially healthier than and superior to other Europeans (including Germans, who were already corrupted by Judaism), others felt more modestly, that as Turanians living in Europe, they might provide an important bridge between East and West and thus play a role in world politics out of proportion of their numbers or the size of their country. This geopolitical argument was taken to absurd extremes by Ferenc Szálasi, head of the Arrow Cross-Hungarist movement, who believed that, owing to their unique historical and geographical

Turanism after 1945.

After the Second World War the Soviet Red Army occupied Hungary. The Hungarian government was placed under the direct control of the administration of the occupying forces. All Turanist organisations were disbanded by the government, and

Turanism after 1989.

Christian Turanists.

A Hungarian non-commissioned officer Ferenc Jós Badiny wrote his book ( Jézus Király, a pártus herceg) "King Jesus, the Parthian prince", where he invented the theory of Jesus the Parthian warrior prince. Many Christian Hungarian Turanists held the view that Jesus Christ was not a Jew but a proto-Hungarian or a “noble of Parthia”. The theory of “Jesus, the Parthian prince” are such, or the revivification of real

Great Kurultáj.

The Great Kurultáj is a tribal assembly based on the common heritage of the peoples of Central Asian nomadic origin. (Azerbaijani, Bashkirs, Bulgarians, Buryats, Chuvash, Gagauz, Hungarians, Karachays, Karakalpaks, Kazakhs, Kyrgyz, Manchus, Mongols, Nogai, Tatars, Turks, Turkmen, Uighurs, Üzbeks, Yakuts etc.) It is also a popular tourist attraction in Hungary (from late 2000s) and Central Asia. The first Kurultáj was

Pseudoscientific theories.

Hungarian Turanism has been characterized by pseudoscientific theories. According to these theories, Hungarians share supposed Ural-Altaic origins with Bulgarians, Estonians, Mongols, Finns, Turkic peoples, and even Japanese people and Koreans. Origins of the Hungarian people with the Huns, Scythians or even Sumerians have been suggested by proponents of these theories. Such beliefs gained widespread support in Hungary in the interwar period. Though since widely discredited, these theories have regained support among certain Hungarian political parties, in particular among Jobbik and certain factions of Fidesz.

Hungarian Turanism () is a diverse phenomenon that revolves around an identification or association of Hungarian history and people with the histories and peoples of Central Asia, Inner Asia or the Ural region. It includes many different conceptions and served as a guiding principle for many political movements. It was most lively in the second half of the 19th century and in the first half of the 20th century. It is related to the concept of Turanism.

Le Touranisme hongrois (en hongrois: Turánizmus / Turanizmus) est un phénomène diversifié qui s'articule autour d'une identification ou d'une association de l'histoire hongroise et des peuples ayant une histoire avec des peuples d'Asie centrale, d'Asie intérieure ou de la région de l'Oural. Il inclut de nombreuses conceptions différentes et a servi de principe directeur à de nombreux mouvements politiques. C'était surtout dans la seconde moitié du et dans la première moitié du. Il est lié au concept de Touranisme.


Early life and career.

Joelle Joanie Siwa was born in Omaha, Nebraska on May 19, 2003 to Jessalynn Siwa ("née" Lombardi), a professional dance instructor from Iowa, and Dr. Tom Siwa, a chiropractor from Nebraska. She has one sibling, an older brother named Jayden Siwa who is also a vlogger.  Siwa was a top-5 finalist on the second season of the series "Abby's Ultimate Dance Competition" and the youngest contestant on season 2. She appeared on the show with her mother and was eliminated in week 9.  Siwa began auditioning for Abby Lee Miller's ALDC dance competition team in 2014 and was selected for the team in early 2015. At the same time, she began to appear on the Lifetime reality show "Dance Moms", which follows the ALDC team.  In May 2016, Siwa released "Boomerang" for digital download and a previous single, "I Can Make U Dance". "Boomerang" addresses the subject of online bullying. Its video has been viewed more than 450 million times and received over 2.5 million likes. In 2018, Siwa was named the Breakout Artist of the Year by Vivid Seats.  In 2018, Siwa announced that she would be going on her first major concert tour in 2019, entitled D.R.E.A.M. The Tour. She was scheduled to visit a mixture of theaters, outdoor amphitheaters and stadiums, as well as indoor arenas in a total of 52 cities across the United States and Canada. Additionally, other performances would take place in the United Kingdom and Australia. The tour was scheduled to begin in Phoenix, Arizona on May 17. The first leg of the tour was scheduled to conclude on June 26 in Austin, Texas, before resuming for leg 2 on July 10 in Orlando, Florida. The final date of the second leg is scheduled to be on August 20 in Vancouver, Canada.

Other ventures.

Known to audiences for wearing large, colorful bows in her hair, Siwa released a line of bows in 2016: JoJo's Bows, to be sold at Claire's, a fashion-accessory company aimed at 6-to-12-year-old girls. Her bows found a strong following among primary-school pupils in the United Kingdom and were ultimately subject to bans as teachers discovered that students unable to afford the bows, which retail for approximately £8 to £12 each, were bullied by their peers. Other reasons these schools gave for the bans was they were a distraction, harmed students' concentration, and violated the schools' dress code policies. Due to the bows' price and popularity, some stores began selling similar, homemade bows. In 2017 Siwa, whose bows are heavily featured in her music videos and general wardrobe, said they are a "symbol of power, confidence, believing-ness."  Siwa subsequently partnered with the American department store J. C. Penney to release a line of accessories, bedroom decor, and a doll made in her likeness, and has released several books aimed at young children.  In June 2019, the FDA issued a warning about dangerous levels of asbestos in a JoJo Siwa-branded cosmetics kit, prompting Claire's to recall the product.  JoJo signed with Nickelodeon in 2017. She was in the film "Blurt!" with Jace Norman, "Lip Sync Battle Shorties" with Nick Cannon, and much more.

Joelle Joanie "JoJo" Siwa (born May 19, 2003) is an American dancer, singer, actress, and YouTube personality. She is known for appearing for two seasons on "Dance Moms" along with her mother, Jessalynn Siwa, and for her singles "Boomerang" and "Kid in a Candy Store". Siwa posts daily videos of her day-to-day life on her YouTube channels, "JoJo Siwa TV" and "It's JoJo Siwa". Her fans are called Siwanatorz.

Joelle Joanie Siwa (née le ), connue sous le nom de scène JoJo Siwa, est une danseuse américaine, chanteuse, actrice et personnalité de YouTube. Elle est connue pour être apparue pendant deux saisons dans l’émission de télé-réalité Dance Moms avec sa mère, Jessalynn Siwa, et pour ses singles "Boomerang" et "Kid in a Candy Store". Siwa publie des vidéos quotidiennes de sa vie quotidienne sur ses chaînes YouTube, JoJo Siwa TV et It's JoJo Siwa.


Properties.

ZnTe has the appearance of grey or brownish-red powder, or ruby-red crystals when refined by sublimation. Zinc telluride typically had a cubic (sphalerite, or "zincblende") crystal structure, but can be also prepared as rocksalt crystals or in hexagonal crystals (wurtzite structure). Irradiated by a strong optical beam burns in presence of oxygen. Its lattice constant is 0.6101 nm, allowing it to be grown with or on aluminium antimonide, gallium antimonide, indium arsenide, and lead selenide. With some lattice mismatch, it can also be grown on other substrates such as GaAs, and it can be grown in thin-film polycrystalline (or nanocrystalline) form on substrates such as glass, for example, in the manufacture of thin-film solar cells. In the wurtzite (hexagonal) crystal structure, it has lattice parameters a = 0.427 and c = 0.699 nm.

Applications.

Optoelectronics.

Zinc telluride can be easily doped, and for this reason it is one of the more common semiconducting materials used in optoelectronics. ZnTe is important for development of various semiconductor devices, including blue LEDs, laser diodes, solar cells, and components of microwave generators. It can be used for solar cells, for example, as a back-surface field layer and p-type semiconductor material for a CdTe/ZnTe structure or in PIN diode structures.  The material can also be used as a component of ternary semiconductor compounds, such as CdZnTe (conceptually a mixture composed from the end-members ZnTe and CdTe), which can be made with a varying composition x to allow the optical bandgap to be tuned as desired.

Nonlinear optics.

