Appearances.

Season 2.

In "Fog of War," two days after a massacre, mechanic and explosives expert Raven discovers Mount Weather has jammed communications, preventing them from reaching out to other potential survivors from the Ark (a ship that held descendants of humans who survived the nuclear apocalypse 97 years before). The survivors become known as Sky People to the Grounders (descendants of humans on Earth who survived the nuclear apocalypse). After a group of survivors find the communications tower, they are forced to split and take shelter from an acid fog. Clarke, a teenager who has taken on a leader role for her camp, realizes she no longer recognizes Finn, her one-time lover. Jaha and Kane, two former leaders of the Ark, are told that one of them must kill the other to have even a chance at speaking with the commander of the Grounders. Kane attempts to take his own life rather than kill Jaha, but a Grounder witness, Lexa, reveals herself to be the commander and says she believes their wish for peace is sincere. She allows Jaha to escape with a message to his camp: leave within two days, or die.  In "Long Into an Abyss," with the Grounders' deadline imminent, Abby (Clarke's mother) and Jaha disagree over what the survivors are to do; Jaha wishes to evacuate to the so-called 'City of Light', while Abby wants to remain

Season 3.

In "Wanheda: Part Two," attackers on a jeep turn out to be Arkers who landed separately. Their numbers have dwindled to 63 due to conflict with the community called Ice Nation and they accept Kane's offer to come to Arkadia, where the other Sky People live. Part of the group continue to search for Clarke, who has been on the run for three months due to now being a legend and subsequent target because of her defeat of the Mountain Men after Lexa's betrayal. This has earned her the nickname "Wanheda" (commander of death). Indra, one of Lexa's best and most trusted warriors, warns Lexa that the Ice Nation is marching on her; Indra is there when bounty hunter Roan (the banished Ice Nation prince) brings Clarke to Lexa, who sought to capture Clarke before members of Ice Nation did. Still angry at Lexa for her betrayal, Clarke is dragged out kicking and screaming while vowing revenge on Lexa.  In "Ye Who Enter Here," Clarke struggles with taking revenge on, as well as forgiving, Lexa. Lexa tells Clarke that she intends to initiate the Sky People into her coalition as the thirteenth clan. Clarke believes Lexa only

Development.

Casting and creation.

Show creator Jason Rothenberg said he and others involved with the series were aware of Debnam-Carey while casting Clarke in 2014; although the chance for her to portray Clarke never materialized, her name was brought up while casting Lexa. He called the casting a "no-brainer"; she did not audition for the role, but was rather offered it. At the time, Debnam-Carey was also being considered for the role of Alicia Clark on "Fear the Walking Dead". "That's always a concern when you have an actor in your show that is popping—that someone else is going to grab them and make them a series regular if you don't. That's kind of what happened in this case," stated Rothenberg, who considered Debnam-Carey's performance on "The 100" "amazing". He added, "You know we can't compete on some level with the cache of a franchise like that, with the numbers."

Personality and portrayal.

The writers designed Lexa as a proud and wise warrior who keeps her feelings very guarded, and as someone who is usually unable to show she cares for people. The vulnerability that results from caring, and particularly loving a person, is something she views as a weakness. This was significantly exacerbated by the death of her girlfriend, Costia; the anger, grief and subsequent dissipation of the grief hardened Lexa further. In addition, having been selected commander involved her going through a brutal training process, as is their society's custom; if she shows weakness in her duties as a commander, she can lose the respect of her warriors.  Debnam-Carey said figuring out how to portray all these aspects of the character was the most challenging part. "For me, it was about finding that mix between vulnerability and tension and a wiseness beyond her years," she said. A director advised her that less is more, and she adapted to the character, and learned more about her, via portrayal. "I realized that

Relationship with Clarke.

Lexa's relationship with Clarke is presented as intense, complex, and the one thing that manages to soften Lexa's outlook on life. Debnam-Carey said the characters progression from being allies to becoming romantic "stems from a connection that they both share—which is similar experiences and similar positions" in that they are "both very young leaders with great authority, a lot of responsibility. They have to lead a huge amount of people. They have a lot of expectations riding on them." She said the sudden responsibilities they faced, the need to make the right decisions, and the fact they both grieved over past lovers helped connect them further, and it is a connection they do not have with others. Rothenberg originally stated that while he would not go as far to say that it was love at first sight for Lexa, "it definitely was a bit of a thunderbolt moment for her when she first saw Clarke."

Reception.

General.

Lexa, and her relationship with Clarke, have been well received by critics and fans. Maureen Ryan, writing for "The Huffington Post", stated, "In a show packed with morally compromised characters, Lexa stood out; she led a tribe of Earth inhabitants named Grounders with a combination of deftness, intelligence and unhesitating ferocity." Ryan felt Lexa "does not suffer fools gladly, yet Debnam-Carey made Lexa's vulnerability and her attraction to Clarke Griffin (Eliza Taylor) not just believable, but engrossing." Linda Ge of "TheWrap" referred to her as a fan-favorite, while Eric Goldman of IGN called her "a standout, highly popular character". The staff for "SheWired" stated that she "had the best character introduction ever and never stopped being great" and "has proven to be endlessly engaging, even when she's making choices that make us want to crawl into a ball and cry." Dana Piccoli of AfterEllen.com characterized Lexa as a "mysterious queer character" that has caught the audience's attention, and complimented the "chemistry and increasing bond between Lexa and Clarke," adding, "Both are smart, and somehow manage to see the bigger picture. [...] Here are two young women, leading their people to salvation or at least as close to salvation as they can get." "The A.V. Club"'s Kyle Fowle reasoned that Lexa's resolve while facing the reality of protecting the Sky People, the 13th clan, while risking an uprising from the other clans and her own people "is exactly what makes her one of the better characters on TV." Hypable.com's Selina Wilken said that she was "one of the best and, yes, most divisive characters in recent TV history."  Many viewers were upset by Lexa's betrayal of Clarke, resulting in debates about why she may have done it, and Andy Swift

LGBT community.

Clarke and Lexa's relationship had a significant impact on the LGBT community. Dalene Rovenstine of "Entertainment Weekly" stated that the series "has featured unexpected twists (a baby in space! a human harvest chamber! cannibals!), the shocking deaths of multiple main characters, and amounts of blood and gore you wouldn't expect to be approved on network TV. But none of those moments have created a stir quite like [...] when [Clarke and Lexa] locked lips." The kiss was trending on Twitter after it aired, and many fans created artwork of the characters and couple as the series progressed; others engaged in cosplay of Lexa (dressing up like the character), with some receiving input from Debnam-Carey and Rothenberg.  Debnam-Carey was surprised by the attention. She was new to Twitter and Instagram, and did not know what shipping (the desire by fans for two people or fictional characters to be in a romantic or platonic relationship) meant; she saw that fans had given the pairing the portmanteau "Clexa". "I was on Instagram or something and I checked my tagged photos, and I realized that suddenly they were all LGBT artwork. I was like, 'Oh, my god!' I had no idea. It was the first time I realized I was a figure for that community," said Debnam-Carey. She called this "an honor" and "flattering," and added, "It's new for our society, as well. It's one of the first shows that really has two characters

Exit from the series.

Fan reaction.

With Debnam-Carey's limited role on the series, Rothenberg contemplated how best to continue or end Lexa's story. When he chose to kill her off, this resulted in much animosity among the fanbase, with viewers and critics (especially those who were upset or confused by the decision) debating whether she was killed off for being lesbian, and whether she was killed off the right way; many also felt the decision was a blow or slight to the LGBT community because of the view that it reinforced the "dead lesbian syndrome" (or "bury your gays") trope, which posits that a lesbian couple (or other same-sex couple) on television or in film can

Critical analyses.

Calling the uproar messy, Caroline Framke of "Vox" said killing off Lexa "may have alienated part of [the audience] for good. [...]." She argued that "on the one hand, [Lexa's] death was gut wrenching, and it unexpectedly brought together several disparate story strands in "The 100"'s floundering third season. On the other, Lexa was an openly queer woman leading 12 armies, a rare sight for LGBTQ representation on television. Less rare, unfortunately, is the trope of television and movies killing gay women off for shock value." Framke was especially critical of the show having Lexa die immediately after having sex and pillow talk with Clarke, which were long-awaited scenes; to Framke, this signaled "sex, love, death", particularly for lesbian couples. Eric Goldman of IGN argued

Creator and portrayer commentary.

Rothenberg said he had not always planned on killing Lexa, but the fact that Debnam-Carey was simultaneously on another show ("Fear the Walking Dead"), and was therefore unlikely to ever become a series regular on "The 100", he felt use of the character would be limited or absent in the future. This is when the writers decided to craft a death scene for her to propel the story forward. "I remember as we were breaking the season, we talked about reincarnation in the Grounder world and how that was how commanders were selected. I didn't want to throw that out as nonsense, which is how Clarke had received it, but I also didn't want to say that it was real reincarnation," he said, adding he had been reading "The Singularity Is Near" by Ray Kurzweil at the time, which "talks quite a bit about a future where we'll be able to upload our minds—literally upload our consciousness—into a computer and live forever." This gave Rothenberg the idea for incorporating a "technological reincarnation" storyline. "The commander A.I. would need to be able to pass itself from person to person over time and [...] Lexa was just the most recent recipient of this artificial intelligence augmentation of her consciousness. So once we came up with that idea, that was the point at which everything jelled and sort of came together storytelling-wise," he stated. "And of course, if you're dealing with a story about reincarnation, you've got to die before you can be reincarnated. So Lexa dying became a very tragic necessity." Rothenberg said Clarke was in love with Lexa, that they were soulmates, and Lexa's death will haunt Clarke. "[She] is going to have to figure out how to compartmentalize, the way that all of us have to do in the real world when people are suddenly and tragically taken away from us," he added. "That's kind of the point of "The 100" in

Lexa is a fictional character from the American post-apocalyptic science fiction television series "The 100", produced by The CW. The recurring television character (portrayed by Alycia Debnam-Carey) does not appear in the books on which the series is based. The commander of the allied Grounder clans, Lexa is proven to be a reasonable leader and strong warrior. She considers love a weakness, a view significantly impacted by the death of her girlfriend, Costia. Though she starts to show romantic feelings for Clarke Griffin (leader of the Sky People) and takes Clarke's views into consideration, Lexa puts her people first, even at the expense of losing Clarke's trust.

