Biography.

Background.

Dick Morrissey emerged in the early 1960s in the wake of Tubby Hayes, Britain’s pre-eminent sax player at the time. Self-taught, he started playing clarinet in his school band, The Delta City Jazzmen, at the age of sixteen with fellow pupils Robin Mayhew (trumpet), Eric Archer (trombone), Steve Pennells (banjo), Glyn Greenfield (drums), and young brother Chris on tea-chest bass. He then joined the Original Climax Jazz Band. Going on to join trumpeter Gus Galbraith's Septet, where alto-sax player Peter King introduced him to Charlie Parker's recordings, he began specialising on tenor saxophone shortly after.  Making his name as a hard bop player, he appeared regularly at the Marquee Club from August 1960, and recorded his first solo album at the age of 21, "It’s Morrissey, Man!" (1961) for Fontana, featuring Stan Jones on piano, Colin Barnes on drums, and The Jazz Couriers founding member Malcolm Cecil on bass. He spent most of 1962 in Calcutta, India as part of the Ashley Kozak Quartet, playing three 2-hour sessions seven days a week, before returning to the UK and forming his quartet with Harry South – who had also been in the quartet in Calcutta – on piano. They were joined by former The Jazz Couriers bassist Phil Bates and variously, another ex-The Jazz Couriers member, Bill Eyden, Jackie Dougan or Phil Seamen on drums. The Dick Morrissey Quartet recorded three LPs, "Have You Heard?" (1963); the live recording "Storm Warning!" (1965) on Mercury; and "Here and Now and Sounding Good!" (1966). The quartet, played regular London gigs at The Bull's Head, Barnes and at Ronnie Scott's, whose manager, Pete King, once said that Ronnie's was kept going in those days due to the crowds Dick Morrissey pulled in. During this time he also played extensively in bands led by Ian Hamer and Harry South, including The Six Sounds, featuring Ken Wray and Dick Morrissey, a band which by 1966 had developed into the Ian Hamer Sextet featuring South, Dick Morrissey, Keith Christie, Kenny Napper and Bill Eyden, among other leading UK-based jazz musicians.  He also played briefly in Ted Heath's Big Band, which featured many name jazz musicians over the years, as well as appearing as a featured guest on the classic Johnny Dankworth and his Orchestra recording, "What the Dickens!" and the Harry South Big Band. Likewise, together with fellow tenors Stan Robinson and Al Gay, baritone sax Paul Carroll, and trumpets Ian Carr, Kenny Wheeler and Greg Brown, Dick Morrissey formed part of (Eric Burdon and) The Animals' Big Band that made its one-and-only public appearance at the 5th Annual British Jazz & Blues Festival in Richmond (1965).  By the mid-1960s, he had over two consecutive years come in second place behind Hayes in the Melody Maker Jazz Poll (1966 & 1967) and many US musicians touring Britain at the time, notably Brother Jack McDuff, a live recording with Jimmy Witherspoon, two LPs with J. J. Jackson, and Sonny Stitt together with guitarist Ernest Ranglin (live at Ronnie Scott's) recorded with him during the Sixties and early Seventies.  Dick Morrissey performed regularly at the National Jazz Festival in the 1960s; his last appearance under his own name there was at the 6th festival held at Windsor (1966), although he would return to the festival with "If" in 1972 for their only appearance.  In 1969, Dick Morrissey, by then many-time winner and runner-up of the Melody Maker Jazz Poll, teamed up with another Melody Maker award-winner, guitarist Terry Smith, with whom he had worked in J. J. Jackson’s Band, to form an early jazz-rock group, "If".

Morrissey–Mullen.

When "If" disbanded in 1975, Dick Morrissey went to Germany on a tour with Alexis Korner and then to the United States to tour and record with the Average White Band, and met up with Glaswegian guitarist, Jim Mullen, who had played with Brian Auger's Oblivion Express with some of the members of AWB, and together they formed Morrissey–Mullen (aka M&M), recording their first album, "Up" (1976) in New York. On returning to Great Britain, Morrissey–Mullen formed a band which rapidly became Britain’s most highly acclaimed jazz-fusion band of the day, initially including two top session musicians from New Zealand, Frank Gibson, Jr. and Bruce Lynch.  M&M recorded seven albums over the 16 years they were together, with Morrissey and Mullen collaborating on each other’s solo albums, notably "After Dark" (1983) with John Critchinson, Ron Mathewson, Martin Drew, Barry Whitworth. The line-up for later gigs also featured John Burch on piano, with whom Dick Morrissey would also form an informal group called "Our Band", also featuring Louis Stewart and/or Jim Mullen on guitar, as well as the above-mentioned Ron Mathewson and Martin Drew.  During that period, Dick Morrissey also recorded "Souliloquy" (1986), featuring Max Middleton, Kuma Harada, Robert Ahwai (all three of whom had also appeared on Morrissey–Mullen's first UK-recorded album, "Cape Wrath", in 1979), Steve Ferrone, Danny Cummings, Bob Weston and Lenny Zakatek.

Other collaborations.