Zinc telluride together with lithium niobate is often used for generation of pulsed terahertz radiation in time-domain terahertz spectroscopy and terahertz imaging. When a crystal of such material is subjected to a high-intensity light pulse of subpicosecond duration, it emits a pulse of terahertz frequency through a nonlinear optical process called optical rectification. Conversely, subjecting a zinc telluride crystal to terahertz radiation causes it to show optical birefringence and change the polarization of a transmitting light, making it an electro-optic detector.  Vanadium-doped zinc telluride, "ZnTe:V", is a non-linear optical photorefractive material of possible use in the protection of sensors at visible wavelengths. ZnTe:V optical limiters are light and compact, without complicated optics of conventional limiters. ZnTe:V can block a high-intensity jamming beam from a laser dazzler, while still passing the lower-intensity image of the observed scene. It can also be used in holographic interferometry, in reconfigurable optical interconnections, and in laser optical phase conjugation devices. It offers superior photorefractive performance at wavelengths between 600–1300 nm, in comparison with other III-V and II-VI compound semiconductors. By adding manganese as an additional dopant (ZnTe:V:Mn), its photorefractive yield can be significantly increased.

Zinc telluride is a binary chemical compound with the formula ZnTe. This solid is a semiconductor material with a direct band gap of 2.26 eV. It is usually a p-type semiconductor. Its crystal structure is cubic, like that for sphalerite and diamond.

Le tellurure de zinc est un composé chimique binaire de formule ZnTe. Ce solide est un matériau semi-conducteur II-VI, ayant un gap direct de. C'est habituellement un semi-conducteur de type p. Comme la plupart des matériaux semi-conducteurs composites, il possède un structure de type « blende ».


Early life.

Sajzor grew up in Šabac, a small western town of Serbia which is regarded as "conservative" towards LGBT rights. Sonja then moved in with a man in Belgrade, where she was constantly networking to join the LGBTIQ+ scene in Belgrade. After four months of stay in Serbia, she and her boyfriend were attacked. Hence, she returned home and re-enrolled in high-school, where she faced severe depression.

Professional career.

Sajzor became one of the first two drag queens in Serbia, while she was debuting on social media. She started to document her transition through photography and by exhibiting art in online platforms to demonstrate the power of networking on the internet. The photos present the process of gender searching of Sonja, from mid teens to early twenties.  In March 2014, Sonja was discovered by Croatian singer Ida Prester who hired her as a video vixen in her music video for ‘’U Tvojoj Glavi’’. After gaining more popularity Sonja settled down in Belgrade and worked as a bartender. In July 2015 she founded The Tronic Lab, an artistic collective which aims to promote queer performers and drag queen culture. They are usually held in Drugstore club in Belgrade.

Music.

She lists Siouxsie Sioux, Nina Hagen, Lydia Lunch, and Lene Lovich – "70s and 80s goth punk women" – as her influences. At the age of 13, Sonja watched the performance of Scissor Sisters, who were playing at Exit festival, on TV. Since then she felt the urge to start doing drag. As a singer, her lyricism is based upon heartbreak and unfulfilled love story.  Sonja has delved into electronic music since at a young age. She is a DJ and her sound bounds together different music genres like dark witch-house, electronic indie music and cyber pop culture. At the end of 2018 she released her debut album "Prudence". Sonja is the author of all the lyrics on the album while artpop duo Ensh participated in the music production.

Sonja Sajzor (born 26 January 1993) is a DJ, darkwave singer, songwriter, visual artist, and a queer icon in Serbia.

Sonja Sajzor, née le est une DJ, artiste visuelle, chanteuse et icône queer de Serbie. Son nom Sonja Sajzor est une combinaison du prénom de l'actrice Sonja Savić et de Patrick Sajzor.


Background and recording.

The 1975 began writing "A Brief Inquiry into Online Relationships" as early as 2015, drummer George Daniel having composed "Love It If We Made It" that year. The following year, the band released their sophomore album, "I Like It When You Sleep, for You Are So Beautiful yet So Unaware of It", to positive reviews and commercial success, debuting atop the UK Albums Chart and the US "Billboard" 200. The album brought about seven singles, three of which received a certification from the British Phonographic Industry. The band subsequently began working on an EP titled "What A Shame" as well as a third studio album, originally to be called "Music For Cars" as a reference to their third EP. However, plans for the EP were dropped as the band's manager Jamie Oborne explained that "it’s become a much bigger idea." "Music For Cars" was described by lead singer Matty Healy as "the end of an era" and Healy also revealed that he had speculated on whether it would be the band's last venture, but decided against it, stating in an interview with "Dork" that "we’re not good enough to quit yet." In 2018, however, two albums, "A Brief Inquiry into Online Relationships" and "Notes on a Conditional Form", were announced, while "Music For Cars" was revealed as an "era" for the band, comprising the two albums.  A month after the end of the I Like it When You Sleep Tour in July 2017, the band began recording the new album. Shortly after, Healy admitted himself into a drug rehabilitation center in Barbados for two months in November 2017 to treat his on-and-off four-year heroin and benzodiazepines addiction. He explained to "NME" that one of the reasons he admitted himself to rehab was because "I could just never let [drug addiction] be part of my identity because I think junkies are fucking losers." Many of the tracks from the album were written during his stay in rehab, the songwriting process described by Healy as "genuine catharsis." The album was wholly produced by Healy and Daniel, their first without Mike Crossey and recorded at Waldenfeld House, Montague Court and Abbey Road in London, Conway Sound, Capitol and Perfect Sound in Los Angeles, Angelic in Halse and The Beach House in Santa Monica between June 2017 and September 2018. "A Brief Inquiry into Online Relationships" was released through Dirty Hit and Polydor Records on 30 November 2018.

Theme.

As expressed in the title, the overarching theme of the album is that of the internet. Lyrically, the album explores our modern relationship with the internet, as well as how it impacts and influences our interpersonal relationships and our relationship with politics, culture, and society as a whole. Healy noted that around this time, he came to the "profound-not-profound realisation" that "all of our communication, outside of face-to-face, is mediated through the internet," and subsequently became obsessed with this idea; he noted that for him, this idea "provokes questions...that just aren't asked now." Healy noted that across much of the album, rather than being particularly judgemental or opinionated, he is more so asking questions pertaining to the different issues he raises.

Release and promotion.

The band updated their website to display a timer counting down towards 1 June at the beginning of May 2018, becoming active again on social media. Within its first hours, it was revealed to contain a hidden zip file with four individual posters, each of the names leading to a hidden page on the website that displayed a conversation between a 'human' and a'machine'.  The album was originally slated to be released in October 2018, but was finalized as 30 November on 10 September.

Promotion and singles.

On 31 May 2018, the band released "Give Yourself a Try" as the lead single from the album, premiering as Annie Mac's "Hottest Record in the World" on BBC Radio 1 that same day. "Love It If We Made It" was released as the second single on 19 July. On 15 August, "TooTimeTooTimeTooTime" was released as the third single from the album. On 13 September, "Sincerity Is Scary" was released as the fourth single. The fifth single "It's Not Living (If It's Not with You)" was released on 18 October.

"Music for Cars".

At the end of April 2018, cryptic posters titled "Music for Cars" appeared in London and Manchester, containing taglines and a Dirty Hit catalogue number, DH00327, amongst a black background. Various billboards were also spotted in the United Kingdom, having used détournement to apply themselves over existing advertisements.  Over social media, the band frequently released different posters titled "A Brief Inquiry into Online Relationships". Furthermore, the initialisation "MFC" appeared in small print across all further promotional graphics, sometimes accompanied by "2018 - 2019".  In an interview for Beats 1 on 31 May 2018, Healy stated that "Music for Cars" is an "era" rather than a single album, spanning 2018 and 2019. Though first reported to be the title of the band's 2018 album, Healy has stated that "Music for Cars" contains both "A Brief Inquiry into Online Relationships" and a follow-up album, "Notes on a Conditional Form".

Tour.

At the Latitude Festival in July 2017, it was announced that the band would begin touring again in October 2018. In April 2018, Oborne commented that the band will deter from "surprise" or "pop-up" shows in order for the tour to be "the biggest live spectacle in the world". A 2019 tour was officially announced on 15 October 2018.

Artwork and title.