Lexa est un personnage de fiction de la série australienne de science-fiction post-apocalyptique "The 100", produite par la chaîne CW.


Team allocation.

Teams.

The labels in the parentheses show how each team qualified for the place of its starting round:

Round and draw dates.

The schedule of the competition is as follows (all draws are held at the EHF headquarters in Vienna, Austria):

Qualification stage.

The qualification stage consists of three rounds, which are played as two-legged ties using a home-and-away system. In the draws for each round, teams were allocated into two pots, with teams from Pot 1 facing teams from Pot 2. The winners of each pairing (highlighted in bold) qualifyed for the following round.  For each round, teams listed first played the first leg at home. In some cases, teams agreed to play both matches at the same venue.

Round 1.

A total of 30 teams entered the draw for the first qualification round, which was held on Tuesday, 18 July 2017. The draw seeding pots were composed as follows:  The first legs were played on 1–3 and 8–9 September and the second legs were played on 2-3 and 9–10 September 2017.

Group stage.

Draw and format.

The draw of the EHF Cup group stage took place on Thursday, 30 November 2017. The 16 teams allocated into four pots were drawn into four groups of four teams.  In each group, teams play against each other home-and-away in a round-robin format. The matchdays are 10–11 February, 17–18 February, 24–25 February, 3–4 March, 24–25 March, and 31 March–1 April 2018.  If two or more teams are equal on points on completion of the group matches, the following criteria are applied to determine the rankings (in descending order):  If no ranking can be determined, a decision shall be obtained by drawing lots. Lots shall be drawn by the EHF, if possible in the presence of a responsible of each club.

Seeding.

On 27 November 2017, EHF announced the composition of the group stage seeding pots:

Ranking of the second-placed teams.

Because the German side SC Magdeburg, the organizers of the Final 4 tournament, finished on top of their group they qualified directly to the final tournament and only the top three second-placed teams qualifyed to the quarter-finals. The ranking of the second-placed teams was determined on the basis of the team's results in the group stage.

Knockout stage.

Quarter-finals.

The draw for the quarter-final pairing was held on Tuesday 3 April at 11:00 hrs in the EHF headquarters in Vienna. The first leg was scheduled for 21 and 22 April and the second leg followed one week later.

Matches.

"Saint-Raphaël won 67–63 on aggregate."  "Füchse Berlin won 45–44 on aggregate."  "Frisch Auf Göppingen won 61–54 on aggregate."

Final four.

The sixth edition of the EHF Cup Finals in 2018 was hosted by SC Magdeburg after the EHF Executive Committee decided to award the hosting rights to the German club at its meeting on 16 December in Hamburg. The tournament took place on 19 and 20 May 2018. The draw was held on 2 May 2018 in Magdeburg, Germany at 11:00.  <section end=Bracket />

Final.

<section end=Final /

The 2017–18 EHF Cup was the 37th edition of the EHF Cup, the second most important European handball club competition organised by the European Handball Federation (EHF), and the sixth edition since the merger with the EHF Cup Winners' Cup.

L'édition 2017-2018 de la Coupe de l'EHF masculine met aux prises 63 équipes européennes. Il s'agit de la de la compétition, organisée par la Fédération européenne de handball (EHF) et la sixième depuis la fusion avec la Coupe des vainqueurs de coupe.


Early life.

Plummer was born in Poughkeepsie, New York, to theatre actress Maia Guest and writer-producer John Christian Plummer, and grew up in Cold Spring. He has a younger brother, James. His family moved frequently due to his parents' jobs which resulted in his attending seven different schools growing up: three in Los Angeles, two in upstate New York and two in New York City. Despite being very shy as a child, Plummer was exposed to acting at an early age by his parents, both of whom had worked in theatre. He gained experience acting in local stage productions of plays and musicals, crediting the experience with the latter for sparking his love of acting. He met his current manager at the age of ten when he first sought professional acting roles. Plummer eventually transferred to and attended the Professional Children's School in Manhattan due to his demanding filming schedule on television shows.

Career.

As a child, Plummer acted in short films such as "Frank" (2010), "Three Things" (2011), and "Alan Smithee" (2012). In 2011, Plummer starred in eight episodes of HBO's television period drama "Boardwalk Empire". He portrayed Eli Thompson's son Michael in season 2, 3 and 4. In 2012, Plummer made his feature film debut by playing a supporting role in David Chase's drama, "Not Fade Away", along with John Magaro and Bella Heathcote. The film was released on December 21, 2012, by Paramount Vantage and received positive reviews. In 2013, Plummer joined the BYUtv's drama series "Granite Flats", in which he played the lead role of Timmy Sanders along with Malia Tyler. He starred in all 24 episodes of three seasons, which premiered on Netflix and officially ended on June 25, 2015.  In 2015, he played the lead role of Jack in Felix Thompson's directorial debut "King Jack", along with Cory Nichols and Christian Madsen. The film premiered at the Tribeca Film Festival on April 17, 2015. Later in June, Plummer along with Tom Holland were rumored to be Marvel and Sony's top picks amongst actors in contention to play the lead role of Spider-Man in the reboot film ""; the role eventually went to Holland.  In 2017, Plummer co-starred in Oren Moverman's drama thriller film "The Dinner", alongside Richard Gere, Steve Coogan, and Laura Linney. The film was released on May 5, 2017 and received mixed reviews. He played the kidnapped heir John Paul Getty III in Ridley Scott's crime thriller "All the Money in the World", alongside Michelle Williams, Christopher Plummer (no relation), and Mark Wahlberg. The film was released on December 25, 2017 and received positive reviews. The same year, Plummer portrayed the troubled teenager Charley who finds solace and purpose in his friendship with the titular racehorse in Andrew Haigh's drama "Lean on Pete". The actor felt a deep desire to play the role after connecting strongly with the story, which spurred him to send a letter to Haigh, expressing his passion for the project. The film premiered at the Venice International Film Festival where his performance received critical acclaim; he was awarded the Marcello Mastroianni Award for best emerging actor. Richard Lawson of "Vanity Fair" stated Plummer had "one of the most striking breakthrough performances of the year". The film was released on April 6, 2018 by A24.  In 2018, Plummer starred in Joshua Leonard's drama "Dark Was the Night", alongside Marisa Tomei and Timothy Olyphant. He also appeared in Duncan Skiles's suspense thriller "The Clovehitch Killer" with Dylan McDermott and Samantha Mathis.

Upcoming projects.

, Plummer has five upcoming projects. In October 2017, it was announced Plummer had joined Pippa Bianco's "Share" produced by A24. In January 2018, it was announced Plummer would co-star with Katherine Langford in the science-fiction fantasy film "Spontaneous", directed by Brian Duffield, based on the novel of the same name by Aaron Starmer. In March 2018, it was announced he had signed on as the lead in Thor Freudenthal's "Words on Bathroom Walls", in which he plays a young man diagnosed with schizophrenia. Plummer is set to star alongside Amber Heard in Nabil Elderkin's feature film debut "Gully". The film is set in a dystopian vision of Los Angeles and follows three disaffected teenagers, all victims of extreme childhoods, who are running a hedonistic riot as they try to work out a way in life.

Personal life.

Plummer lives in New York and is a vegetarian. Prior to pursuing a full-time acting career, Plummer had considered dropping acting to become a general manager for a football team due to his passion for the sport. He is a big fan of the Atlanta Falcons.

Charlie Faulkner Plummer (born May 24, 1999) is an American actor. Plummer began his career as a child actor in short films before appearing on the television dramas "Boardwalk Empire" and "Granite Flats." He made his feature film debut in David Chase's drama "Not Fade Away" (2012) before landing the lead role in Felix Thompson's directorial debut "King Jack" (2015).

Charlie Plummer, né le à Poughkeepsie (État de New York), est un acteur américain. Il est principalement connu pour avoir tenu les rôles principaux de Timmy Sanders et de Jack dans, respectivement, la série'et le film '.


Early life.

Joyce Bryant, the oldest of eight children, was born in Oakland, California, and raised in San Francisco. Her father, Whitfield W. Bryant (1904–1993), worked as a chef for the Southern Pacific Railroad. Her mother, Dorthy Constance Withers "(maiden;" 1907–1995), was a devout Seventh-day Adventist. Her maternal grandfather, Frank Withers "(né" Frank Douglas Withers; 1880–1952), was an early jazz trombonist. Bryant, a quiet child raised in a strict home, had ambitions of becoming a sociology teacher.  She eloped at the age of 14 but the marriage ended that same evening. In 1946, while visiting cousins in Los Angeles, she agreed on a dare to participate in an impromptu singalong at a local club. "After a while," Bryant recounted in a 1955 "Jet" interview, "I found I was the only one singing. A few minutes later the club owner offered me $25 to go up on stage, and I took it because I [needed the money] to get home."

Career.