As well as leading his own jazz combos, as a "musicians' musician," Dick Morrissey was in continuous demand as a guest artist with other British or UK-based jazz musicians, most especially with trios and quartets. Thus he was often to be found jamming with established names such as Tubby Hayes, Bill Le Sage, Roy Budd, Ian Hamer, Ian Carr, Tony Lee, Tony Archer, Michael Garrick (who dedicated him his 1965 composition "Leprechaun Leap"), Spike Robinson, Allan Ganley, alto saxophonist Peter King, Ray Warleigh, etc.  In between regular M&M gigs, Dick Morrissey would also meet up with old friends Ian "Stu" Stewart, Charlie Watts, Alexis Korner, Jack Bruce, Colin Hodgkinson, Don Weller, Zoot Money, John Picard and Colin Smith, to play boogie-woogie/jazz/rock with the back-to-the-roots fun band, Rocket 88, that Stewart put together with boogie-woogie pianist Bob Hall.  Apart from the early recordings with visiting US performers mentioned above, Dick Morrissey also toured and/or recorded with Charly Antolini, Alexis Korner (several albums), Hoagy Carmichael, participating on Hoagy's last album, "In Hoagland" (1981) featuring Georgie Fame and Annie Ross, with arrangements by Harry South, Mike Carr, Georgie Fame, Brian Auger, Dusty Springfield, Freddie Mack, Pete York, Paul McCartney, Orange Juice, Gary Numan (he appeared on a number of Numan's albums throughout the 1980s), Phil Carmen, Herbie Mann, Shakatak, Peter Gabriel (the solo in "Start" and several other tracks from his third album), Jon Anderson (and as a member of the New Life Band's The Song of Seven Tour in 1980), Demis Roussos, Jon & Vangelis and Vangelis, as well as playing the haunting saxophone solo on the Vangelis composition "Love Theme" for the 1982 film "Blade Runner".  Other musicians and performers Dick Morrissey shared the stage with include David "Fathead" Newman, Tommy Körberg, Boz Scaggs, Johnny Griffin, David Sanborn, Steve Gadd, Richard Tee, Billy Cobham, Michael Brecker, Randy Brecker, Sonny Fortune, Sonny Sharrock and Teddy Edwards (with whom he jammed a "duel" at London's 100 Club in the early 1980s), Mel Collins, Dick Heckstall-Smith, John Surman, Graham Bond, Klaus Doldinger, Al Casey, Miller Anderson, Bridget St. John and so on.  Whatever the style of music he was playing, be it pop, rock, hard bop or straight ahead jazz, Dick Morrissey showed that music could be appreciated at many different levels, and that even the most simplistic pop or rock song could be embellished with an authentic jazz groove. In this way he was able to reach new audiences and albeit indirectly, introduce people to jazz. When at different stages of his career, journalists asked him to define his style, he would refer to Duke Ellington's definition: "It's all music" and pointing out that for Ellington there were only two types of music: "good" or "bad". To that end, his last few recordings concentrated more than ever on jazz standards and the Great American Songbook.

Death.

Morrissey died on 8 November 2000, aged 60, after many years fighting various forms of cancer. To the end of his life, he could be seen and heard, seated in his wheelchair, playing to a full house at his local pub, The Alma, in Deal, Kent. His last gig was a reunion with the Morrissey–Mullen band (including Jim Mullen and Pete Jacobsen) at the Astor theatre in Deal. His funeral, held in Deal, was attended by many of his fellow musicians including Allan Ganley. Following his death, the UK national press published the following obituaries (excerpts):  In the obituary published in "The Times", British music critic Chris Welch wrote that Dick Morrissey was a "fiery musician who straddled the worlds of jazz and rock, but with a style built firmly on bebop and widely regarded as the most brilliant British saxophonist to emerge in the wake of Tubby Hayes. His advocacy of jazz-rock fusion successfully brought jazz to a rock audience and rock to a jazz audience". Steve Voce wrote in "The Independent"s obituary that Morrissey had the "ability to get through to an audience. He was one of the great communicators of jazz and... able to communicate with his listeners and quickly to establish a bond with them... [l]ike Charlie Parker before him, he was somehow able to lift audiences that knew little or nothing about his music".  Although one could from time to time imagine a feel of the American players Sonny Rollins or Johnny Griffin in Morrissey's work, he was outstanding among British players for his originality. Despite the sophistication of his ideas there was often a down-home quality to his punchy and hard swinging solos, and this was a reflection of one of his idols, the tenorist Stanley Turrentine. He was a lightning improviser and the flood of his inventions flew through his fingers with ease, for he was a masterful player." Ronald Atkins, writing in "The Guardian", put it thus: "John Coltrane's approach to the tenor had yet to make much of an impact in Britain, and Morrissey came up with a startling and warmly appreciated blend of Stan Getz and Sonny Rollins, the phrasing of one allied to the abrasive tones of the other. He was also influenced by the example of Tubby Hayes, whose lightening-quick [sic] forays through complex harmonies he was probably the first to emulate". The obituary in "The Daily Telegraph" read: "Dick Morrissey, who has died aged 60, was among the finest European jazz musicians of his generation. His command of the tenor saxophone was masterly, but it was the unforced fluency of his playing, expressed in a characteristically broad and sweeping tone, that attracted the greatest admiration.  Stylistically, Morrissey was so flexible that he was able to fit happily into many contexts, from straightforward hard-bop, through jazz-rock and jazz-funk to soul-inflected pop music. He possessed the remarkable knack of making everything he played sound not only exciting but happy."