The artwork for the album was curated by Samuel Burgess-Johnson and Matty Healy. Eschewing the neon signs of previous albums, "A Brief Inquiry's" artwork is noticeably more stark and simple: it features the band name, album title and track list vertically on the cover. A minimalist graphic design based on pixilation accompanies the text. The "Music for Cars" initialisation "MFC" appears in the lower left corner of the cover and on the spine of the packaging.For the package, Healy decided on using a minimalist cover as he did not want something that was "full of interpretations." He also cited the work of Dutch artist Piet Mondrian as inspiration for the artwork, as he said his works "come more from the world of information than they do from the world of design." Healy also said that Modrian's work "was about utopian ideals", which related to the album as Healy said that it didn't say "utopia is this way and you're wrong" but rather had "no opinions" and is "not, like, a thesis, or it's not an opinion: it's a brief inquiry..."  The album is titled after an essay. Healy stated that while he was listening to the album's demos on a train a woman beside him was reading a book containing the essay which he then decided to use for the project. The essay Healy referenced is titled "The Context of the Digital: A Brief Inquiry into Online Relationships" by Gene McHugh, which was included in the anthology of essays "You Are Here: Art After the Internet" edited by Omar Kholeif.

Critical reception.

The album garnered almost universal praise from critics. According to review aggregator Metacritic, the album has received a weighted score of 83 based on 29 reviews, indicating "universal acclaim". Dan Stubbs of "NME" awarded the album five stars out of five, likening the album to a millennial version of "OK Computer" and summarised: "Clever and profound, funny and light, serious and heartbreaking, painfully modern and classic-sounding all at the same time, 'A Brief Inquiry Into Online Relationships' is a game-changing album, one that challenges The 1975's peers – if, indeed, there are any – to raise their game." Ryan Dombal of "Pitchfork" gave the album a score of 8.5, earning it the Best New Music tag, and called it "outrageous and eclectic", as well as "similar to its predecessor in its boundless sense of style, swerving from Afrobeats to brushed-snare jazz balladry to one track that sounds like a trap remix of a Bon Iver ayahuasca trip", but "more purposeful" than "I Like It When You Sleep". "Time" considered it one of the Best Albums of 2018, placing it at number nine on their list.  In a mixed review, AllMusic reviewer Matt Collar stated "Taken as a whole, the album is often as disparate and difficult to wade through as the social-media landscape it hopes to comment on." Writing for "Under the Radar", Dom Gourlay labeled the album "over hyped", bland, "slightly passable background music" at best and a "self-indulgent mess" at worst. He further criticized frontman Healy's "narcissistic persona" and his prevalent use of Auto-Tune. However, Conrad Duncan writing for the same site gave the album a positive review, calling it "full of genuine heart, intelligence and wit". Chris Conaton of "PopMatters" criticized the album as bloated and inconsistent, stating "The band's reach exceeds their grasp here, and vocalist/band leader Matt Healy's indulgences are often more tiresome than charming", while still praising it as "fascinating".

Commercial performance.

The album debuted at number four on the "Billboard" 200, with the highest pure album sales of the week, selling 48,000 pure copies, selling 66,000 overall.

Personnel.

The 1975  Technical  Orchestral arrangements  Additional musicians  Art direction

A Brief Inquiry into Online Relationships is the third studio album by English band the 1975, released on 30 November 2018 by Dirty Hit and Polydor Records. It was produced entirely by band members George Daniel and Matthew Healy, and is the band's first album not to be produced with regular collaborator Mike Crossey.

Après avoir annoncé l'album sous le titre provisoire de "Music for Cars" (titre du troisième EP du groupe sorti en 2013), Healy déclara que l'album était le premier d'un cycle de deux albums. Le second, "Notes on a Conditional Form", sort en.


Accident.

The aircraft took off from Amsterdam at 12:19 pm, with Captain Gerrit Lievaart as the pilot flying. Eleven minutes after takeoff, at 12:30 pm, the pilots received a low oil pressure warning on the No.2 engine. Then, before consulting the relevant checklist, the captain unilaterally set that engine's power to idle, probably to reduce the risk of damage. However, the oil pressure gauge was still showing above 50 PSI, indicating that the warning was false. As the relevant checklist recommended continuing the flight under the circumstances, the pilots did not return to Schiphol or divert.  However, the captain did not return the engine to the previous throttle setting, leaving the aircraft effectively flying on one engine. As the Saab reached flight level 170 (17,000 feet), the loss of power prevented the aircraft from climbing further. The crew misinterpreted this as confirmation that the right engine was faulty, and made a Pan-Pan call, requesting to return to Schiphol Airport. On final approach, at a height of 90 feet, the captain decided to perform a go-around, as the plane's airspeed was not sufficient for landing. He commanded full throttle to the left engine, but did not touch the right, which was still at idle. As a result of the thrust imbalance, the aircraft rolled to the right, pitched up, stalled, and hit the ground at 80 degrees of bank. Of the 24 people on board, 3 were killed - the captain and 2 passengers. Out of the 21 survivors, 9 suffered serious injuries, including the first officer. Due to amnesia caused by the crash, the first officer could not recall the accident.

Aircraft and crew.

The aircraft involved was a Saab 340, registration PH-KSH, which had first flown in 1990. The aircraft was powered by two General Electric CT7-9B turboshaft engines and had flown 6,558 hours at the time of the accident.  The captain, 37-year-old Gerrit Lievaart, had been with KLM Cityhopper since 2 March 1992. He had a total of 2,605 hours flying time, including 1,214 hours on a Saab 340. However, training records revealed that he had failed two engine-out checks, and on his most recent one had been given a “standard minus,” the lowest passing grade. The first officer, 34-year old Paul Stassen, had been with KLM Cityhopper since 27 January 1992. He had a total of 1,718 hours flying time, including 1,334 hours on a Saab 340.

Accident investigation.

The final report from the Netherlands Aviation Safety Board found that pilot error, through inadequate use of flight controls during unequal throttle go-around, resulting in loss of control, was the primary cause of the accident. In addition, the report included recommendations directed at KLM, regarding contributing factors, addressing: improved training on Crew Resource Management; improved pilot assessment techniques; and improved guidance on flying with an idle engine. In addition, the report found that the crash was generally survivable, with the Captain's death attributable to not wearing his shoulder restraints.

In popular culture.

The crash of KLM Cityhopper Flight 433 was covered in 2019 in "Fatal Approach", a Season 19 episode of the internationally syndicated Canadian TV documentary series "Mayday".

KLM Cityhopper Flight 433 was a Saab 340B, registered as PH-KSH, which crashed during an emergency landing on 4 April 1994. Flight 433 was a routine scheduled flight from Amsterdam, the Netherlands, to Cardiff, Wales.

Le vol KLM Cityhopper 433 était un vol régulier entre Amsterdam aux Pays-Bas et Cardiff au pays de Galles, exploité par un Saab 340 de KLM Cityhopper, enregistré sous l'immatriculation PH-KSH, qui s'est écrasé lors d'un atterrissage d'urgence en 1994.


Early life and education.

Hidalgo was born in Santiago de Chile in 1979 to Cesar E. Hidalgo and Nuria Ramaciotti. His father was a publicist and journalist and his mother a K-12 school administrator. He has two siblings Caterina and Nuria.  Hidalgo attended The Grange School until the age of fourteen. He completed his high school education at The British High School. From 1998 to 2003 he studied physics at Pontifical Catholic University of Chile. From 2004 to 2008 he obtained a PhD in physics from The University of Notre Dame with Albert-László Barabási as his PhD advisor. From 2008 to 2010 he was a postdoctoral research fellow at Harvard University.

Economic complexity.

Starting in his PhD Hidalgo began using networks to study economic development. His main contributions include The Product Space, a network that can be used to predict a country's future patterns of diversification, and the economic complexity index, a formula that can be used to estimate the growth potential of economies. The economic complexity index is highly predictive of future economic growth and also is a strong explanatory factor of cross-national differences in income inequality. Hidalgo's work in Economic Complexity has been covered by important media outlets like The New York Times, The Economist, and "The Financial Times".

"Why Information Grows".

In "Why Information Grows" Hidalgo explains economic growth as a consequence of the growth of information and computation in the universe. The book starts by explaining the physical mechanisms that allow information to grow, and then unpacks these mechanisms in the context of social and economic systems. The main argument of the book is that the need for computation to be embodied, in cells, humans, or teams of humans, is what makes the growth of information in the economy both possible and difficult.  Soon after its release the book was highly praised by economists including Paul Romer, who went on to win the Nobel prize for endogenous growth theory, Eric Beinhoecker, the director of Oxford's Institute for New Economic Thinking, and Tim Harford, a popular economics author and regular columnist for "The Financial Times". "Why Information Grows" was also featured in "The Economist"'s books and arts section of the July 25, 2015 print edition, in Nature's May 28, 2015 print edition, and Kirkus Reviews, among others.

Data visualization and distribution platforms.