During the late 1940s, Bryant had slowly acquired a series of regular gigs, from a $400-per-week engagement at New York's La Martinique nightclub to a 118-show tour of the Catskill Mountains hotel circuit. Her reputation and profile eventually grew to the level that one night, she appeared on the same bill as Josephine Baker. Not wanting to be upstaged, Bryant colored her hair silver using radiator paint, and performed wearing a tight silver dress and silver floor-length mink. Bryant recalled when she arrived onstage, "I stopped everything!" Bryant's silver hair and tight, backless, cleavage-revealing mermaid dresses became her trademark look and, combined with her four octave voice, further elevated her status into one of the major headlining stars of the early 1950s, by which time she became known by such nicknames as "The Bronze Blond Bombshell", "the black Marilyn Monroe", "The Belter", and "The Voice You'll Always Remember". Etta James noted in her 2003 autobiography, "Rage to Survive: The Etta James Story": "I didn't want to look innocent. I wanted to look like Joyce Bryant. [...] I dug her. I thought Joyce was gutsy and I copied her style–brazen and independent."  Beginning in 1952, Bryant released a series of records for Okeh, including "A Shoulder to Weep On", "After You've Gone" and "Farewell to Love". Two of her most well-known standards, "Love for Sale" and "Drunk with Love", were banned from radio play for their provocative lyrics. Upon the release of "Runnin' Wild" two years later, "Jet" noted that the song was Bryant's "first to be passed by CBS and NBC radio censors, who banned three previous recordings for being too sexy." Bryant remarked in 1980, "what an irony that my biggest hit record was 'Love for Sale'. Banned in Boston it was, and later...just about everywhere else."  Bryant, who often faced discrimination and was outspoken on issues of racial inequality, became in 1952 the first black entertainer to perform at a Miami Beach hotel, defying threats by the Ku Klux Klan who had burned her in effigy. She was critical of racial billing practices at night clubs and hotels and advocated for entertainers as a group to fight Jim Crow laws. In 1954, she became one of the first black singers to perform at the Casino Royal in Washington, D.C., where she said that she had heard so much about the segregation practiced there that she was surprised to see so many African-Americans attend the downtown club. "It was a great thrill," she said, "to see them enter and be treated so courteously by the management."  A "Life" magazine layout in 1953 depicted Bryant in provocative poses, which film historian and author Donald Bogle said were "the kind that readers seldom saw of white goddesses." The following year, Bryant–along with Lena Horne, Hilda Simms, Eartha Kitt, and Dorothy Dandridge–was named in an issue of "Ebony" one of the five most beautiful black women in the world.

Departure and return to show business.

Bryant earned up to $3500 a performance in the early 1950s, but she had grown weary of the industry. The silver paint had damaged her hair, she didn't enjoy working on the Sabbath, and she felt uneasy with her image. "Religion has always been a part of me," she said. "and it was a very sinful thing I was doing being very sexy, with tight, low cut gowns." She also recalled: "I had a very bad throat and I was doing eight performances a day [...] A doctor was brought in to help and he said, 'I can spray your throat with cocaine and that will fix the problem, but you'll become addicted.' Then I overheard my manager say, 'I don't care what you do, just make her sing!'" Further, Bryant hated the men, often gangsters, who frequented the clubs in which she worked. She was once beaten in her dressing room after rejecting a man's advances. Her disenchantment with the drug and gangster subcultures, combined with pressures from her management, led Bryant to quit performing late in 1955.  Devoting herself to the Seventh-day Adventist Church, Bryant enrolled in Oakwood College in Huntsville, Alabama. "Ebony" published a feature article in its May 1956 issue entitled "The New World of Joyce Bryant: Former Café Singer Gives Up $200,000-a-year Career to Learn to Serve God". Traveling for years through the South, Bryant grew angry when she saw hospitals refuse care for those in critical need because they were black. As a result, she organized fundraisers for blacks to buy food, clothing, and medicine, and she continued to put on concerts wearing her natural black hair and no makeup to raise money for her church. She met frequently with Martin Luther King, Jr.–a fan of her singing–to support his efforts to bring basic material comforts to blacks. Bryant believed the struggle for civil rights to be the struggle for all people who believed in God, but when she confronted her church, asking it to take a stand against discrimination, the church refused with the reasoning, "But these are of earthly matters and thus of no spiritual importance."  Disillusioned, Bryant returned to entertaining in the 1960s and trained with vocal teacher Frederick Wilkerson at Howard University, which led to her winning a contract with the New York City Opera. She also toured internationally with the Italian, French, and Vienna Opera companies. She returned to performing jazz in the 1980s and began a career as a vocal instructor, with such clients as Jennifer Holliday, Phyllis Hyman, and Raquel Welch. A documentary, entitled "Joyce Bryant: The Lost Diva", is in the works.

Portrayals.

In 2016, Miracle Sims portrayed Bryant in the dinner show "Drunk With Love: A Tribute to Joyce Bryant" written by Tiffany Prewitt and performed at TP Productions and Dinner Theatre in Atlanta,GA

Joyce Bryant (born October 14, 1927) is an American singer and actress who achieved fame in the late 1940s and early 1950s as a theater and nightclub performer. With her signature silver hair and tight mermaid dresses, she became an early African-American sex symbol, garnering such nicknames as "The Bronze Blond Bombshell", "the black Marilyn Monroe", "The Belter", and "The Voice You'll Always Remember".

Joyce Bryant (née le ) est une chanteuse et actrice afro-américaine. Elle a obtenu un certain succès de la fin des années 1940 au début des années 1950 pour ses performances au théâtre et dans les clubs de nuit. Ses cheveux couleur argent et ses robes de soirées de type « sirène » créées par la styliste Zelda Wynn Valdes ont fait d'elle l'un des premiers "sex-symbol" afro-américains.


History.

There is evidence in the village of Norman heritage. The house Astley Towne has a Norman cellar.  Near St Peter's Church are the remains of a priory built in 1088. The priory was founded by Ralph de Todeni who was given the manor of "Eastlie" (Astley) following the Norman conquest of England. It was an alien Benedictine House, belonging to a parent monastery in Normandy. The prior’s well remains, but is overgrown. To the East of the priory, well-defined earthworks of a medieval village have been found.  Astley was in the lower division of Doddingtree Hundred.  Following the Poor Law Amendment Act 1834 Astley Parish ceased to be responsible for maintaining the poor in its parish. This responsibility was transferred to Martley Poor Law Union.  St Peter's church is of possible c12 century origins although its origins may have been based on an existing priory.  There are several memorials within the church to the Winford family.

Education.

Astley Primary School is a small, rural CoE Voluntary Aided school with about eighty pupils between 4 and 11 years old. Although the school is isolated, it is popular with children travelling some distance each day. On leaving Astley school the 11 to 16s go on to The Chantry School at Martley.

Facilities.

Astley Burf contains an Outdoor Education centre, owned by Dudley Council, and used by Dudley schools during the spring and summer

Glasshampton.

Glasshampton means "the home of clear water".  Glasshampton was a separate manor from Astley, but like Astley, was in the lower division of Doddingtree Hundred.  The manor of Glasshampton and its associated estate was held by the Winford family.  The house was said to contain 365 windows but was burnt down in 1917. The stable block survived and was converted in 1918 to accommodate a monastery for the Anglican Franciscan order.

Astley is a village, and a civil parish (with Dunley) in Worcestershire, England, about two miles outside Stourport-on-Severn and seven miles south-west of Kidderminster.

Astley est un village du Worcestershire, en Angleterre. Il est situé à environ au sud-ouest de la ville de Stourport-on-Severn. Il forme une paroisse civile avec le village voisin de Dunley. Administrativement, il dépend du district de Malvern Hills.


Prelude.

On September 7, 1191, after the Battle of Arsuf, the Crusader army proceeded from Arsuf to Jaffa, which the Crusaders took and fortified. Jaffa, they hoped, would be the base of operations in a drive to reconquer Jerusalem itself. As the winter of 1191–1192 approached, sporadic negotiations between Richard the Lionheart and Saladin were taken up, though without any immediate result.  In late November 1191 the Crusader army advanced inland towards Jerusalem. In early December Saladin was under pressure from his emirs to disband the greater part of his army, which he reluctantly did on the twelfth of that month. Learning this, Richard pushed his army forward, spending Christmas at Latrun. The army then marched to Beit Nuba, only 12 miles from Jerusalem. Muslim morale in Jerusalem was so low that the arrival of the Crusaders would probably have caused the city to fall quickly. However, the weather was appallingly bad, cold with heavy rain and hailstorms. The poor weather, combined with the fear that if it besieged Jerusalem the Crusader army might be trapped by a relieving force, caused the decision to retreat back to the coast to be made.  During the winter months, Richard's men occupied and refortified Ascalon, whose fortifications had earlier been razed by Saladin. The spring of 1192 saw continued negotiations and further skirmishing between the opposing forces. The Crusader army made another advance on Jerusalem, coming within sight of the city before being forced to retreat once again because of dissension amongst its leaders. During this period, Richard began to receive disturbing news of the activities of his brother John and the French king, Philip Augustus. As the spring gave way to summer, it became evident that Richard would soon have to return to his own lands to safeguard his interests.

Contest for the control of Jaffa.

Saladin takes Jaffa.

By July 5, 1192, Richard began his withdrawal from the Holy Land. Having realized that Jerusalem would not be defensible if it were to be captured, he began the retreat of Crusader forces from hostile territory. Almost immediately after Richard's withdrawal, Saladin, still smarting from his recent defeat at Arsuf, saw a chance for revenge and, on the 27 July, laid siege to the town of Jaffa which had served as a base of operations for Richard during his previous march inland towards Jerusalem. The defending garrison, although taken by surprise, fought well before the odds against them proved too great. Saladin's soldiers successfully stormed the walls after three days of bloody clashes; only Jaffa's citadel held out and the remaining Crusaders managed to send word of their plight.

Richard storms Jaffa from the sea.

Richard subsequently gathered a small army, including a large contingent of Italian sailors, and hurried south. Upon seeing Muslim banners flying from the walls, he falsely believed the town to be a lost cause, until a defender swam out to his flagship and informed him of the citadel's dire situation.  Still in his sailor's deck shoes, Richard leaped into the sea and waded through the waves to reach the beach. The King again showed his personal bravery and martial prowess, leading fifty-four knights, a few hundred infantrymen, and about 2,000 Genoese and Pisan crossbowmen into battle. The Muslim army began to panic at the sudden offensive launched by Richard's newly arrived force; they feared it was just the advanced element of a much larger army coming to relieve Jaffa. The English king fought in person at the forefront of his attack, and Saladin's men were routed. Many of the Christian prisoners who had surrendered earlier also seized their arms and resumed combat, for their captors were in such disarray that they were unable to stop them. Saladin's fleeing army spilled out of Jaffa and escaped in a disorderly manner; Saladin was unable to regroup his forces until they had retreated more than five miles inland.