Richard Edwin Morrissey (9 May 1940 – 8 November 2000) was a British jazz musician and composer. He played the tenor sax, soprano sax and flute.

Richard Edwin « Dick » Morrissey (né le à Horley et mort le à Deal, dans le Kent) est un musicien de jazz et compositeur britannique. Il joue du saxophone soprano, du saxophone ténor et de la flûte.


Personal life.

Hernández was born in Castro, Chile on 1 December 1984. She spent her childhood years in the Chiloé Island, the second-largest island in South America. The youngest of three children, her father died when she was young. She was raised by her mother, Yorki Escobar.  Hernández studied tourism and took up modelling, then advanced her studies in Journalism. She once spent a month working as a model in Beijing, Shanghai, and Shenzhen. After that, she lived in Santiago, the capital of Chile.  She enjoys outdoor recreations such as cycling, jogging, and volleyball to maintain her figure, but not fascinated with heavy machines in the gym. She admires Oprah Winfrey and Tyra Banks and intends to be a broadcast journalist or a talk show host.

Pageantry.

Before Miss Earth.

In 2004, she represented Chile in Miss Model of the World (Semifinalist) and South American Queen 2004. She also took part in Miss World Chile 2003 (Finalist) and Miss Earth Chile 2004 (First Runner-up). A year after, she competed in Miss Earth Chile for the second time and won the title Miss Earth Chile 2005. She succeeded Nataly Chilet Miss Earth Chile 2004, who was a top eight finalist at the Miss Earth 2005 pageant.  These contests gave her the experience and path to be crowned Miss Earth 2006, the third most important international beauty pageant after Miss Universe and Miss World.

Miss Earth 2006.

In the 6th edition of Miss Earth beauty pageant, Hernández was declared the winner of Miss Earth 2006 that took place on 26 November 2006 in the grounds of the National Museum in Manila, Philippines. She beat eighty-one other delegates from other countries. She had a moment of confusion during the announcement of the winners and did not immediately realized that she won the grand title of the pageant. She stood beside Miss India (Amruta Patki) who was called first and then she was called second, but she did not remember how the order in which they were to name the grand winner. She recalled: "I congratulated her (Miss India) and then she told me that I was the grand winner and only then I realized what was happening. I was very happy with the first four places, then being the winner was just out of surprise."  Hernández was supposed the host delegate since the event was originally slated to be held in Santiago, Chile on 15 November 2006, but organizers missed the deadline for the event setup, therefore Miss Earth was moved to the Philippines. In winning Miss Earth, she delivered the second major international beauty title to Chile, 19 years after Cecilia Bolocco won Miss Universe.

Media and Environmental activism.