Hidalgo has co-authored a number of popular data visualization and distribution platforms. These are tools that make available vast volumes of data through visualizations. These platforms include:

The Observatory of Economic Complexity (OEC).

The OEC is a tool that makes available international trade data through more than 20 million visualizations. The Observatory of Economic Complexity focuses on the mix of products that countries export because this product mix is predictive of a country's future patterns of diversification, G.D.P. growth, and income inequality. The OEC was co-authored with Alex Simões, who developed this platform as his master thesis in the Macro Connections group at the MIT Media Lab.

DataViva.

DataViva is a visualization engine that makes available regional development data for all of Brazil through more than 1 billion visualizations. These visualizations include trade data, employment data and education data, for each of Brazil's more than 5000 municipalities and its hundreds of products, industries and occupations. DataViva was developed in a collaboration between Hidalgo, Alex Simões and Dave Landry, and the government of Minas Gerais in Brazil, including Minas's government department of strategic priorities and FAPEMIG, Minas Science funding agency.

Pantheon.

Pantheon is a data visualization engine focused on historical cultural production and impact. Pantheon helps users explore metadata on globally famous biographies as a mean to understand the process of collective memory and of the role of languages and communication technologies in the production and diffusion of cultural information. Amy Yu, Kevin Hu, and Cesar Hidalgo developed pantheon at the Macro Connections group at MIT

Immersion.

Immersion is a data visualization engine for email metadata. Immersion helps uncover the networks people form while interacting through email. Immersion was co-authored by Hidalgo together with Daniel Smilkov and Deepak Jagsdish, while both Smilkov and Jagdish were working as students in Hidalgo's Macro Connection's group. Immersion was released in 2013, and quickly became popular as a way to demonstrate what people can learn by looking only at email metadata.

DataUSA.

DataUSA is an effort to visualize and distribute public data for the United States. It was launched on April 4, 2016 and acclaimed by The New York Times, The Atlantic's City Lab, and Fast Company. DataUSA received the Information is Beautiful Award in 2016 and a Webby Award in 2017 for best Civil and Government Innovation. DataUSA was built by Datawheel in collaboration with Deloitte.

DataAfrica.

DataAfrica makes available data on the health, poverty, agriculture, and climate, of thirteen African countries at the subnational level. DataAfrica won a 2018 webby award for best civil and government innovation.

DataChile.

DataChile integrates and distributes data from more than a dozen Chilean government departments. It won a 2018 Indigo Design Award.

Urban Perception.

Place Pulse, Streetscore, and Streetchange.

Place Pulse, Streetscore, and Streetchange are tools created to map people's perceptions of urban environments. Place Pulse has been featured in "The Guardian" and "Fast Company". Streetscore has been featured in "The Economist" and "New Scientist", among others.

Augmented Democracy.

In 2018, Hidalgo presented at TED's main event the idea of Augmented Democracy: a democracy in which people are represented directly by personalized digital twins powered by artificial intelligence.

Bibliography.

A full list of books and publications can be found in Cesar Hidalgo's professional page

César A. Hidalgo (born December 22, 1979) is a Chilean-Spanish-American physicist, author, and entrepreneur. He holds an ANITI Chair at the University of Toulouse, an Honorary Professorship at the University of Manchester, and is a visiting Professor at Harvard's School of Engineering and Applied Sciences. Hidalgo is also a founder of Datawheel, a data visualization and distribution company. Prior to joining the University of Toulouse, Hidalgo was a professor at MIT where he directed the Collective Learning group.

César Augusto Hidalgo Ramaciotti, né le 22 décembre 1979 à Santiago (Chili), est un physicien et entrepreneur chilien. Il est professeur titulaire de la chaire « Société augmentée » du projet ANITI. Il est également cofondateur de Datawheel, société spécialisée dans les solutions de transformation numérique pour les gouvernements et les grandes entreprises, et auteur de'et co-auteur de '.


Family and early life.

Duke Siegfried was the eldest son of Duke Maximilian Emanuel in Bavaria and his wife Amalie, who was a sister of Prince Philip of Coburg and of Prince Ferdinand of Bulgaria. Siegfried belonged to the Ducal or non-reigning branch of the ancient dynasty of Wittelsbach, and about five years ago, after having been one of the most conspicuous figures at the Court of Munich, in the Bavarian society, and on the German turf, was halted suddenly in his extravagant career by the old Prince Regent, who insisted upon the disposal of his large and costly racing stables, and upon his betaking himself abroad for the space of a year, one of the objects of his absence from Europe being to break certain feminine entanglements which had become exceedingly troublesome.  The Duke visited America, proceeded via the Pacific to Japan, China and to India, where he shot plenty of big game, and on his way home paid a visit to Archduke Francis Ferdinand, heir apparent to the Austrian throne, at the latter’s country seat in Bohemia in order to compare sporting notes with him, the Archduke likewise having spent a considerable time shooting tigers in India.

Married and unmarried.

While staying with Archduke Franz Ferdinand of Austria, Siegfried met his host’s unmarried half-sister, Archduchess Maria Annunciata, fell in love with her, and their engagement was to be announced in due course. They would have made a comely couple, for the Princess had inherited much of the brilliance as well as good looks of her mother, the beloved Archduchess Maria Theresa, while Duke Siegfried was probably the best looking Prince of his house, a dashing cavalier, and one of the few scions of old world royalty and who had achieved distinction as a steeplechase rider.  Two months later, the engagement was broken off by the Archduchess, owing to her sudden discovery of the stormy antecedents of her fiancé, which she had been ignorant of at the time when she had promised to become his wife. The breaking off of the engagement was a matter which was arranged between the young people themselves, and that they had been deeply in love with each other was shown by the appeal immediately afterward by the Archduchess to the Emperor for permission to enter Holy Orders and to take the vows of a Benedictine nun, while the Duke became prey to melancholia, which in due course developed into insanity, rendering it necessary for his confinement.

Melancholy.

It may be remembered that the origins of the insanity of the Duke’s cousin, the crazy King Otto of Bavaria, was due to unfortunate love affair which he took too deeply to heart, and that the first blow to the reason of the late King Ludwig II of Bavaria was given by the Court intrigue which brought about the breaking off of his engagement to his cousin, Duchess Sophie Charlotte in Bavaria, on the eve of the date appointed for the wedding. King Ludwig, after being placed under restraint as a lunatic, died a violent death in the waters of Lake Starnberg in 1886, while his former fiancée, after a far from happy marriage with the French Duke of Alençon, perished in the flames of the charity bazaar conflagration at Paris in 1897. Emperor Franz Joseph I of Austria declined to allow his niece to become a nun, pointing out to her that she should be content with her office of Abbess of the Order of Noble Ladies of the Hradschin at Prague, which was a sort of semi-ecclesiastical dignity invariably held by a Princess of the Imperial house. The Lady Abbess of this particular order was the only woman to whom is accorded the right of fulfilling certain Episcopal functions, it being the prerogative of her office to crown the Queen of Bohemia when the Cardinal Archbishop of Prague, crowns the King. Among the insignia of her rank are an Episcopal miter and an Episcopal crozier, and she wore an Episcopal ring of office, which the ladies of the order were required to kiss. But there are no pledges of perpetual celibacy taken in connection with the order. Its members are at liberty to wed at any time they wish, this of course entailing their leaving the order, which was organized for the purpose of providing suitably for the ladies of the nobility who had become impoverished through no fault of their own. All that was required of them was the observance of certain rules, the wearing of a particular costume, and the performance of certain daily religious duties and ceremonies. Each of the members of the order bears the honorary title of “Canoness,’ and the Queen Mother of Spain held the office of Abbess until her marriage to King Alfonso, drawing a stipend as such of $30,000 a year.  Archduchess Maria Annunciata took her religious duties in connection with her office more to heart than any of her predecessors. She considered it to be incumbent upon her to break off her engagement to the Prince.

Died.

Duke Siegfried August in Bavaria died in Munich on 12 March 1952.

Duke Siegfried in Bavaria, full German name: "Siegfried August Maximilian Maria, Herzog in Bayern" (10 July 1876, Bamberg, Kingdom of Bavaria – 12 March 1952, Munich, Republik of Bavaria) was a Duke in Bavaria and member of the House of Wittelsbach. Siegfried August was the first of three sons of Duke Maximilian Emanuel in Bavaria and his wife Princess Amalie of Saxe-Coburg and Gotha. Siegfried August was the brother of "Christoph" Joseph Clemens Maria, Duke in Bavaria and "Luitpold" Emanuel Ludwig Maria, Duke in Bavaria.