Battle – Saladin's counterattack defeated.

When Saladin received reports that more of the Franks were coming down from Caesarea, he decided to launch a counterattack on Jaffa to recapture it before these additional reinforcements could arrive. On the early morning of August 4, Muslim troops massed around the walled town, concealing themselves in the fields and intending to attack at dawn the next day. Just before sunrise, however, a Genoese soldier out for a stroll discerned the hidden enemy; the neighing of horses and glinting of armour only served to confirm his suspicions. The sentries promptly raised the alarm, and Richard quickly assembled his knights, infantry and crossbowmen for battle. He ordered his infantry, including unmounted knights, to form a defensive hedge of spears by kneeling and driving their shields and the shafts of their spears or lances into the ground, with the spearheads pointing towards their opponents. The crossbowmen stood behind the protective wall of spearmen, working in pairs, one shooting whilst the other loaded. In front of the infantry, sharp tent pegs were hammered into the ground to help deter horsemen. Richard kept his handful of mounted knights as a reserve in the rear.  The lightly armoured Turkish, Egyptian and Bedouin cavalry repeatedly charged. However, when it was evident that the Crusaders were not going to break ranks, they veered away from the spears without coming to blows. Each Ayyubid attack lost heavily to the barrage of missiles from the many crossbows. The armour of the Franks proved better able to withstand the arrows of the Saracens than the armour of the Saracens could withstand crossbow bolts. Also, being entirely cavalry, the many horses of Saladin's force were particularly vulnerable to missile fire. After a few hours' onslaught, both sides began to tire. Having suffered considerably from the barrage of crossbow bolts without having been able to dent the Crusaders' defences, Saladin's cavalrymen were in a demoralised state and their mounts were exhausted. They were put to flight by a charge of the knights, only 10 to 15 of whom were mounted, and spearmen led by the king himself. While the battle raged, a group of Ayyubid soldiers were able to outflank the Crusader army and enter Jaffa. The Genoese marines who had been entrusted with guarding the gates offered little resistance before retreating to their ships. Before the Muslims could exploit their success, however, Richard himself galloped into the town and rallied all of its fighting men. By evening, it had become clear to Saladin that his men had been soundly defeated and he gave the order to withdraw. Baha' al-Din, a contemporary Muslim soldier and historian, recorded: “I have been assured... that on that day the king of England, lance in hand, rode along the whole length of our army from right to left, and not one of our soldiers left the ranks to attack him. The Sultan was wroth thereat and left the battlefield in anger...” Saladin's forces had suffered 700 dead, and lost 1500 horses; the Crusaders lost 2 dead, though many were wounded. However, as for many Medieval battles, the recorded figures for losses may not be entirely reliable. Leaving their dead on the field, the Ayyubid force began a long, weary, march back to Jerusalem. Once back in the city Saladin strengthened its defences in case Richard were to advance against it again.

Aftermath.

The repulse from Jaffa marked the end of Saladin's counter-offensive. Both sides were completely exhausted, and Palestine was in a ruinous state. Soon after the fighting at Jaffa Richard fell seriously ill. A three-year truce was negotiated, Ascalon had its defences razed and was handed back to Saladin, from Tyre to Jaffa the coast was to remain in Christian hands. Saladin retained Jerusalem, but Christian pilgrims would be free to visit the city. The retention of Jaffa allowed the Crusader kingdom to reconsolidate its control of the coastal lands of Palestine from its new capital at Acre.

The Battle of Jaffa took place during the Crusades, as one of a series of campaigns between the army of Sultan Saladin (Ṣalāḥ al-Dīn Yūsuf ibn Ayyūb) and the Crusader forces led by King Richard I of England (known as Richard the Lionheart). It was the final battle of the Third Crusade, after which Saladin and King Richard were able to negotiate a truce. Although the Crusaders did not regain possession of Jerusalem, Christian pilgrims were permitted entry into the city, and the Crusaders were able to retain control of a sizable strip of land stretching from Beirut to Jaffa.

La bataille de Jaffa est un affrontement de l'époque des Croisades, s'étant déroulé lors de la campagne militaire qui opposa l'armée du sultan Saladin (Ṣalāḥ al-Dîn Yûsuf ibn Ayyūb) et les forces des croisés dirigés par le roi Richard d'Angleterre (connu sous le nom de Richard Cœur de Lion). Il s'agit de la dernière bataille de la Troisième croisade. Elle aboutit à une trêve entre Saladin et Richard. Bien que Jérusalem reste entre les mains de Saladin, les pèlerins chrétiens sont autorisés à venir y visiter les lieux saints. Les Croisés conservent par ailleurs le contrôle d'une importante bande de terre s'étendant de Beyrouth à Jaffa.


History.

The Order was instituted not later than 1955 by the last Shah of Iran, Mohammad Reza Pahlavi. In 1959-67 it consisted of two, and since 1967 - of three classes (1st class, 2nd class, and 3rd class), and was awarded to female persons of high status, for deserving special recognition or conspicuous appreciation by the Shah.  It is believed that the Order honours Soraya Esfandiary-Bakhtiari, the second wife of the former Shah Mohammad Reza Pahlavi. The name of the order refers to the Pleiades, a star cluster located in the constellation Taurus in the northern hemisphere. Soraya is a female Persian name with a reference to the Pleiades.  The order was abolished by the Islamic Republic of Iran after the fall of the last Shah. Since then, the order merely continues as a Royal Family Order, and Empress Farah Pahlavi, the third wife and widow of Shah Mohammad Reza Pahlavi, is still the grandmaster of this order.

Classes.

Attached to the order are three medals: first class in gold, second class in gold and silver, and third class in silver. They were usually awarded to female members of the Imperial Household for long or faithful service. The medals are worn suspended from a bow.

Insignia.

The "sash badge of the first class" is a round medallion made of gold gilt surrounded by six open ornaments, shaped as large double loops in gold; with between the ornaments partly white enameled, small shell-shaped designs. The central disc is made of blue enamel, with placed on it seven golden stars, topped with brilliants, and depicting the star cluster Pleiades. Furthermore, the disc itself is surrounded by a white enamel and gold edged ring with twenty-four stars thereon, made of gold and brilliants. The disc is topped by a stylized imperial Pahlavi Crown, enameled in different colors and enriched with carbuncles and brilliants.  The "shoulder badge" is similar to the sash badge, but is larger in appearance.  The "sash badge of the second class" is almost identical to the badge of the first class, but instead the medallion and the stars on it are made in silver gilt only. Similarly, the crown is enameled without the carbuncles and brilliants.  The "star" consists of a blue enameled central disc, with placed on it seven golden stars, topped with brilliants, representing the stars of the cluster Pleiades. The disc is surrounded by a white enamel and gold edged ring with twenty-four stars thereon, made of gold and brilliants. This as a whole is surrounded by six open ornaments, shaped as large double loops in gold; with between the ornaments partly white enameled, small shell-shaped designs. The disc is topped by a stylized imperial Pahlavi Crown, enameled in different colors and enriched with carbuncles and brilliants. At the back a pin is attached to wear the star on the left breast.  The "sash" is made of a white coloured silk moiré ribbon, with dark blue stripes near the borders. The badge is attached to the sash by a suspension ring from the top of the crown.  The "medals" show the image of the badge of the order as a full raised relief. The rim includes a large lip, on which the seven small, shell-like designs rest. The medals are topped with the stylized imperial Pahlavi Crown to which a simple ring is attached. The medals are unenameled and identical in appearance, except for the metal pertaining to the particular class.

The Order of the Pleiades ( "Nishân-i-Haftpaykar"), also named Order of Haft Paykar, was an all-female order of the former Imperial State of Iran.

L'Ordre de la Pléiade ou des Pléiades (en "Nishân-i-Haftpaykar"), également appelé l'Ordre de Haft Paykar, était un ordre exclusivement féminin de l'ancien État Impérial d'Iran.


History.

Binley Woods is a relatively modern village. Settlement began in the 1920s, when some of the estates of Coombe Abbey were sold off and people began to settle and build homes in the area, which was then known as Binley Common. In the early years, the village lacked modern amenities such as paved roads, street lighting, piped water or mains drainage; though these were gradually provided from the 1930s onwards, some of the side roads were not paved or lighted until the 1960s. During the 1940s, many homeless people from bombed-out Coventry fled to Binley, often living in shacks and caravans.  The village adopted its current name of Binley Woods in 1961 after a vote by villagers. The name was chosen in order to avoid confusion with, and establish a separate identity from nearby Binley, a suburb of south-east Coventry. As the name suggests, Binley Woods is close to some woods: Brandon Wood is next to the village.  A village church was established in Binley Woods in 1987, which doubles as the village hall.

Facilities.

The village boasts one public house, The Roseycombe. There is a village hall on Rugby Road. There is also a post office, a library and a primary school, along with a range of shops and a petrol station.  The village is now home to Broadstreet RFC, a National League Rugby club that moved to a new ground called Ivor Preece Field in the village in 2001, after selling their ground in Binley, Coventry.

Brandon Wood.

Brandon Wood, just south of the village from which it takes its name, covers an area of : it is a designated ancient woodland, having been mentioned in the Domesday Book of 1086. It was once run by the Forestry Commission, but since 1981 it has been managed by a local group, the "Friends of Brandon Wood", who in 2000 purchased the wood from the Forestry Commission; it is now run as a community wood and is open to the public.

Appearances in media.

One of Binley Woods' claims to fame is that it was used as one of the locations for the filming of the 1990s BBC sitcom "Keeping Up Appearances"; exterior shots of Hyacinth Bucket's house were filmed at 117 Heather Road. 119 Heather Road was used as the house of her neighbours Elizabeth Warden and Emmet Hawksworth.