Hernández arrived on 19 December 2006 in Santiago, Chile from Madrid, Spain and Buenos Aires, Argentina after she won Miss Earth 2006 in the Philippines. A press conference for her victory was immediately held at the press room of Santiago International Airport after nearly two months of her absence in Chile.  Accompanied by politician and Chile personality, Andrés Celis, she graced the opening ceremony and a glamorous cocktail of Festival de Viña del Mar, a musical event in South America, held on 19 February 2007 at the Casino de Viña del Mar.  She travelled to Singapore in April 2007 where she co-hosted the United Nations Environment Programme (UNEP) gala event, Champions of the Earth. She joined hands with students and teachers from Zhonghua Secondary School in Serangoon, Singapore to salvage young mangrove saplings from Sungei Buloh Wetland Reserve’s mudflats. She also graced the Miss Earth China 2007 pageant. Hernández proceeded to the Philippines to partake in the Earth Day activities within Metro Manila. Together with the United States Agency for International Development (USAID), she and Miss Earth Water 2006 Catherine Untalan took part in The Clean Air Campaign, as well as the promotion of the use of alternative fuel and recycling fairs in conjunction with other environmental groups.  Hernández returned to the Philippines in September 2007 and graced the different environmental events in Marikina City, starting off with waste segregation, visiting schools for the recycling campaign, and the launching of the waste water treatment system of Manila Water under the Metropolitan Waterworks and Sewerage System with Mayor Marides Fernando. She was one of the guest speakers at the Environment Month Symposium at Saint Paul College, Island Park, Dasmariñas, Cavite. She then assisted in the medical mission sponsored by Traders Hotel.  She participated in several environmental activities hosted by the Philippine Tourism Authority beginning with the celebration of International Coastal Clean-up Day event in Manila with Miss Philippines Earth 2007, Jeanne Angeles Harn as well as Catherine Untalan to the School Tour projects of the Miss Earth Foundation so-called “I Love My Planet Earth” in Manila and Rizal and other cities until the end of her reign in November 2007. The school tour was an educational project to teach grade school students to take care of the environment.  In October 2007, she went to the third International Travel Exposition in Ho Chi Minh City in Vietnam. She led the ribbon cutting, along with the tourism ministers from Vietnam, Cambodia, and Laos, which participated by eleven countries and spoke at the conference, "Protecting the environment green and clean and the impact of environmental issues to the development of tourism". She also participated in a fund raising event for the victims of the tragedy in Hậu River, conducted environmental forum with members of the press, addressed issues on pollution brought about by millions of motorcycles, the basic mode of transportation in Vietnam, discussed the protection of natural wonder sites like the Halong Bay, planted commemorative trees, donated the amount of 50 million (Vietnamese đồng) to support the victims of the collapsed cable-stayed bridge Cần Thơ, promoted the development of sustainable tourism, conducted a motorcade around Hanoi and Ho Chi Minh City to promote the use of helmet and encourage safe and friendly driving to prevent accidents amongst the motorists, and the introduction of alternative fuels for the improvement of mass transportation to help lessen the pollution. Hernández visited the Binh Tay- one of the oldest street market in HCM City where she was introduced to the architectural history of the street market, small business owners, and shopping center. Then, continued to visit Bến Thành Market, one of the tourist symbol of HCM City and attended the Vietravel Exchange to meet with Vietnamese companies and visitors. She was also a guest at the Gala Dinner at Vinpearl Resort & Spa with performances by artists of Vietnam like Ho Ngoc Ha, Hien Thuc, and Duc Tuan. She travelled back to Vietnam in November 2007 to attend the special competition of Miss Earth 2007.  During her reign as Miss Earth 2006, she had travelled to various places to call for environmental protection, along with the implementation of development environmental programs with the USAID, promoted the use of natural biofuels and educated the people to limit the use of fuels that pollute the environment. Aside from Spain, Argentina, Singapore, Vietnam, Philippines and her home country, Chile, she also travelled in other countries, such as Puerto Rico, Bolivia, Indonesia, Hong Kong, and China to promote environmental awareness and to grace the national pageants.  She graced the crowning of Miss Teen Chile 2008 in a ceremony at the Hyatt, Santiago, Chile in February 2008. A billboard poster which featured Hernandez, disappeared in March 2008, after it was ripped from the billboard in Whanganui, New Zealand. The thieves had damaged the bottom part of the board and removed the entire frame along with the poster. It was the first time a billboard poster had been taken in 30 years in Manawatū-Whanganui region.  She travelled in February 2009 to Talca, Chile and served as one of the celebrity judges in the Miss Pelarco pageant which attended by about two thousand people.  In addition to numerous trips around Chile, so far during her reign, Hernández had travelled to the Philippines, China, Puerto Rico, Bolivia, Singapore, Vietnam, Indonesia, Spain, Laos, New Zealand, Cambodia, Hongkong, and Argentina to promote environmental awareness and to grace the national pageants.

External links.

Hil Yesenia Hernández Escobar (born December 1, 1984) is a Chilean journalist, model, environmentalist, and beauty queen who won Miss Earth 2006 pageant becoming the first Chilean to win the coveted crown.

Hil Yesenia Hernández Escobar (née en 1983 à Castro) est la Miss Chili pour Miss Terre 2006 et mannequin chilienne. Elle a été élus miss Terre 2006 à Manille (Philippines).


Influences.

Counts graduated from Baker University in 1911 with a Bachelor of Arts degree. He then became a high school principal, a science and math teacher, and an athletic coach before heading off to graduate school. While attending graduate school at the University of Chicago in 1913, Counts was influenced by John Dewey and Francis W. Parker. He planned on majoring in sociology until his brother-in-law encouraged him to go into education. Counts then decided he would major in education but minor in sociology and social science. During this time he was a student of Charles Hubbard Judd, a leading proponent of the science of education. It was uncommon during this time to combine a career in education with anything other than psychology. Counts took great pride in knowing he was Judd's first student to not minor in psychology. Counts earned a doctorate in education at the University of Chicago in 1916. His experience studying sociology under Albion W. Small during this period is attributed for encouraging Counts to concentrate on the sociological dimension of educational research.

Profession.

Early career.

Counts' first position was head of the Department of Education at Delaware College from 1916–1918, then as a professor at Harris Teachers College in 1918. Counts taught at the University of Washington in 1919, then Yale in 1920. Then, in 1926, he taught at the University of Chicago. In 1924 he published "The Principles of Education," (1924) with J. Crosby Chapman. During this period Counts favored Dewey's progressive education model of child-centered learning, and this book provided a broad overview of education from that perspective.  In 1926 Counts returned to the University of Chicago. The next year he began a remarkable tenure at Columbia University Teachers College. He remained here until he was forced to retire in 1955. In 1930 Counts wrote "American Road to Culture" a global perspective on education. In this book he identifies ten "controlling ideas" in U.S. education. He also talks about individual success, national solidarity, and philosophic uncertainty. Regarding this book's case about American schools, H. G. Wells said, "the complete ideological sterilization of the common schools of the Republic is demonstrated beyond question. The sterilization was deliberate."

"Dare the School Build a New Social Order?".