Le duc Siegfried August (en allemand, Siegfried August Maximilian Maria Herzog in Bayern), né le à Bamberg, et mort le à Munich, aîné des trois fils de Maximilien-Emmanuel en Bavière et d' Amélie de Saxe-Cobourg-Gotha est un membre de la Maison de Wittelsbach.


Synthesis.

CrCl is produced by reducing chromium(III) chloride either with hydrogen at 500 °C: or by electrolysis.  Small scale preparations can use LiAlH, Zinc or related reagents, to reduce CrCl  CrCl can also be prepared by treating a solution of chromium(II) acetate with hydrogen chloride.

Structure and properties.

Anhydrous CrCl is white however commercial samples are often grey or green. It crystallizes in the "Pnnm" space group, which is an orthorhombically distorted variant of the rutile structure; making it isostructural to calcium chloride. The Cr centres are octahedral, being distorted by the Jahn-Teller Effect.  The hydrated derivative, CrCl(HO), forms monoclinic crystals with the P2/c space group. The molecular geometry is approximately octahedral consisting of four short Cr—O bonds (2.078 Å) arranged in a square planar configuration and two longer Cr—Cl bonds (2.758 Å) in a trans configuration.

Reactions.

The reduction potential for Cr + e ⇄ Cr is −0.41. Since the reduction potential of H to H in acidic conditions is +0.00, the chromous ion has sufficient potential to reduce acids to hydrogen, although this reaction does not occur without a catalyst.

Organic chemistry.

Chromium(II) chloride is used as precursor to other inorganic and organometallic chromium complexes. Alkyl halides and nitroaromatics are reduced by CrCl. The moderate electronegativity of chromium and the range of substrates that CrCl can accommodate make organochromium reagents very synthetically versatile. It is a reagent in the Nozaki-Hiyama-Kishi reaction, a useful method for preparing medium-size rings. It is also used in the Takai olefination to form vinyl iodides from aldehydes in the presence of iodoform.

Chromium(II) chloride describes inorganic compounds with the formula CrCl(HO). The anhydrous solid is white when pure, however commercial samples are often grey or green; it is hygroscopic and readily dissolves in water to give bright blue air-sensitive solutions of the tetrahydrate Cr(HO)Cl. Chromium(II) chloride has no commercial uses but is used on a laboratory-scale for the synthesis of other chromium complexes.

Le terme chlorure de chrome(II) décrit des composés inorganiques de formule CrCl(HO). Le solide anhydre est blanc à l'état pur, cependant les échantillons commerciaux sont souvent gris ou verts ; il est hygroscopique et se dissout rapidement dans l'eau pour donner des solutions bleu-vif sensibles à l'air de tétrahydrate Cr(HO)Cl. Le chlorure de chrome(II) n'a pas d'applications commerciales mais il est utilisé à l'échelle des laboratoires pour la synthèse d'autres complexes de chrome.


History.

The journals were founded under the title "Journal of Gerontology" in 1946. In 1961, material dealing with social policy, program development, and service delivery was split into a new journal, "The Gerontologist". In 1988 "Journal of Gerontology" was renamed "Journals of Gerontology" to reflect the fact that it represented a composite of four journals with four separate editors, and in 1995 it was split into two separate publications: the "Journals of Gerontology: Biological Sciences and Medical Sciences" and the "Journals of Gerontology: Psychological Sciences and Social Sciences".

Series A.

"Journal of Gerontology: Biological Sciences".

"Journal of Gerontology: Biological Sciences" publishes articles relating to the biology of aging. Topics include biochemistry, cellular and molecular biology, genetics, neuroscience, comparative and evolutionary biology, biodemography, and biological underpinnings of late life diseases.  The editors-in-chief are Rozalyn Anderson and David Le Couteur.

"Journal of Gerontology: Medical Sciences".

"Journal of Gerontology: Medical Sciences" publishes material on a range of medical sciences relating to aging. Topics include basic medical science, clinical epidemiology, clinical research, and health services research.  The editor-in-chief is Anne B. Newman.

Series B.

"Journal of Gerontology: Psychological Sciences".

"Journal of Gerontology: Psychological Sciences" publishes articles relating to the psychology of aging. Topics include attitudes, cognition, perception, sensation, emotion, personality, health psychology, neuropsychology, and physiological psychology.  The editor-in-chief is Derek M. Isaacowitz.

"Journal of Gerontology: Social Sciences".

"Journal of Gerontology: Social Sciences" publishes material relating to aging from the field of social sciences. Topics include public health, epidemiology, social work, demography, anthropology, social history, political science, and economics.  The editor-in-chief is Deborah S. Carr.

The Journals of Gerontology are the first scientific journals on aging published in the United States. The publication is separated into four separate peer-reviewed scientific journals, each with its own editor, and published in two series. The "Journal of Gerontology: Biological Sciences" and the "Journal of Gerontology: Medical Sciences" are housed within "The Journals of Gerontology, Series A"; the "Journal of Gerontology: Psychological Sciences" and the "Journal of Gerontology: Social Sciences" are housed within "The Journals of Gerontology, Series B". The journals are published by Oxford University Press on behalf of The Gerontological Society of America.

The Journals of Gerontology est un ensemble de publications scientifiques spécialisées dans le domaine du vieillissement, publiées aux États-Unis. C'est un ensemble de quatre revues scientifiques à comité de lecture, chacune avec son propre éditeur, et publiée en deux séries. Le "Journal of Gerontology: Biological Sciences" et le "Journal of Gerontology: Medical Sciences" sont publiés dans "The Journals of Gerontology, Series A"; Le "Journal of Gerontology: Psychological Sciences" et le "Journal of Gerontology: Social Sciences" sont quant à eux dans "The Journals of Gerontology, Series B". Ces revues sont publiées par Oxford University Press pour le compte de la Gerontological Society of America.


Career.

Karting.

Piquet began his racing career in karts at age 8 in 2006. During his karting career, he won numerous titles, including three Brazilian championships.

Toyota Racing Series.

Piquet debuted in single-seater cars in the 2014 Toyota Racing Series. He struggled in the first six races, finishing no higher than 13th. His season was then brought to a premature end by licensing problems relating to his age.  In 2016, he returned to the series, racing for "M2 Competition" for two seasons.

Brazilian Formula Three.

Following his derailed first attempt at the Toyota Racing Series, Piquet returned to Brazil and began racing in Brazilian Formula Three in 2014. He had an extremely successful season, winning 11 of the 16 races and the championship. In 2015, he chose to continue racing in Brazilian Formula Three, winning it for the second time.

European Formula 3.

In 2016, Piquet joined Van Amersfoort Racing for the European Formula 3 championship. He competed for two seasons.

GP3 Series.

In 2018, Piquet joined Trident Racing and competed In the GP3 Series, winning in Silverstone and Monza. He finished the season in sixth place.

FIA Formula 3 Championship.

For 2019, Piquet moved to the new FIA Formula 3 Championship, remaining with Trident. He took 1 win at Spa and ended the championship in 5th, helping Trident to finish fourth in the team championship.

FIA Formula 2 Championship.

in 2020, Piquet will compete in F2 with Charouz alongside Louis Delétraz

Other racing experience.

Alongside his single-seater racing, Piquet has participated in other events. In 2014, he entered and won the Brazilian Porsche GT3 Cup Challenge. He also entered one race in the Global Rallycross Championship, taking a podium, and one race in the Brazilian Mercedes-Benz Challenge C250 Cup. In 2015, he started two races in the Porsche Mobil 1 Supercup, scoring no points. He also raced again in the Brazilian Porsche GT3 Cup Challenge, this time scoring two podiums in six races.

Racing record.

Career summary.

<nowiki>†</nowiki> As Piquet was a guest driver, he was ineligible to score points.<br>

Complete Porsche Supercup results.

Complete FIA Formula 3 Championship results.

Driver did not finish the race, but was classified as he completed over 90% of the race distance.

Pedro Estácio Leão Piquet Souto Maior is a Brazilian racing driver. He is the son of three-time Formula One world champion Nelson Piquet and younger half brother of Formula E champion Nelson Piquet, Jr. He is known for his successes in single-seater junior categories, including winning the 2014 and 2015 Brazilian Formula 3 Championships.

Pedro Piquet, né le à Brasilia, est un pilote automobile brésilien. Il est le fils du triple champion du monde de Formule 1 Nelson Piquet, et pilote dans le championnat de Formule 3 FIA en 2019.


Background.