Binley Woods is a suburban village and civil parish in Warwickshire, England. The village lies marginally beyond the eastern outskirts of Coventry, outside the formal city boundaries. Binley Woods is within the Borough of Rugby, although the town of Rugby is around 7 miles (11 km) to the east. In the 2011 census the parish had a population of 2,665.

Binley Woods est un village et une paroisse civile du Warwickshire, en Angleterre. Administrativement, il dépend du borough de Rugby.


Early life.

Urrea was born at the Presidio Real de San Augustín de Tucsón (now the U.S. city of Tucson, Arizona), during Spanish regime of the region. Despite being born on the northern frontier of Mexico, his family had deep roots in the state of Durango.

Military career.

In 1807 Urrea entered the Spanish army. In 1824 he rose to the rank of captain, but he resigned from the army and entered private life. In 1829 he rejoined the military as a major and helped to liberate the city of Durango, allying himself with Antonio López de Santa Anna. He was promoted to colonel for his actions. In 1835 he reluctantly took part in Santa Anna's attack on the state of Zacatecas (the state had openly rebelled against his rise to power). Santa Anna promoted Urrea to Brigadier General for his role in this.

Texas Revolution.

When the Mexican state of Texas also revolted against Santa Anna's Centralist government, Urrea was sent there to help put down the colonists. He easily defeated small groups of Texan forces at the Battle of San Patricio, Battle of Refugio, and Battle of Coleto. The last, also known as the "Goliad Massacre", included the deliberate slaughter of Texans who had surrendered. The execution of prisoners, however, was not Urrea's choice, but an order by General Santa Anna.  Due to Urrea's string of victories, Santa Anna decided to stay in Texas and personally finish off the rebellious Texas government. His motives were personal and political as Urrea was getting all the headlines and would be seen back in Mexico as a more popular figure.

Aftermath.

The military defeat of Santa Anna's forces at the Battle of San Jacinto on April 21, 1836 resulted in Santa Anna's capture, and him being forced to order all Mexican forces to withdraw from Texas soil. Urrea was infuriated and, after linking up with Vicente Filisola's forces, he wanted to continue the war against the Texans since the Mexicans still had over 2,500 troops in Texas against less than 900 of Sam Houston's Texans. But both Urrea and Filisola had no choice but to comply with Santa Anna's orders, so by the middle of June, Urrea and all Mexican forces had withdrawn from Texas. The Mexican authorities criticized Filisola for leading the retreat, stripped him of his command, and made Urrea the new commander of the army. Within a few months, Urrea gathered an army of 6,000 troops near Matamoros to finally reconquer Texas. However, the invasion never occurred as he and his troops were redirected to address several federalist rebellions across Mexico.  In 1837, Urrea turned against Santa Anna upon his return to Mexico, and fought against him at the Battle of Mazatlán in 1838. The attempted uprising resulted in his eventual arrest, and he was sent to Perote Prison. He later revived his military career with the invasion of French forces into Mexico, and another failed coup attempt followed.  The Mexican–American War saw Urrea leading a cavalry division against invading American troops. Urrea died August 1, 1849 of cholera shortly after the war ended.

José Cosme de Urrea y Elías González (full name) or simply José de Urrea (March 19, 1797 – August 1, 1849) was a Mexican general. He fought under General Antonio López de Santa Anna during the Texas Revolution. Urrea's forces were never defeated in battle during the Texas Revolution. His most notable success was that of the Goliad Campaign, in which James Fannin's 400 soldiers were surrounded and induced to capitulate under terms, but were massacred in Urrea's absence on the orders of Santa Anna. Urrea also fought in the Mexican–American War.

José de Urrea, né le à Tucson, en Californies, Nouvelle-Espagne et mort le à Mexico est un général mexicain. Il a combattu sous les ordres du général Antonio López de Santa Anna pendant la Révolution texane. Ses troupes n'ont jamais été battues pendant cette révolution. Son succès le plus remarquable est celui de la campagne de Goliad, durant laquelle les 400 soldats de James Fannin sont vaincus et forcés à capituler, mais sont ensuite massacrés durant l'absence d'Urrea, sur les ordres de Santa Anna. Urrea a également combattu durant la Guerre américano-mexicaine.


School of Physics and Technology of University of Kharkiv

Faculté de physique et de technologie de l'université nationale de Kharkiv

History.

The school was established in 1962 on the basis of the Department of Nuclear Physics of the School of Physics and Mathematics. The Department of Nuclear Physics existed since 1946, while some of the other departments incorporated into the school existed since the 1930s. In 1969 the school moved from the main building of the university to a separate campus in the Pyatikhatki district, to be closer to the Kharkiv Institute of Physics and Technology.

Curriculum.

The first three years of bachelor studies at the school are devoted to general physical and mathematical training. In semesters 1-4, students attend courses on general physics (mechanics, thermodynamics, electricity and optics), in semesters 5-6 – courses on atomic and nuclear physics. The program of these courses is close to the textbooks of Sivukhin and Savelyev. In semesters 1-5 a number of mathematical disciplines are taught: calculus, analytic geometry, higher algebra, complex analysis, equations of mathematical physics, probability and statistics, and numerical methods. General physics and mathematical courses are accompanied by practical classes and extensive homework assignments. In semesters 4-8 a number of courses in theoretical physics are taught, largely based on the "Course of Theoretical Physics" by Landau and Lifshitz: theoretical mechanics, electrodynamics, quantum mechanics, continuum mechanics, thermodynamics, statistical physics.  After the 6th semester, students are distributed among the departments of the school, depending on their preferences and ranking. There are 4 departments in the school: Starting from the 7th semester, the curriculum includes special courses, which are different for each department.  In semesters 6-7, the student writes a bachelor's thesis under supervision of a thesis advisor, who is chosen by the student or appointed by the department head.  During the 5th year, special courses dominate the curriculum, while the 6th year is entirely devoted to the writing of the student's master's thesis.  The entire duration of education at the school consists of 4 years of bachelor studies and 2 years of master studies.

Departments.

The school has four departments. The Aleksander Akhiezer Department of Theoretical Nuclear Physics and Higher Mathematics prepares theoretical physicists with a broad base of fundamental physical knowledge. The Department of Nuclear and Medical Physics conducts training for specialists in two different areas — experimental nuclear physics and medical physics. The Department of Applied Physics and Plasma Physics trains specialists in plasma physics, covering both the theoretical and the experimental aspects of plasma physics. The Department of Reactor Materials and Physical Technologies specializes mainly in radiation materials science and vacuum coatings.

Aleksander Akhiezer Department of Theoretical Nuclear Physics and Higher Mathematics.

The Department of Theoretical Nuclear Physics and Higher Mathematics is a successor to the Department of Theoretical Physics, which was created at the School of Physics and Mathematics of Kharkiv State University in 1933, and thus it is older than the School of Physics and Technology. Lev Landau played a crucial role in establishing the department. Here he started implementing his plans for the reorganization of training of theoretical physicists and creation of his "Course of Theoretical Physics". It was Landau who compiled the first programs for the courses on theoretical physics at the department. In 1940-1973, the department was headed by Aleksander Akhiezer, whose name is now being carried by the department.  The department is considered to be the most difficult department at the school. Students of the department study special courses on elementary particles, quantum electrodynamics, general relativity, astrophysics, theoretical nuclear physics, solid-state theory, and plasma physics. In addition, the professors of the department teach most of the bachelors-level mathematics and theoretical physics courses at the school.

The department was created in 1937 by Anton Valter. The name of the department changed several times: "Department of Physics of the Atomic Nucleus", "Department of Physics of the Atomic Nucleus and Electronics", "Department of Electronic Processes", "Department of structure of matter", "Department of Experimental Nuclear Physics". In 2012, the Department of Experimental Nuclear Physics was joined with the Department of Medical Physics, forming a Department of Nuclear and Medical Physics.  The specialty "Medical Physics" (with specializations in "Medical Radiation Physics" and "Medical Biophysics") has existed at the school since 2005. Students studying nuclear physics and medical physics study in different groups and attend different courses: nuclear physicists specialize in experimental nuclear physics, while medical physics students study biology and medical equipment in more detail.

Department of Applied Physics and Plasma Physics.

The Department of Plasma Physics was created in 1962 under the direction of Cyril Sinelnikov. The Department of General and Applied Physics was established in 1969 to conduct courses in general physics, electronics and engineering graphics. In 2012, the Department of Plasma Physics and the Department of General and Applied Physics were merged into the Department of Plasma Physics and Applied Physics.

The Department of Reactor Materials was established in 1962 on the initiative of the academician Victor Ivanov (KIPT director 1964-1980), who headed the department from 1962 to 1969. In 2012, it was merged with two other departments (the Department of Physical Technologies and the Department of Electrophysics and Radiation Technologies), and formed the Department of Reactor Materials and Physical Technologies.

Achievements.

The school's teams are perennial winners of the Ukrainian Physicists' Tournaments for University Students, outstripping all other physics schools in Ukraine. Three times, students of the school won the International Physicists' Tournament (in 2011, 2015 and 2017).

Traditions.

During the summer vacations after their 3rd year, student participate in summer practice, which includes lectures by local scientists, as well as excursions to KIPT and to laboratories of different departments of the school.  On Fridays, the seminar "Problems of Modern Physics" is held at the school (jointly with KIPT).  In August, before the beginning of the academic year, additional math classes for new freshmen are held, in which the school course of algebra and introductory calculus is rehearsed. The classes are organized and taught by undergraduate students of the school.  At the end of the fall semester, the "Day of Phystech" is held, which includes a concert prepared by the students themselves.  Young teachers and students of the school organize unofficial additional classes and seminars, usually held in the evening after the principal classes, and thus called "Evening Phystech".  "The Charitable Foundation of the Phystech Alumni" collects donations from alumni of the school, mostly the ones working outside Ukraine as scientists, and directs the money on different projects, mostly related to improving infrastructure of the school.