After publishing two comparative studies of the Soviet education system, "The New Russian Primer." (1931) and "The Soviet Challenge to America." (1931), Counts was invited to address to the Progressive Education Association. His papers, delivered over three separate speeches, formed the core of the book, "Dare the School Build a New Social Order?", published in 1932. Counts provides a clear examination of the cultural, social and political purposes of education, and proponents the deliberate examination and navigation of teaching for political purposes.  In his address Counts proposed that teachers "dare build a new social order" through a complex, but definitely possible, process. He explained that only through schooling could students be educated for a life in a world transformed by massive changes in science, industry, and technology. Counts insisted that responsible educators "cannot evade the responsibility of participating actively in the task of reconstituting the democratic tradition and of thus working positively toward a new society." Counts' address to the PEA and the subsequent publication put him in the forefront of the social reconstructionism movement in education.  Conservative educators attacked the premise of Counts' assertion, and progressive educators recoiled at his criticism of their practices. W. E. B. Du Bois issued a rebuttal to Counts' assertions that teachers were capable of building a "new social order". In 1935 he spoke to a Georgia African American teacher's convention, curtly discounting the nature of the education system today.

Later career.

Counts continued teaching at Columbia. Several of his students, including William Marvin Alexander, went on to notability in the field of education themselves. Counts retired in 1956.  From 1942 to 1944 Counts served as New York State chairman of the American Labor Party. In 1945 he established the Liberal Party in New York, he ran as its candidate for the United State Senate in 1952. Counts was the chairman of that party from 1955 to 1959. He was a member of the National Committee of the American Civil Liberties Union from 1940 to 1973, and was President of the American Federation of Teachers from 1939 to 1942.  Counts traveled to the Soviet Union several times in the course of his life, writing several books about Soviet education and comparing Soviet and American education systems. In the 1930s William Randolph Hearst used select statements from interviews with Counts to portray American university faculty as Communist Party sympathizers.  After retirement Counts served as a visiting professor at the University of Pittsburgh, Michigan State University and Southern Illinois University.

Legacy.

Counts' theories continue to draw support from modern educators.

Bibliography.

"The New Russian Primer" (1931) and "The Soviet Challenge to America" (1931) were Counts' first works, and "Dare the School Build a New Social Order?" (1932) is regarded as his seminal work. His other books include "The Social Foundations of Education" (1934); "The Prospects of American Democracy" (1938); "The Country of the Blind" (1949), and; "Education and American Civilization" (1952). He taught at Columbia University Teachers College for almost thirty years. His final publications included "Education and the Foundations of Human Freedom" (1952) and "School and Society in Chicago" (1971).

George Sylvester Counts (December 9, 1889 – November 10, 1974) was an American educator and influential education theorist. An early proponent of the progressive education movement of John Dewey, Counts became its leading critic affiliated with the school of Social reconstructionism in education. Counts is credited for influencing several subsequent theories, particularly critical pedagogy. Counts wrote dozens of important papers and 29 books about education. He was also highly active in politics as a leading advocate of teachers' unions, the head of the American Federation of Teachers, the founder of the New York State Liberal Party, and as a candidate for the U.S. Senate.

George Sylvester Counts ( – ) est un pédagogue et un influent théoricien de l'éducation. Un des premiers tenants de léducation progressive de John Dewey, il en devient un des critiques en se rapprochant du reconstructionnisme social. Counts est aussi crédité d'avoir influencé plusieurs théories dont la pédagogie critique. Actif dans le domaine politique, il a dirigé des syndicats d'enseignants et s'est présenté au Sénat des États-Unis. Il a enseigné pendant trente ans au"Teachers College" (section de formation des enseignants de l'Université Columbia ).


Gameplay.

The game play is almost identical to other titles in the series. The player takes control of the Vic Viper spacecraft tasked with destroying hordes of enemies. Various traditional elements of "Gradius" are present — the moai, an undefended final boss, and the upgrade power meter. The weapons system remained mostly unchanged as the configurations available are identical to "Gradius III", with the exception that the edit mode is missing. There are four different types of weapons configurations: Balanced, (traditional "Gradius") wide area ("Salamander") power, and air-to-ground. Each configuration is indicated by the color of Vic Viper. Unlike "Gradius III", there are only two shield options — shield and force field. In addition, the S. option ("snake option") is not present in this version; the player can however choose to have the computer assign weapon power-ups automatically or purchase upgrades manually.  The game's configuration allows the player to choose between three difficulty modes, with each mode consisting of three "loops" — progressively more difficult play-throughs that are unlocked as previous loops are cleared. The Japanese version further included a challenge game play mode that had to be unlocked by achieving a high score during a single play-through of the game's normal difficulty mode. Additional challenges could then by unlocked by completing other challenges. The challenge mode was absent from the U.S. and European releases due to the game being released in Japan several months later.

Reception.

The game received "generally favorable reviews" according to the review aggregation website Metacritic. "Nintendo World Report" praised the game's awesomeness and said that "it could even be considered the GBA's "Ikaruga"." "IGN" praised the game's ability to save high scores directly to cartridge. In Japan, "Famitsu" gave it a score of 32 out of 40.

Gradius Advance is a horizontally scrolling shooter handheld video game developed by Mobile21 and published by Konami in 2001. It was released later in the same month in the United States as Gradius Galaxies and in 2002 in Japan as. It is the only "Gradius" title available for the Game Boy Advance. The game's plot is set between "Gradius III" and "Gradius Gaiden". Bacterion was developing a powerful weapon to use against the planet Gradius, but it was destroyed. A few years later it crashed on a planet and the planet gradually changed into a mechanical fortress. The planet Gradius then sent the "Vic Viper" to stop it.