Hastings was born in Wollongong, New South Wales, Australia, and is of British descent through his grandmother.  He played his junior football for the Western Suburbs Red Devils before being signed by the St. George Illawarra Dragons.

Playing career.

In 2012 and 2013, Hastings played for the New South Wales Under 16s and Under 18s teams respectively.  In 2013, Hastings played for the St. George Illawarra Dragons' NYC team, and was selected for the Australian Schoolboys.

Sydney Roosters.

On 27 August 2013, Hastings signed with the Sydney Roosters on a 3-year contract, rejecting offers from St. George Illawarra, North Queensland Cowboys and Newcastle Knights. He played for the Roosters' NYC team in 2014.  In Round 26 of the 2014 NRL season, Hastings made his NRL debut for the Roosters against the South Sydney Rabbitohs.  On 2 May 2015, Hastings played for the Junior Kangaroos against Junior Kiwis. On 8 July 2015, Hastings played for the New South Wales Under-20s team against the Queensland Under-20s team.

Manly Sea Eagles.

In December 2016, Hastings signed a 2-year contract with the Manly Warringah Sea Eagles starting in 2017. Hastings made his Debut for the Manly Warringah Sea Eagles in Round 3 of the 2017 NRL season against the North Queensland Cowboys coming off the bench and filling in at Fullback and Scoring a try as the Manly Warringah Sea Eagles defeated the North Queensland Cowboys 30-8.  At the start of the 2018 season, Hastings was involved in a well publicised falling out with fellow Manly player Daly Cherry-Evans and coach Trent Barrett. He was banished to reserve grade to play for Blacktown Workers and told he would be moved on by the club. On 26 June 2018, Hastings was released from the remainder of his contract with Manly. The club released a statement saying "Manly Warringah Sea Eagles have today released Jackson Hastings from the remainder of his contract, effective immediately, The Club and Jackson’s management have made the decision mutually".

Salford Red Devils.

On 12 July 2018, Hastings signed a two year deal to join British side the Salford Red Devils.  On 8 July 2019, Hastings was announced to have signed a 2-year deal with Super League side Wigan, effective from the start of the 2020 season.  On 6 October 2019, Hastings won the Man of Steel award after being voted as the Super League's best player during the Super League XXIV season. Hastings was part of the Salford side which reached the 2019 Super League Grand Final but were defeated 23-6 by St Helens at Old Trafford. Salford were looking to win their first championship since 1976.

Representative career.

He was selected in squad for the 2019 Great Britain Lions tour of the Southern Hemisphere. He made his Great Britain test début in the defeat by Tonga.

Personal life.

Hastings is the son of Megan Harrod and former Sydney Roosters player Kevin Hastings.

Jackson Hastings (born 4 January 1996) is a Great Britain international rugby league footballer who plays as a and for the Wigan Warriors in the Betfred Super League.

Jackson Hastings, né le à Wollongong (Australie), est un joueur de rugby à XIII australien évoluant au poste de demi d'ouverture ou de demi de mêlée dans les années 2010. Il fait ses débuts professionnels avec Roosters de Sydney en National Rugby League (« "NRL" ») en 2014 avant de rejoindre les Sea Eagles de Manly-Warringah en 2017. En désaccord avec ce dernier, ils rompent d'un accord mutuel le contrat, Hastings décide alors de rejoindre la Super League et le club de Salford où rapidement il devient l'un des joueurs les plus en vue du championnat. Il signe pour la saison 2020 à Wigan.


Background and history.

The concept was patented by General Foods research chemists Leon T. Kremzner and William A. Mitchell on December 12, 1961 (U.S. patent #3,012,893), but the candy was not offered to the public until 1975 by General Foods, which in 1983 withdrew it, citing its lack of success in the marketplace, and its relatively short shelf life.  Distribution was initially controlled to ensure freshness; but with its increasing popularity, unauthorized redistribution from market to market resulted in out-of-date product reaching consumers. After that, Kraft Foods licensed the Pop Rocks brand to Zeta Espacial S.A. who continued manufacturing the product under Kraft's license. Eventually Zeta Espacial S.A. became the brand's owner and sole manufacturer. Pop Rocks is distributed in the U.S. by Pop Rocks Inc. (Atlanta, Georgia) and by Zeta Espacial S.A. (Barcelona, Spain) in the rest of the world. Zeta Espacial S.A. also sells popping candy internationally under other brands including Peta Zetas, Wiz Fizz, and Magic Gum.  In 2008, Marvin J. Rudolph, who led the group assigned to bring Pop Rocks out of the laboratory and into the manufacturing plant, wrote a history of Pop Rocks development. The book, titled "Pop Rocks: The Inside Story of America's Revolutionary Candy", was based on interviews with food technologists, engineers, marketing managers, and members of Billy Mitchell's family, along with the author's experience. In the book, Rudolph points out that the Turkish company HLEKS Popping Candy flooded the market with popping candy in the year 2000.  A similar product, "Cosmic Candy", previously called "Space Dust", was in powdered form and was also manufactured by General Foods.  In 2012, Cadbury Schweppes Pty. Ltd. (in Australia) began producing a chocolate product named "Marvellous Creations Jelly Popping Candy Beanies" which contains popping candy, jelly beans and beanies (candy covered chocolate). By 2013 Whittakers (New Zealand) had also released a local product (white chocolate with a local carbonated drink "Lemon and Paeroa' or "L&P" for short). Prominent British chef Heston Blumenthal has also made several desserts incorporating popping candy, both for the peculiar sensory experience of the popping and for the nostalgia value of using an ingredient popular in the 1970s.

Manufacturing.

As described by a 1980 patent, the candy is made by dissolving sugars in water and is evaporated at until the water content is 3% by mass. The water and sugar mixture is then cooled to, and while being intensely stirred it is pressurized with carbon dioxide at. The mixture is then kept under pressure and allowed to cool and solidify, embedding the carbon dioxide bubbles in the candy. The majority of the resultant carbon dioxide bubbles are between in diameter. When the pressure on the cooled and solidified candy is released, it shatters into pieces that vary in size.

Urban legend.

Rumors persisted that eating Pop Rocks and drinking soda would cause a person's stomach to boil and explode. This was, in part, caused by the false assumption that Pop Rocks contain an acid/base mixture (such as baking soda and vinegar) which produces large volumes of gas when mixed through chewing and saliva. One of these myths involved child actor John Gilchrist ("Little Mikey" in 1970s Life cereal television commercials), who was falsely rumored to have died after consuming excess amounts of Pop Rocks and Coca-Cola.  Though the confection had been extensively tested and found safe, the carbonated candy still alarmed residents in Seattle. The Food and Drug Administration set up a hotline there to assure anxious parents that the fizzing candy would not cause their children to choke. General Foods was battling the "exploding kid" rumors as early as 1979. General Foods sent letters to school principals, created an open letter to parents, took out advertisements in major publications and sent the confection's inventor on the road to explain that a Pop Rocks package contains less gas (namely, carbon dioxide, the same gas used in all carbonated beverages) than half a can of soda.  Because of the unique flavor of the legend, and the duration of its perpetuation, the story has appeared in many other forms of media and fiction. On the very first episode of "MythBusters", Adam Savage and Jamie Hyneman put the Mikey rumor to the test by mixing six packs of Pop Rocks and a six-pack of cola inside a pig's stomach, complete with enough hydrochloric acid to simulate the acid inside a human stomach. Despite the pig stomach growing to three times its initial size, it did not blow up even after time was allotted for digestion. In another stomach used as an experimental counterpart, only a large amount of sodium bicarbonate along with acid and soda (and without any Pop Rocks) was able to cause a gastric rupture. The broadcast included interview clips with Pop Rocks Inc. vice president Fernando Arguis explaining the candy and the myth, and Savage later alluded to the myth at a presentation at Rensselaer Polytechnic Institute by showing that Pop Rocks and soda—albeit in a smaller amount—in his own stomach was not fatal.

Pop Rocks is a candy, owned by Zeta Espacial S.A. Pop Rocks ingredients include sugar, lactose (milk sugar), and flavoring. It differs from typical hard candy in that pressurized carbon dioxide gas bubbles are embedded inside of the candy, creating a small popping reaction when it dissolves in one's mouth.

Pop Rocks est un bonbon, produit depuis 1975 par. Il est composé de sucre, lactose et d'arômes. Il diffère d'un bonbon dur typique en ce que des bulles de gaz de dioxyde de carbone sous pression sont incrustées à l'intérieur du bonbon, créant une petite réaction d'apparition lorsqu'elle se dissout dans la bouche.