The School of Physics and Technology (abbreviated Phystech) is one of the four physics schools of the V. N. Karazin Kharkiv National University. It specializes in the fields of theoretical physics, nuclear physics, plasma physics, materials science and medical physics. Distinctive features of the school include close cooperation with the Kharkiv Institute of Physics and Technology, and fundamental theoretical training in style of the Landau school, to which many instructors of the faculty belong.

La Faculté de physique et de technologie (abréviation Phystech) est l'une des quatre facultés de physique de l'université nationale de Kharkiv. Elle se spécialise dans les domaines de la physique théorique, de la physique nucléaire, de la physique des plasmas, de la science des matériaux et de la physique médicale. Les caractéristiques distinctives de la faculté comprennent une coopération étroite avec l'Institut de physique et de technologie de Kharkiv et une formation théorique fondamentale d'après l'école Landau, à laquelle appartiennent de nombreux professeurs enseignants de la faculté.


Background.

Both of Jordan's biographers relate a story told by Sid Boyum, which places the inspiration for the house in a meeting between Alex Jordan Jr. and Frank Lloyd Wright, at some unspecified time between 1914 and 1923. Jordan Sr. supposedly drove with Boyum to Taliesin to show Wright the plans for a building, the Villa Maria in Madison. Jordan worshipped the famous architect and hoped for his approval. Wright looked at the plans and told Jordan: "I wouldn't hire you to design a cheese crate or a chicken coop. You're not capable." Fuming, on the drive back on Highway 23, Jordan pointed to a spire of rock and told Boyum: "I'm going to put up a Japanese house on one of those pinnacle rocks and advertise it." Balousek says Wright "apparently didn't forget the incident", noting that Wright "complained publicly to Iowa County officials about the house the Jordans were building" and bought a nearby piece of property, "perhaps as a way to get back at Jordan."  The House on the Rock's website has posted information questioning the legitimacy of Boyum's story for the following reasons:  The legitimacy of this story is also questioned in the biography of Alex Jordan written by Tom Kupsh. Tom Kupsh's book lists many of the same reasons as The House on the Rock website and also states that "The first agreement (an extended lease) with the Christianson family, who owned Deer Shelter Rock, was made some 30 years later in 1953 and no sign appeared at the road entrance until The House on the Rock opened to the public in 1960."

Layout and attractions.

The "house" itself is atop Deer Shelter Rock, a column of rock approximately, by on the top, which stands in a forest nearby. Additions were made to the original structure and other buildings added over the course of several decades. The complex now features "The Streets of Yesterday", a re-creation of an early twentieth century American town; "The Heritage of the Sea", featuring nautical exhibits and a of a fanciful sperm whale-like sea creature; "The Music of Yesterday", a huge collection of automatic music machines; and what the management bills as "the world's largest indoor carousel", among other attractions. The carousel at the House on the Rock features 269 carousel animals, 182 chandeliers, over 20,000 lights, and hundreds of mannequin angels hanging from the ceiling. The carousel has no horses. During the winter, the attraction features a Christmas theme, with decorations and a large collection of Santa Claus figures. Many of the bathrooms are decorated with strange objects, including mannequins, flowers, and preserved animals.  The earlier structures, namely the House on the Rock itself, the Gate House, and the Mill House, are reminiscent of the work of Frank Lloyd Wright, though much less coherently designed than is characteristic of Wright, given its patchwork of external structures and interior spaces. According to a likely apocryphal story, the building actually began partly to spite the master architect, who ran his Taliesin communal school near Spring Green. These early structures feature exposed stone, low ceilings, dark woodwork, and antiques on display.  Jordan sold the house in 1988 to a friend who continued building on the site, adding to the collections of knick-knacks and exhibits featuring authentic pieces, reproductions, and specially-made examples of everything. The most recent addition is the "Spirit of Aviation", a collection of large model airplanes in a themed room. Another exhibit, the "Transportation Building", is under construction, but visitors can walk through and view the work in progress. In the same year, the "Wisconsin State Journal" published a four-part series on "The House on the Rock," which reporter Marv Balousek later expanded into a self-published book entitled "House of Alex." According to Balousek, Jordan Sr. hired "drunks and bums" from the Madison street to help blast the rock. Balousek says that according to Sid Boyum these workers were sometimes paid with whiskey and sometimes by check, but that Alex Jordan Jr. destroyed the cancelled checks later to further a myth that he had personally built the house himself.  Jane Smiley wrote this about the complex in 1993:  The House has inspired several authors and musical groups, the most prominent being author Neil Gaiman, who used it as an important plot point in his 2001 novel "American Gods", along with the related 2017 television series. The 2017 film "American Fable" features parts of the house, including the carousel and Infinity Room, in a dream sequence.  The 1997 10,000 Maniacs music video for "More Than This" was filmed at the House.

Authenticity of the collections.

Some of the apparent antiques in the House on the Rock are real, but many are not what they seem: depending on one's point of view one could call them fakes, replicas, or original and imaginative creations in the style of antiques. Moe's authorized biography suggests that the question of authenticity is not a problem, presenting it this way: Much of the House's contents were built by Jordan and his associates. Balousek quotes Jordan associate Bob Searles as saying The "Phelps Car" in the Streets of Yesterday, for example, was made by Jordan associate Bob Searles from an old carriage and some motorcycle parts. Balousek quotes Searles as saying "We could fabricate any antiques we wanted to—that was the fun of it. It was just one guy's great big sandbox, where he kept building stuff." Balousek says that Jordan sometimes bought bonafide antiques, but "usually preferred a good copy that cost less," and quotes a supplier as saying "I suspect that Jordan would pay more for a good copy than he would for an original, because he could sit in a corner and laugh about the way he fooled everyone."  In 1978, a disgruntled employee complained to the state Justice Department of consumer fraud, saying that these claims were tall tales. The "Tiffany" lamps, for example, were made by the Illinois firm of Bauer and Coble. The name of the Tusk of Ranchipoor was actually a pun on the name of Richard Rahn, a Mazomanie antiques dealer, who had built many of the fakes: "Rahn is poor." Jordan was enjoined from making false claims, the brochure was rewritten, and misleading signs were removed from the exhibit. However, the exhibits retained their colorful names, allowing visitors to surmise what they wished.  The room-sized assemblages of what appear to be mechanical musical instruments are partly illusion. Some of the instruments actually play, but the strings and woodwinds in particular do not; their sound is actually produced by organ pipes, while the moving instruments fool visitors.  Today, the nature of the exhibits is disclosed, though perhaps not emphasized, by the management; for example, the current website notes, "All the armor featured in this elaborate collection was made for The House on the Rock". This was not always the case. According to Balousek, before 1978 brochures advertised authentic Tiffany lamps, said the Gladiator Calliope dated from 1895, that the Franz Josef music machine had actually belonged to the Austrian emperor, that the Tusk of Ranchipoor was genuine ivory carved by an "unknown Punjab artisan," and so forth.  The official 1993 brochure says that the house "boasts the largest collection of Bauer and Coble lamps in the world. The management considers them finer and expects them to be more valuable than Tiffany's," and boasts that "The 'Four Seasons' panels are thought to be the only exact replica of the original and very popular Tiffany effort."

The House on the Rock is a tourist attraction located between the cities of Dodgeville and Spring Green, Wisconsin. Opened in 1959, it is a complex of architecturally distinct rooms, streets, gardens, and shops designed by Alex Jordan Jr.

House on the Rock ("Maison sur le rocher", allusion à la parabole de Jésus) est une attraction touristique située entre les villes de Dodgeville et de Spring Green, dans le Wisconsin. Ouverte en 1959, c'est un complexe de pièces dans des styles variés, de rues, de jardins et de boutiques, dessiné par.


Biography.

Formation/Jade Tree Records (1995-2003).

Joan of Arc began as a band named Red Blue Yellow. They broke up after their first show, threw away all of their old material, and started afresh with new songs and a new name. Three months later, Joan of Arc had their first show at Autonomous Zone in Chicago. After two promising 7" singles, the band recorded their debut album "A Portable Model Of..." on the Jade Tree label.  "A Portable Model Of... " introduced JOA's signature sound: a fondness for stark acoustic songs combined with subtle electronics. The debut album also included some harder material and collaborations with former Cap'n Jazz guitarist and The Promise Ring singer Davey von Bohlen and Euphone's Ryan Rapsys, who would later drum for Owls following the departure of Mike Kinsella.  In 1998, Joan of Arc released "How Memory Works". The album included what would become a hallmark of Joan Of Arc's subsequent output: interludes of synthetic noises cut with vocal samples and off-beat instrumentation. As always, Kinsella's lyrics were cryptic and oblique, though the song 'This Life Cumulative' made reference to the media alienation of singer/songwriter Fiona Apple. Significant to this shift was the influence of member Jeremy Boyle, whose work with laptop and various software and hardware was a part of his broader multimedia artistic training at the University of Illinois-Chicago's School of Art and Design.  Following the departure of Mike Kinsella, Erik Bocek, and the addition of Todd Mattei, Joan Of Arc found themselves thrust unwillingly into the spotlight by the sudden success of a Jade Tree retrospective by Kinsella's former band Cap'n Jazz. Despite being heralded as a pioneer of a diverse genre known as 'emo' (a term rejected by Kinsella), Joan of Arc's next album was a reaction to this unwelcome classification. The songs on the album were slower and contained more spacious arrangements thanks to a newly found fondness for studio trickery. The album's artwork depicted recreated scenes from Jean-Luc Godard's 1967 film "Weekend". The release of "Live in Chicago" also marked the increasing media perception of Joan Of Arc as a 'difficult' band, an impression that would dog Kinsella in particular throughout the band's existence.  Negative critical reaction to Joan of Arc would become especially apparent after the release of "The Gap" in 2000. Completely eschewing past convention, JOA created one long ebbing piece of music, with only occasionally recognizable songs. This increasingly progressive studio-heavy approach — mostly of clattering, incidental percussion and background noise — found some favor among band loyalists, but baffled the music press. As a result, growing tensions within the group, indifference from their label, and a poorly-received follow-up EP led to Joan Of Arc's breakup. Tim Kinsella then formed a group called Owls, a reincarnation of the original Cap'n Jazz lineup. After recording the album with Steve Albini in 2001, the departure of Mike Kinsella and Victor Villareal led to the Owls' breakup. Left without a band once again, Tim Kinsella started working on songs for a solo album. After completing the album with help from Sam Zurick and Mike Kinsella, Tim Kinsella decided that since all three had played in Joan Of Arc, it should bear the name Joan of Arc. The album, much different from the conceptual madness of "The Gap", instead consisted of guitar-driven tracks with journal-like observation from Tim Kinsella. Heralded as a return to form, "So Much Staying Alive And Lovelessness" became the band's last on Jade Tree.  Later that year, Joan Of Arc released "In Rape Fantasy And Terror Sex We Trust" on Perishable Records, featured collaborations with Califone's Tim Rutili and Ben Massarella, and was produced by Califone. Although the songs had been recorded during the same sessions as "... Lovelessness", they were darker and more collage-based. According to the website AllMusic, on "In Rape Fantasy And Terror Sex We Trust" "Joan of Arc... once more surpassed themselves as artists".