Gradius Advance, connu au Japon sous le titre ou bien Gradius Galaxies en Amérique du Nord, est un jeu vidéo de type "shoot them up" développé par Mobile21 et édité par Konami en 2001 sur Game Boy Advance.


Background.

The Moonshine Jungle Tour was officially announced on February 10, 2013, after Mars performance at the 55th Annual Grammy Awards, by William Morris Endeavor (WME). Instead of announcing everything together and starting sales later in the same week, WME decided to reveal the shows in an unconventional way. Consequently, two days after the Grammy performance, the cities were unveiled. A few days later the dates and venues were announced. Finally, the tickets were made available two-and-a-half weeks after the cities were disclosed. A promotional trailer and behind-the-scenes footage of the tour were released through Mars' official YouTube channel and website to further promote the tour.  WME decided to price each market differently, with a total of four different price points. In most markets each ticket would cost US$62, while in bigger cities the tickets were between $130 and $140. However, in minor cities the tickets were cheaper and similarly priced. One aspect that received attention was the decision to sell the front seats prior to the back ones. If that did not occur, it would mean that the front seats were too expensive, but the tour did not suffer from this problem. Unlike the prior tour, where Mars performed in theaters and ballrooms, in January 2012 it was determines that the concerts would be in arenas. This decision was based upon his successful debut tour, not only based on the amount of sold-out concerts, but also due to his "dynamic performances." John Marx, an associate and personal manager at the music division of WME, explained, regarding the previous decision, that "analytics only give you so much...it has to do with what's in your gut and what you think." Since the beginning there were plans to schedule dates in the United Kingdom and Europe, a leg of the tour that took around two months to be completed. Concerts were also scheduled in Australia and New Zealand for early 2014, as well as at 40 stages in North America. In the end, more seats were added to venues due to overwhelmingly strong ticket sales. It was Mars' first world tour to not reach South America.  The tour was first scheduled to begin in February, having been booked a year in advance. Nevertheless, not only was the album "Unorthodox Jukebox" released later than expected, but many tours were already scheduled in the first quarter of the year. This led to the tour being delayed until the summer in North America. According to Marx, this and the previously mentioned unusual announcements contributed to the success of the tour. Notwithstanding, Marx has run successful tours with several artists during the first quarter of the year.

Development.

After the tour was confirmed, Mars and his band started preparing for it. His manager at the time, Brandon Creed, said that Mars was more focused and excited than nervous. He furthered that the singer spent most of his time rehearsing, preparing, directing, and choreographing everything. Commenting on the development, Creed said, "We're going into rehearsals now, so I don't have much to share, but it's going to be... incredible... it's hectic, but it's amazing... It's a thrill to work with an artist so talented." After evaluating the American Express and Citibank suggestions regarding a presale, WME decided not to pursue the idea with th agreement of Mars' management, a decision which ending up further promoting the tour. The idea was received with some skepticism within the team; some believed it was a good idea but most were reluctant and thought it was an awful idea, as buyers find presale a crucial element of tours. Cameron Duddy was chosen as the music director for the first leg of the North American tour.  Ellie Goulding and Fitz and the Tantrums were signed as the opening act for the first leg of tour in North American. Marx recollected that the team approached several agencies and asked for suggestions. In the end, Mars decided to pick Goulding, who was seen as someone who could assure sales. Marx was pleased with the tour development since everyone's efforts, from The Smeezingtons to the label Atlantic Records, benefited it. Despite having booked tours for acts such as Lady Gaga, Peter Gabriel, and Justin Timberlake, Marx said that booking this tour was among the most exhilarating experiences during his 37-year career. He added that the setup was "unique and special". The stage configuration would vary according to the sales, having three different configurations available before selling seats in over 180-degrees arcs from the stage. Nevertheless, due to the success, the expectation was to go "into 240-degrees" and further; they ended up by opening and selling 270-degrees arcs from the stage and consequently breaking records in several venues, but they did everything to assure that all seats were suitable to experience the show in the best way possible.

Rehearsals.

Mars and The Hooligans rehearsed for the tour in a Hollywood rehearsal studio. During an interview with "Rolling Stone", the author, Brian Hiatt got a glimpse of most of the set for the tour. He watched Mars croon with his tenor voice during the act "Don't it feel good, baby". Afterwards, the singer tried to get the nonexistent crowd, hyped "Does it feel good on the left side? What about the right side now?" During this rehearse Mars tried to make the track "Show Me" "move seamlessly" into "Our First Time". He was also not satisfied with the choreography of the band, as it looked to rehearsed and is not suppose to look that way.  At this point, Mars leaves the stage and tells The Hooligans to perform the moves as he watches from in front. He points out that the guitarist, Phred, is not doing the dance moves correctly. Mars decides not to include the choreography, due to the amount of time they are spending on it. Later, he tells the band to leave, joking "We'll change everything on Monday." Mars is aware of his yelling during rehearsals, stating "I always tell everybody that we finally get to enjoy all the hard work that we've done when we play and when we sing."

Light and sound.