History.

The theater was designed in Art Nouveau by architect Axel Anderberg (1860–1937) and was inaugurated on December 6, 1906. It was named after King Oscar II. The salon accommodated 1175 seats and was decorated with white stucco and gilded ornaments. Between 1971-1974, the theater was closed for renovation and at the same time the salon was restored.  The opening production was "Frihetsbröderna (Les brigands)" by Jacques Offenbach, on 6 December the same year. The theatre has during the years been seen as the foremost stage for musical productions and operettas in Sweden. The theatre has 905 seats and for many years in the early 20th century was part of theatre empire of Albert Ranft (1858-1938).  Over the years it has boasted some great musical productions, including several successful stagings of "My Fair Lady" (the 1959–61 run reaching 766 performances) and the 1989–95 run of "The Phantom of the Opera" (performed 1173 times). Opera soprano singer Rosa Grünberg (1878–1960) made her play stage debut. The original Swedish (and European) staging of "Nine" in 1983 is also among the most successful – and critically acclaimed – productions in the theatre's history.  The theatre was managed from its inception until 1926 by Albert Ranft; from 1926 to 1947 by Gösta Ekman (1890–1938) and Pauline Brunius (1881–1954) among others. It was used in this period solely as a stage for spoken drama. From 1947 to 1998 it was managed by Sandrew Metronome, during a period often described as the theatre's "golden days" in terms of musical theatre shows. In 1998 it has been managed by Vicky von der Lancken and since 2004, by 2 Entertain production company.  In the autumn of 2006, the theatre celebrated its 100th jubilee with the musical production "Singin' in the Rain".

Oscarsteatern (English:Oscar Theatre), also known simply as Oscars, is one of Stockholm's private theatres and is the best-known musical theatre in Sweden. It is located at Kungsgatan 63 in central Stockholm.

L'Oscarsteatern (en français le Théâtre Oscar), connu aussi simplement comme l'Oscars, est l'un des théâtres privés de la capitale de Suède, Stockholm, et le théâtre le plus connu de Suède pour les comédies musicales et les opérettes que l'on y joue. Il se trouve au n° 63 du Kungsgatan dans le centre-ville.


Susceptibility to spoilage.

Sweet potatoes are a highly perishable crop and difficult to store for extended periods of time. This is mainly due to their high moisture content, metabolic activity following harvesting and thin, permeable skin. Following harvest, sweet potatoes are susceptible to spoilage by physical, physiological, pathological, pests and environmental means.

Physical.

Physical losses refer to sweet potatoes damaged by mechanical force during harvest, handling, and transportation of the tubers. This includes injury by way of cuts, bruising, and skinning. Delicate skin and poor harvesting and handling techniques are the main cause of these issues. Damage to tubers by physical means can be minimized careful handling and storing in boxes and cartons instead of cloth sacks.

Physiological.

Physiological processes within the plant can contribute highly to spoilage. Natural transpiration causes water loss and results in an unappealing pithy texture. Respiration also continues to occur after harvesting and a buildup of CO2 around the crop can cause early spoilage. Sprouting will also occur during long term storage, which is useful for planting but will utilize nutrients in the tuber. Sprouting can be inhibited by preharvest spraying with maleic hydrazide, treatment of tubers with methyl ester of napthalene acetic acid (MENA) in acetone on paper spread between tubers and 0.5–4.0% thiourea solution.

Pathological and pests.

Sweet potatoes are susceptible to a number of fungi, bacteria and viruses. Infection can cause the production of toxins, pathogenic bacteria, bitter flavours, tissue breakdown, and surface blemishes. Two common sources of infection are from "Rhizopus oryzae" (soft rot) and "Botryodiplodia" (Java black rot). These are responsible for 78% of sweet potato infections in Bangladesh. The pest of greatest concern for farmers is the sweet potato weevil ("Cylas spp."). This can enter the tuber prior to harvesting and proliferate in storage and has been known to cause up to 50% loss in yields. Simple techniques can be used to minimize the threat of the sweet potato weevil. It has been shown that storage of the potatoes in temperatures under can kill up to 89.5% of weevils in an infected crop. Dipping of tubers in hot water also been shown as an effective intervention to control infestations. Damage to tuber by physical and physiological means can increase chance of pathological infection and pests.

Environmental.

The length of time that sweet potatoes may be stored is highly dependent on temperature and relative humidity. Storage in temperatures less than will cause chill injury in sweet potatoes. This is characterized by discoloration of the insides of the tuber, which can range from brown to black instead of the usual orange. Formation of hard areas also occurs that remain even after cooking. Other signs of chill injury include production of off flavours, internal cell structure breakdown and increased rotting due to reduced skin formation, which allows fungal infection. On the other end of the scale, temperatures above will cause a rise in the rates of respiration and sprouting in tubers as well as increased activity by microorganisms. Relative humidity under 80% will cause excessive water loss while RH above 90% will cause condensation to form, which accelerates rotting.

Ideal storage conditions.

To minimize potential spoilage, precise storage conditions should be met. Sweet potatoes should be stored at between with a RH of 85-90%. Proper ventilation of the storage area is a key factor in maximizing potential storage time. Respiration causes the production of CO2, which will act to increase the rate of spoilage. Sweet potatoes can convert approximately 57dm3 of oxygen/ton/day to carbon dioxide and need ventilation to compensate for this. The O2 in the storage environment should not fall below 7% and CO2 must not exceed 10%. Due to lack of proper equipment, maintaining adequate temperature conditions are the largest hurdle that farmers in a developing nation will have to face.  Not all sweet potatoes are suitable for storage. Tubers that have been mechanically damaged, infected with pests or pathogens, or are rotten or sprouting should not be kept. These factors will increase rate of spoilage and can increase losses in the rest of the stored crop. Under these optimum conditions sweet potatoes have been shown to keep for 5 months up to a max of about a year.

Storage methods.

In developed countries proper refrigeration technology is used to keep sweet potatoes for long periods of time. Many poor farmers do not have access to refrigeration or even electricity so must rely on other storage methods. There are several methods of storage that only require simple and cheap building materials. The most commonly used are pit storage, clamp storage and indoor storage. These techniques are used only sporadically however as most farmers practice sequential harvesting in which tubers are left in-ground until needed.

In-ground.

In subsistence farming, sweet potatoes are commonly left in the ground and eaten or sold directly following harvest; this is called piece-meal or sequential harvesting. Sweet potatoes are delicate and easily damaged. In-ground storage is used to protect the tubers while reducing the work required to set up storage facilities. In areas with reliable rainfall patterns farmers are able to maintain a supply of fresh sweet potatoes for most of the year by continuous cultivation and harvesting. In drier places, however, such as northern Uganda, this is not a practical solution. This is not a long-term option and the plants will degrade after a short period of time. There are numerous disadvantages to this method as it takes up field space that could otherwise be used for growing more crops.

Pit storage.

This is a simple, cheap method that involves digging a hole in the ground for storing the potatoes. Pit storage differs from in-ground as tubers are collected and kept together and considerations are made to control the storage environment.  Construction of the pit can vary according to what materials are available but commonly used are; grass, soil, wood, lime, sawdust and ash. Grass is typically used to line the bottom and sides of the pit in order to insulate against temperature change and absorb moisture. Before usage, grass should be flamed in order to destroy any pests that may be hiding within. Soil is used to seal the roof of the pit and as filler. Wood and plant material can be used to strengthen walls as well as create a roof covering the pit. Roofs built over the pit structure are beneficial in that they can help keep rain out and provide shade to lower temperature. Lime may have some effectiveness in absorbing CO2 and removing it form the environment. Sawdust is used as a cushioning material and to help control condensation on the tubers. Wood ash can applied to potatoes prior to storage and has shown some effectiveness in protecting against insect attacks and mould.  In order to prevent rotting the pit should ideally be dug into a slope to promote drainage. It should also be situated at least above the water table during dry season and must remain above during wet/rainy season and be approximately below the surface.  There can be ventilation problems with this storage method. Commonly the pit will be sealed shut in order to maintain a good RH. The draw back to this is that CO2 will collect and cause spoilage. To help this, a sizable headspace should be maintained in the pit to help promote airflow.  Pits can be reused but they should be cleaned, the soil turned over and disinfected with fire or sulphur to rid the area of any microorganisms.  Losses are still fairly high for this technique, though it has been shown in some instances to keep roots for 2–4 months.

Clamp and mound storage.