Reformation/Polyvinyl (2004-2017).

To tour the albums in 2003, Tim Kinsella organised a new lineup including Bobby Burg, Nate Kinsella (Tim's cousin) and Sam Zurick, who would also double as his side-project Make Believe. After a live album recorded in Germany and a split EP with Bundini Brown (of Tortoise and Gastr Del Sol), the band assembled a huge team of collaborators for 2004's "Joan of Arc, Dick Cheney, Mark Twain" on Polyvinyl Records. This effort was largely well-regarded and a significant step forward for a new incarnation of Joan of Arc.  For the album "Presents Guitar Duets" (Polyvinyl Records), Tim Kinsella rounded up ten former members of Joan Of Arc and others like Tim Rutili. Each was paired off with a partner by pulling names from a hat. Each pair then had to record a guitar duet together, and the styles vary from standard acoustic plucking to droning, looped soundscapes. The track-names are identified only by the faces of the pair who play on the track.  In 2006 Joan of Arc released a compilation of rarities entitled "The Intelligent Design Of..." which compiles songs from singles, splits, and compilation released from the band's career up until that point. Shortly after Joan of Arc released "Eventually All at Once", which is largely acoustic, and features members that have been involved throughout the history of Joan of Arc, which was coupled with an EP entitled "Many Times I've Mistaken". This EP features two songs from Eventually All at Once but with full bands, and slightly differed arrangements, which continues to showcase the band's eclectic style. In 2007 the "Orchard Vale" soundtrack was released, which was another experimental release for the band, and is also directed by Kinsella.  In 2008 Joan of Arc Released "Boo! Human" on Polyvinyl Records. It is a more cohesive album than many of their others, and uses 14 musicians to help create this soundscape. The band's next effort, "Flowers", partially abandons the more straightforward song writing from Boo Human, and favors a more experimental setting. The next two releases were in the form of "Joan of Arc Presents..." which indicates an even more loose collective of people that create the album, while Tim Kinsella serves as chief instrumentalist and songwriter. One of the two, titled "Don't Mind Control", features songs from nearly every artist that is associated with Joan of Arc, and was couple with the Don't Mind Control showcase which featured many of the bands in a live setting.  "Oh Brother" featured an eclectic ensemble as well, but with the format of four nearly twenty-minute songs that form a collage of sound. In contrast to Joan of Arc's next release, "Life Like", these albums are completely different. "Life Like" marks a point of returning to basics of a sort, with a four-piece band, and is coupled with more regular touring than any recent incarnations of the band.

Present day.

In September 2010, Joyful Noise Recordings released a JOA 10-album complete cassette box set. Contained in this collection are the 10 full-length studio albums from JOA, beginning with 1997's "Portable Model Of" Jade Tree and ending with 2009's "Flowers" Polyvinyl.  Though JOA continued to release full-length LPs with Polyvinyl, Tim Kinsella began releasing his more bizarre, amorphous, experimental work through Joyful Noise Recordings, beginning in 2011 with "Oh Brother" described as a "combination of four distinct albums embarked upon but never completed by Joan of Arc," with collaborative personnel ranging from Zach Hill (Death Grips, Hella, Face Tat), Rob Lowe (Pinback, Goblin Cock) and others in a sprawling, ambient instrumental, double-LP.  Other solo & experimental work has work appearing on Joyful Noise Recordings, quickly followed including "Lightbox", "Joan of Arc Presents Joan of Arc", the self-titled album (known colloquially as the 'Elephant Man Album'), "Pinecone, Tim Kinsella Sings the Songs of Marvin Tate by Leroy Bach Featuring Angel Olsen" and other projects.  Kinsella was awarded an artist residency at Joyful Noise in 2015. His residency boxed-set included: "Issues EP", "Firecracker in a Box of Mirrors LP", Joan of Arc's Greatest Hits 7", "JOA 99" LP, "Hunky Dory TK", and the book "All Over and Over".  "Hunky Dory TK" was an electronic collage composed entirely of samples from David Bowie's classic, orchestral pop album, "Hunky Dory," performed as part of the Museum of Contemporary Art in Chicago's 2015 exhibition "David Bowie Is".  In 2017, Joan of Arc released their full-length studio LP "He's Got the Whole This Land Is Your Land in His Hands" on Joyful Noise Recordings. Though provoking controversy or critical dismissal in some quarters, it is widely considered to be among JOA's most ambitious and most nearly fully realized "grand experiment."  In 2018, Joan of Arc released their 20th album, "1984". Unusually for a Joan of Arc album, Melina Ausikaitis stands in for Tim Kinsella as lead vocalist. "We were thinking of it as a [late period] Black Flag record, where Melina would sing a song, then the next song was a jam," said Kinsella, describing the structure and sequencing of the material appearing on the album.  In honor of the album's release, Joyful Noise Recordings produced a version of George Orwell's dystopian novel of the same name, "Nineteen-Eighty-Four", that substituted the names of the Joan of Arc band members for all of the major characters ("Winston Smith -> Tim Kinsella, O'Brien -> Bobby Burg, etc.") and set the story in Chicago (instead of London), posting the revision on 1984.com for a limited time.

Band members.

Current contributors Past contributors  Past contributors continued

Discography.

Studio albums  Live albums  EPs  7"/Singles/Splits

Joan of Arc is an American indie rock band from Chicago, Illinois named after the French saint Joan of Arc. They formed in 1995, following the breakup of Cap'n Jazz.

Joan of Arc est un groupe de rock indépendant américain, originaire de Chicago, dans l'Illinois. Il est formé en 1995 après la séparation de Cap'n Jazz. Le chanteur Tim Kinsella reste le seul membre constant depuis la création du groupe.


Design and development.

In 1958 France was in the middle of the Algerian War and felt a need for a counter-insurgency aircraft capable of observation, photography and ground support. This official programme led to three aircraft: the SIPA S.1100, the Sud Aviation SE-116 Voltigeur and, slightly later, the Dassault Spirale. All three were propeller driven designs with twin engines.  Orinally known as the Fonceur, the Voltigeur was named after the French cavalry units specialising in skirmishes. It was a low wing cantilever monoplane. All its flying surfaces were straight tapered and square tipped; the vertical tail was tall and broad. The first prototype had Wright Cyclone nine cylinder radial engines mounted ahead of the wing leading edges, with cowlings, largely above the wing, projecting beyond the trailing edge. On the second prototype the Cyclones were replaced with Turbomeca Bastan turboprops in much more slender cowlings on the top of the wings. The Voltigeur had tricycle gear with main legs that retracted backwards into under-engine cowlings; the nose wheel retracted into the fuselage. Each main leg carried a pair of wheels to assist with take-offs and landings on rough strips.  The Voltigeur had a conventional, multi-panel, glazed cabin and a glazed nose offering good ground views. Behind the wing trailing edge the fuselage carried perforated airbrakes for ground attacks; the Voltigeur was fitted with two guns and six underwing attachment points for bombs and rockets.  The piston-engined Voltigeur was first flown on 5 June 1958 by Roger Carpentier who also took the turboprop version on its first flight on 15 December 1958. A few weeks later, on 9 January 1959, Carpentier, Yves Crouzet and Marcel Hochet were killed when tail flutter developed in a high-speed run. After tests of the SE-117 first pre-production machine, conducted in collaboration with Marcel Dassault, the Voltigeur programme was abandoned along with a projected fast transport, the SE-118 Diplomate.

Variants.

"Data from" Gaillard (1990)

The twin turboprop Sud Aviation SE-116 Voltigeur of the late 1950s was a French army support aircraft capable of observation and ground attack operations. Three were built but no series production was undertaken.

Le SE.116 Voltigeur est un projet d'avion militaire de la Guerre froide conçu en France par la SNCASE ("Sud-est Aviation"). Il n'a jamais été produit.


History.

The monastery was founded in 1150 for the Canons Regular. In 1461 the premises were sold to the Carthusians. In 1524, during the Reformation, the monastery was destroyed in the "", but was rebuilt during the Counter-Reformation. In 1798 the officials of the Helvetic Republic forbade the acceptance of novices and declared the monastery's assets the property of the state. Nevertheless the charterhouse survived until 1848, when it was finally dissolved.  Between 1867 and 1977 the estate was the private property of the Fehr family, who ran the former monastery and its land as an agricultural concern for several generations. The entire monastery precinct remained for the most part intact. After 1977 the property was taken over by the charitable foundation "Kartause Ittingen" and between 1979 and 1983 comprehensively restored.

Present day.