Lighting director Dave Marcucci and lighting designer Cory FitzGerald assembled a system capable of producing the aesthetic of the show. Of particular note, FitzGerald created a backdrop wall, which could be programmed to show animations and video. The fixtures were all controlled by a large scale computerized lighting console system.  Mars and his bandmates used Sennheiser microphones and wireless receivers. Mars' monitor engineer James Berry was the influence behind selecting Sennheiser over other industry standards such as Shure after finding Sennheiser's sonic character paired well with Mars' voice. Derek Brenner, front-of-house engineer, tested several capsules and transmitter combinations.  Brener utilized three compressors giving Mars' vocals an appropriate tonality and level consistency, he also provided a smooth and reliable verb on them. He used compressors for kicks, snares, toms, keyboard, and drums, making them enhance their own sound and amplified the guitar and horns audio. Brener had some onboard verbs for snares, acoustic guitar, and horns to use in outdoor spaces. Berry used a DiGiCo console, for most of Mars' vocals, outputs, delay, "vocal rack" and loops. Moreover, he controlled the outputs and vocals from the loop.

Concert synopsis.

Shows during the first leg of North America opened either with Goulding or Fitz and the Tantrums performing their songs. The shows in Europe had Mayer Hawthorne as the opening act for Mars, while in Australia Miguel commenced the show. In January 2014, a second leg in North America was announced with Pharrell Williams or Aloe Blacc as the supporting acts. However, Williams left the tour due to scheduling conflicts after only opening two nights for Mars at the Madison Square Garden. He was replaced by Nico & Vinz. Fitz and the Tantrums and Williams were considered to be worthy performers. However, Miguel was only considered a satisfactory opening act. As they finished their performance, a giant black curtain with drawings of gold palm trees was placed in front of the stage. A voice-over pronounced, "Welcome to the Moonshine Jungle" and suddenly the drape vanished. The band – consisting of Phredley Brown (guitar); Jamareo Artis (bass); Eric Hernandez (drums); Kameron Whalum, Dwayne Dugger and James King (horns); Phillip Lawrence (backup vocals); John Fossit (keyboards) – and Mars came into focus, wearing matching red blazers, shirts with a cheetah, and gold chains. As soon as Mars reached the microphone the music started.  "Moonshine" opened the set with Mars and The Hooligans "executing a series of slick synchronized steps." During the performance of the first segment and its follow up, "Natalie," a "hyperkinetically catchy" "booty-shaker," a giant screen behind Mars displayed flashed images and sounds of wild animals, such as panthers, gorillas, and parrots who flapped their wings in slow motion. Taking a moment to invite the audience to dance and sing along with him to the Motown and soul-funk "Treasure," a giant disco ball descended from the roof reflecting dozens of bright gold lights and multi-colored laser lights flashed. The crowd responded enthusiastically to the music. The show also included several covers of songs by other artists mashed up with Mars' tracks. A cover of Barrett Strong's "Money (That's What I Want)" was mashed up with "Billionaire" and Aloe Blacc's "I Need a Dollar" as Mars and his band gyrated with the fans. Afterwards, the stage would be colored with red, yellow, and green lights during the "reggae jam" performance of "Show Me." He then performed a "90s R&B homage" along with "demure sexual come-ons" by covering Soul For Real's "Candy Rain" and Ginuwine's "Pony." The latter was blended into Mars' "Our First Time." In the latter's medleys, Mars would sing R. Kelly's "Ignition (Remix)" and Sister Nancy's "Bam Bam." These covers would vary between concerts and could also include Ghost Town DJs' "My Boo," Aaliyah's "Rock the Boat," "Every Little Step" by Bobby Brown, Mad Cobra's "Flex," and Lloyd's "Secret Admirer." "Marry You," the next track on the setlist, showed "pleading doo-wop accents." In some venues it was preceded by The Desires' "Let It Please Be You." It was followed by "If I Knew," during which Mars chose a woman from the audience so that he and The Hooligans could serenade her to see who could impress the girl more. The recording could be interpolated with "It Will Rain" or "Nothin' on You." The latter could also be played solely. "If I Knew" plunged low and slow at the end, before bursting into the "50s-era rock" dance track "Runaway Baby" as the fans "erupted" when the singer channeled The Isley Brothers' "little-bit-softer-now/little-bit-louder-now" routine. Mars closed the track "Young Girls" with the most vehement singing of the show, which also contained a portion of "Girls Just Want to Have Fun" by Cyndi Lauper. Later on, the stage was left only to Mars and to two keyboardists; Mars introduced the heartbreaking piano ballad "When I Was Your Man" to the audience by saying that it was the most difficult song to write and sing. In this song Mars showed his potent vocal range as fans loudly sang along with him. A piano solo led up to "Grenade," which began as a "superhero theme" only to be played as a dramatic "bolero" with a rock interpretation. The singer showed not only his guitar abilities during the solo created for the track but also his powerful vocals once more. Mars dedicated "Just the Way You Are" to the audience. It was played as an anthem, making the crowd sing along. At this point the performers left the stage and, as the fans shouted for an encore, Mars returned to play a drum solo, as he did during the Super Bowl performance, with some of James Brown's vocals sampled that led to the opening notes and first encore of the show, "Locked Out of Heaven," sung powerfully as golden confetti poured down on the audience.  The show closer, "Gorilla," was a "perfect, slightly naughty end to an all-ages gig where the boundaries were given a nudge," with laser lights, fireballs, confetti and fireworks blasting as Mars sung on an elevated platform. Throughout the tour various setlists were used. "The Lazy Song" was one of the highlights of the tour as the crowd sung along. It also contained a comedic interlude when Mars’ backup singer and songwriting partner, Phillip Lawrence, shouted the verse of the track "OMG this is great!" At this moment, the music stopped, Mars introduced Lawrence to the fans and asked if they wanted to hear the same line again. "Count On Me" was only sung once, in Jakarta.