Another simple and low-cost method, clamp storage consists of covered piles of sweet potatoes. After selecting the tubers in the best condition, they are stacked in a heap on a layer of grass and covered in layers of grass and soil. As with pit storage, ash, lime and sawdust can be used for added effect. The piles may be made at ground level or in shallow or deep trenches. Drainage should be considered and ruts may be made in the ground to lead off water. The clamps may be covered by a roof or kept in a building for added protection. To minimize losses due to respiration a ventilation shaft can be added. Results are fairly poor with this technique and estimated storage time is 2–3 months.

Indoor storage.

Sweet potatoes may be harvested and stored in building. This could include in the living area or in a granary built specifically to store produce. In home storage is typically done in straw woven baskets, cloth bags or wooden boxes. Baskets and boxes have been shown to be more effective at minimizing mechanical damage. If possible tubers should be kept off of the ground to keep them away from rodents and other pests. This is an effective technique for maintaining proper ventilation though depending on the type of building maintaining proper storage temperature and RH may be difficult.  Granaries or other storage buildings typically consist of a round hut with walls made of straw, mud, clay and wood and a conical straw roof. These are commonly supported above ground by a system of legs to keep the crop dry and away from animals, rodents and pests.

Pretreatment of sweet potatoes.

Typically sweet potatoes are stored and eaten fresh. However, there are some simple methods used to increase their storability that can be used in conjunction with other storage methods. Drying and curing of sweet potatoes are two common methods to prepare them prior to storage.  Drying of tubers is done on those that are too damaged to be stored fresh but still have edible material on them. This involves slicing tubers to a thickness of approximately 2–4 mm and then laying them out in the sun for four days or until they are rid of most of their moisture. During drying the potatoes can be covered in prickly bushes or thorns to ward off animals. Dried slices can be kept in-doors or in raised silos until eaten. Drying removes moisture, reduces bacterial growth, and inactivates metabolic processes and enzymatic decomposition.  Curing is a technique done to toughen up the outer layer of skin (periderm). It is a measure that prevents against excessive moisture loss, entry of microorganisms into the plant and even facilitates healing of mechanically damaged tubers. Curing is done by exposing the whole potatoes to a moderately high temperature for several days immediately following harvest.; and 80–95% RH for 4–10 days has been found to be adequate curing conditions A common method to cure without use of incubation equipment is to wrap tubers in black polythene sheets and leave out in the sun for 5 days. The black sheet keeps moisture in and collects heat to reach necessary conditions for curing. Immediately following curing the temperature must be dropped quickly in order to avoid sprouting damage.

The sweet potato ("Ipomoea batatas") is a very important crop for subsistence farmers in Africa and other developing countries. Due to its relatively short growing period, tolerance to drought and high yield from poor soils, it is used as a famine reserve for many of these households. However, it is a highly perishable food source that is susceptible to destruction by microorganisms, metabolic spoilage, physical destruction and pests. As such they are not generally stored for extended periods of time following harvest. This is a major barrier for the optimal use of the crop and causes a lot of waste.

Le stockage des patates douces est, compte tenu de la grande sensibilité de ces tubercules à la dégradation, une préoccupation très importante pour les producteurs, en particulier pour les exploitations de subsistance en Afrique et dans les pays en développement. En raison de sa période de croissance relativement courte, de sa tolérance à la sécheresse et de son rendement élevé sur des sols pauvres, la patate douce est utilisée comme réserve de famine pour nombre de ces ménages. Cependant, il s'agit d'une source de nourriture très périssable susceptible d'être détruite par les micro-organismes, par la dégradation métabolique, par la destruction physique et par l'action des ravageurs. En tant que tels, ces tubercules ne sont généralement pas stockés pendant de longues périodes après la récolte. Il s’agit d’un obstacle majeur à l’utilisation optimale de cette culture et cela génère beaucoup de déchets. La majorité des agriculteurs de subsistance qui consomment des patates douces n'utilisent aucune technique de stockage, mais pratiquent une méthode de culture continue, laissant les tubercules dans le sol jusqu'à ce qu'ils soient prêts à être utilisés. Bien qu'elles soient moins répandues, il existe des méthodes de stockage simples. Parmi les plus courantes figurent le stockage dans des fosses, sur plates-formes et à l'intérieur et toutes permettent de prolonger la durée de stockage des patates douces jusqu'à un certain point. Le maintien d'une température de stockage appropriée est probablement le principal obstacle à un bon stockage chez les agriculteurs de subsistance.


Background and release.

The song was written by Dave Stewart and Martin Kierszenbaum, while production was handled by Kierszenbaum and Robert Orton. The song was released by Interscope on 2 October 2005 as the album's second single. For the production and promotion of the single, it was handled by some big names from the rock music industry. These included Sting, who played bass on the track and Bryan Adams, who shot the striking cover sleeve. The song was the group's last single to be released in the United Kingdom and United States, due to the lack of success.  The song was released in multiple formats. The song was released digitally on 2 October 2005 worldwide. The CD Single was released in 2005 featuring the song with remixes, a music video and an "All About Us" remix. In December 2005, Interscope issued a remix EP featuring remixes that were released in Europe and the United Kingdom. A Part 2. CD Single was issued in France as a Maxi-Single. The same month, Interscope Records announced that they would issue a 12" Vinyl CD in the United States, only containing remixes of the single.

Critical reception.

"Friend or Foe" received positive remarks from most music critics. Michael Boyles from "The Pitt News" gave it a positive review, saying that alone with "Loves Me Not"; " stand out as the most sexually ambiguous of this type and are two of the best tracks on the album [...]" Michael Freedburg from "The Boston Phoenix" said along with "Perfect Enemy", "Dangerous and Moving" and "All About Us"; "shoot straight to the gut — and to the heart." Betty Clarke from The Guardian described the song as "vapid" and "epic synth-rock". Dom Passantino from Stylus Magazine compared the lyrical content to the group's previous record "Not Gonna Get Us" by explaining "which is effectively a straight-up rewrite of previous album single 'Not Gonna Get Us.'"

Chart performance.

"Friend or Foe" generally received mixed reception surrounding chart positions. The song managed to make the top three in Hungary, peaking at number three. The song then managed to peak inside the top forty in countries including the Czech Republic, Italy and the Wallonia region of Belgium. In the United Kingdom, the song spent a sole week on the UK Singles Chart at forty-eight. It was the group's last single to chart in the United Kingdom.  The song did not offer better success in various European countries, peaking at number three on the Flanders Ultratip extension chart in Belgium, seventy-five on the Swiss Singles Chart and eighty-nine on the Mega Single Top 100 in the Netherlands.

Music video.

From 16 October 2005 to 17 October 2005, t.A.T.u. shot their video in the Los Angeles suburbs, directed by James Cox and produced by Billy Parks. The video was released on 8 November 2005.  The video was shot at Bronson Caves (where the original "Batman TV series" was filmed) in Hollywood by 1171 Production Group. The group previously worked on such t.A.T.u videos as "All About Us" and "Lyudi Invalidy" and has experience in making videos for Eminem and Celine Dion. Bronson Caves are famous for being the set location of Western movies and Batman series. The video was retired on Poland's TRL after spending 50 days on the countdown. The video did have more airplay in the U.S. than "All About Us" but it was still not played much.  In the video, Lena and Yulia both immaculately dressed in black, drive to the caves in a Chevrolet Chevelle. Yulia snaps her fingers and music begins to play as the girls perform in front of a mosh pit for a crowd of fans, who all dance and move to the song. Toward the middle, Yulia heads off stage, by the crowd and to a piano, where she begins to play. When she is done, she and Lena return to singing the rest of song.  A "Making Of" video for this music video was released on the DVD of "The Best".

Other uses in media.

The song "Friend or Foe" was also featured on MTV's 3rd season of Laguna Beach.

Track listings.

UK Maxi-CD single  France Maxi-CD Single  Europe Maxi-CD Single  The Remixes

Charts.

!Chart (2005)!Peakposition

"Friend or Foe" is a song by Russian recording duo t.A.T.u., taken from the group's second English language studio album "Dangerous and Moving" (2005). The song was written by Dave Stewart and Martin Kierszenbaum, while production was handled by Kierszenbaum and Robert Orton. The song was released by Interscope on 2 October 2005 as the album's second single. Musically, the song is a pop rock and electropop inspired song, with dance music influences. The song features ambiguous lyrics; it is unclear who exactly the words are directed at.

Friend or Foe est une chanson du duo féminin russe t.A.T.u. extraite de leur deuxième album anglais, "Dangerous and Moving", sorti en automne 2005.