The buildings now accommodate the art museum of Canton Thurgau, the Ittinger Museum and "tecum", an Evangelical meeting and education centre. There is also a residential home here for about 30 people with either mental illnesses or learning difficulties who are employed round the various businesses on the site. In addition, there are two hotels with 67 rooms altogether, and the restaurant "Zur Mühle". The agricultural concern is among the biggest in the canton. As well as standard agriculture, grapes and hops are grown and from them wine and beer produced (the beer is brewed by "Calanda Bräu" in Chur) and milk from the estate's own cows is used for the production of various cheeses.

Ittingen Charterhouse ("Kartause Ittingen") is a former Carthusian monastery near Warth, Canton Thurgau, Switzerland. It is now used as an education and seminar centre with two museums and a farm.

La chartreuse Saint-Laurent d'Ittingen est une ancienne chartreuse située en Suisse dans la commune de Warth-Weiningen du canton de Thurgovie. C'est aujourd'hui un lieu de séminaires et de conférences avec un petit musée, ainsi que des hôtels et un restaurant. Certaines parties sont occupées par un foyer pour personnes frappées de troubles psychiques.


Description and history.

The Medgar Evers House stands in northern Jackson, in what is called the Elraine Subdivision. This area was developed as the first planned middle-class subdivision for African-Americans in Mississippi after World War II. The house is on the north side of Margaret Walker Alexander Drive, a few doors east of its junction with Missouri Street. It is one of 36 similar single-story ranch-style houses built by Leroy Burnett and Walter J. Thompson. It is a single-story wood frame structure, set on a foundation of brick piers. It has a broad shallow-pitch gabled roof, with a built-up covering of gravel. The roof has extended eaves with the rafters exposed. To the left side, the roof extends across a carport which is accessed via the original concrete driveway; the main entrance is under the carport shelter. Part of the facade is faced in brick veneer, while the rest is finished in asbestos siding. Interior features include a bullet hole in the wall separating the kitchen and living room.  The house was purchased new by Medgar and Myrlie Evers in 1956, and remained their home until 1963. The Everses were both active civil rights activists, and had for some time been specific targets of racist violence. They chose this house in part for features that improved its security: it was not on a corner lot, and its entrance under the carport provided better cover than a front door would. On May 28, 1963, a Molotov cocktail was thrown onto the carport. On June 11, 1963, Evers attended a meeting of civil rights groups in Jackson to formulate a response to actions taken by George Wallace, then Governor of Alabama, to prevent African-Americans from enrolling at the University of Alabama. Arriving home around midnight, Evers, standing in the carport, was shot by Byron de la Beckwith, using a sniper rifle from an undeveloped lot about away. The bullet passed through the house's picture window, and through the wall between the living room and kitchen before coming to rest. Evers died early the next morning.  Myrlie Evers moved to California in 1964, continuing the civil rights crusade. She maintained ownership of the house for thirty years, using it as a rental property. She donated the property to Tougaloo College in 1993. The house underwent repairs and stabilization in 1995-96, and was restored to its appearance during the Evers residency in 2013.

The Medgar and Myrlie Evers Home National Monument, also known as Medgar Evers House, is a historic house museum at 2332 Margaret Walker Alexander Drive in Jackson, Mississippi. Built in 1956, it was the home of African-American civil rights activist Medgar Evers (1925-1963) at the time of his assassination. Now owned by Tougaloo College, the restored house is open for tours by appointment. It was designated a National Historic Landmark in 2017. The John D. Dingell, Jr. Conservation, Management, and Recreation Act, signed March 12, 2019, authorized it as a national monument, pending acquisition of property by the National Park Service.

La maison de Medgar Evers (en ), officiellement monument national de la maison de Medgar et Myrlie Evers () est une habitation de Jackson dans le Mississippi. Elle est inscrite au Registre national des lieux historiques en 2000 et classée National Historic Landmark en 2016.


History.

The division between highlanders and coastal dwellers has its roots in historical patterns of settlement. The original Austronesian settlers from Borneo arrived between the third and tenth centuries and established a network of principalities in the Central Highlands region conducive to growing the rice they had carried with them on their outrigger canoes. Sometime later, many settlers arrived from East Africa and established kingdoms along the relatively unpopulated coastlines. The Bantu Africans mixed with the Austronesian settlers and this resulted in the modern Malagasy people.  The difference in ethnic origins remains somewhat evident between the highland and coastal regions. In addition to the ethnic distinction between highland and coastal Malagasy, one may speak of a political distinction as well. Merina monarchs in the late 18th and early 19th century, united the Merina principalities and brought the neighbouring Betsileo people under their administration first. They later extended Merina control over the majority of the coastal areas. The neighbouring island of Moheli was also ruled by a Muslim Merina dynasty founded by Abderremane, Sultan of Mohéli, who was a brother-in-law of King Radama I. The military resistance and eventual defeat of most of the coastal communities assured their subordinate position vis-à-vis the Merina-Betsileo alliance. During the 19th and 20th centuries, the French colonial administration capitalized on and further exacerbated these political inequities by appropriating existing Merina governmental infrastructure to run their colony. This legacy of political inequity dogged the people of Madagascar after gaining independence in 1960; candidates' ethnic and regional identities have often served to help or hinder their success in democratic elections.  Within these two broad ethnic and political groupings, the Malagasy were historically subdivided into specifically named ethnic groups, who were primarily distinguished from one another on the basis of cultural practices. These were namely agricultural, hunting, or fishing practices; construction style of dwellings; music; hair and clothing styles; and local customs or taboos, the latter was known in the Malagasy language as "fady". The number of such ethnic groups in Madagascar has been debated. The practices that distinguished many of these groups are less prevalent in the 21st century than they were in the past. But, many Malagasy are proud to proclaim their association with one or several of these groups as part of their own cultural identity.

Genetics.

Recent genetic studies on the Malagasy people showed that all have mixed African and Asian ancestry. Three Malagasy populations, Temoro, Vezo, and Mikea, have approx. 70% African ancestry and 30% Asian ancestry while others have lower African ancestry.  In a recent island-wide survey the male-only Y chromosomes of African origin are more common than those of East Asian origin but it varies depending on the study (70.7 vs. 20.7% or 51% vs 34%). However the mtDNA lineages, passed down from mother to child, are the opposite (42.4 African origin vs. 50.1% East Asian origin).  In a 2010 study, the Polynesian motif (mtDNA haplotype B4a1a1a) frequency varied among three ethnic groups: 50% in Merina, 22% in Vezo, and 13% in Mikea. There are two additional mutations (1473 and 3423A) found in all Polynesian motif carriers of Madagascar, hence named the Malagasy motif. The most likely scenario is that Madagascar was settled approximately 1,200 years ago by a very small group, which consists of approximately 30 women; where 28 (93%) of them have maritime Southeast Asian descent and 2 (7%) of them have African descent. The Malagasy population was formed from the small founding population who intermixed.  The closest Asian parental population of the Malagasy are the Banjar and other South Kalimantan Dayak people of south east Borneo. Language footprints of their ancestors from Southeastern Asia can presently be witnessed by many shared basic vocabulary with Ma'anyan, a language from the region of the Barito River in southern Borneo.

Malagasy diaspora.

Countries with a significant Malagasy diaspora include France (specifically the overseas departments of Mayotte and Réunion), Comoros (specifically the island of Moheli), South Africa, and the United States.  The Malagasy diaspora in the United States includes those descended from people who, slave or free, came during the 18th and 19th centuries. Other Americans of Malagasy descent are recent immigrants from Madagascar. Some notable Americans of Malagasy descent include Andy Razaf, Katherine Dunham, Regina M. Anderson, William H. Hastie, George Schuyler and Philippa Schuyler, Muhammad Ali, Robert Reed Church and Mary Church Terrell, Frederick D. Gregory, Thomas P. Mahammitt, Paschal Beverly Randolph, Maya Rudolph, Claude McKay, Jess Tom and Keenan Ivory Wayans.  Malagasy were also brought to Peru during the Transatlantic Slave Trade. A community of descendants of these Malagasy reside in Morropón (Piura), a city in northern Peru; the Afro-Peruvians of Malagasy descent number about 7,000. Luis Miguel Sánchez Cerro, the Peruvian army officer who served as the 48th President of Peru from 1931 to 1933, as well as Interim President of Peru, was a notable descendant of this community. They call themselves "Mangaches" or "Malgaches." This section of Piura is called la Mangachería.  The first recorded African slave in Canada, Olivier Le Jeune, was taken from Madagascar to New France in 1628.

The Malagasy () are an Austronesian ethnic group native to the island country of Madagascar. They are divided into two subgroups: the "Highlander" Merina, Sihanaka and Betsileo of the central plateau around Antananarivo, Alaotra "(Ambatondrazaka)" and Fianarantsoa, and the "coastal dwellers" elsewhere in the country.

Les Malgaches (ou en malgache, "malagasy") sont un peuple austronésien, parlant le malgache, la plus occidentale des langues malayo-polynésiennes. Ils sont divisés en deux sous-groupes : les habitants des Mérinas, Sihanaka, Betsileos des plateaux du centre de Madagascar autour d'Antananarivo, d'Alaotra et de Fianarantsoa ; et les partout ailleurs à Madagascar. Cette division prend racine dans l'origine ethnique de ces deux sous groupes. Alors que les habitants des « hauts plateaux » descendent de migrants austronésiens originaire de Bornéo, arrivé entre le III et le X siècle de notre ère et qui ont établi un réseaux de principautés dans les Hauts-Plateaux, les, descendent de migrants est-Africains qui ont établi des royaumes tout au long des côtes, jusqu'alors relativement dépeuplés. Les différentes vagues successives de populations venant de tout le pourtour de l'océan Indien se sont ensuite greffées sur ce fonds commun et, dans chaque région, le mariage des nouveaux arrivants avec les premiers habitants austronésiens (Vazimbas et Vézos) aboutit à la diversité actuelle.