Critical response.

The tour received generally positive reviews from critics. Mikael Wood of the "Los Angeles Times" gave the concert a rave review, affirming that Mars' energy never ran out and praising the "seemingly effortless precision" that made the performance about itself. Wood summarized, "The harder he played, the easier it appeared to get." Mike Wass of Idolator gave a positive review, as he witnessed Mars' "powerful" vocals and the band's "incredible musicianship." He highlighted Mars' "swoonworthy rendition" of "When I Was Your Man," the "rock interpretation" of "Grenade," and the Pharrell duet. Jason Lipshutz, a "Billboard" magazine writer, felt that one of the most stunning aspects of the concert was the catalog of number-one records left off the live show while still making it impressive. He said that Mars is a pop artist with the "whole package," comparing him to "an ace Pixar movie." Lipshutz ended his review stating that Mars was one of the best live performers at the given moment. "The Boston Globe"'s Sarah Rodman commented that the singer kept a high level of energy during the entire concert. She added, "much work, planning, and rehearsal went in to the show, but Mars made it look easy." Lillian Altman, writing for "The AU Review", felt that "the chemistry between the nine performers was phenomenal," since the band enjoyed performing together and dancing and interacting with the public. Altman confessed that it was the first time she was walking home "singing and dancing in the streets" after attending a concert or festival as she listened to Mars' tracks on her iPod.  "The Birmingham News" Mary Colurso complemented Mars' capacity to demonstrate "major charisma," his vocals, the band, and the dynamic atmosphere in the arena. Colurso commented that Mars might not have the most deep and breathtaking music, "but he certainly knows how to get the party started." Chris Richards of "The Washington Post" said that it was a "rare, thrilling, upside-down pop concert," because Mars did not try to recreate the gleam of his most successful tracks, instead he reshaped the songbook at his will, which Richards found amazing. The reviewer also mentioned the wide range of genres that Mars approached, including "Motown, new wave, late-’70s funk, and mid-’90s R&B" influenced by pop, which earned him various generations of admirers and fans. However, he criticized the singer for not claiming his own personality through all the "genre-jumping time travel" and for not adding the band name, The Hooligans, on the ticket. Jim Farber from the "New York Daily News" praised the concert as it tried to recreate 1970s era entertainment. The reviewer compared it to some acts of that period such as The Jacksons, The Tramps, and The Bee Gees. He compared the "purity, cream and range" of Mars' voice to "mid-period Michael Jackson." Farber regarded both Mars and Jackson as "pure entertainers." He noted that "it hardly seemed to matter that the show wasn’t big on risk or depth."  John Serba of Booth Newspapers said that Mars lacks "the commanding presence of a superstar;" in contrast, he gives nothing but consistency. Serba highlighted the production, which he found outstanding and diverse. Robert Copsey from Digital Spy thought the concert had avoidably "long breakdowns and interludes." Fortunately, Mars' band added energy to those. Copsey considered it a small imperfection "in an otherwise stunning performance" from a singer who was just commencing his tours and shows. "The New Zealand Herald" Bridget Jones dubbed the singer a "showman," as he was not only able to write a "catchy pop song and sing it impressively," but he also gave a pageant. Nevertheless, and considering his showmanship and prestige in the industry at this point, Jones disapproved of the "comedic set pieces" that were brought from the previous tour. Every critic noticed and praised Mars' drumming and guitar solos, but also the special effects.

Accolades.

The Moonshine Jungle Tour was nominated for three Pollstar Awards, Most Creative Stage Production and Major Tour of the Year in 2013, and "Major Tour of the Year" again in 2014. In 2013, the tour led Mars to be nominated for Breakthrough and Eventful Fans' Choice categories at the Billboard Touring Conference and Awards, the Moonshine Jungle Tour was also nominated for Choice Summer Tour at the 2013 Teen Choice Awards.

Commercial performance.

As soon as the tour was announced and in order to assure tickets were not over-priced, five cities were used as a "test." The result was promising as a minimum of 7,000 tickets sold per city. Such results could be due to the "huge success" of "Locked out of Heaven" and the Grammy performance. Despite the fact that these two factors could spike sales, in Mars' case "everything was very consistent." Eventually, most of the dates were sold out in North America. This high demand led to an announcement of more dates in several cities despite having chosen 44 dates to begin with, which, according to Marx, was "ambitious," since tours that go above 24 dates can result in a drop in sales. There were three main factors involved in scheduling dates: research of the market, optimism on what they thought they could sell, and how they opened up the arenas. A second date in Chicago could have been done, however they booked a date in Minneapolis, which culminated in a sold out show. In Los Angeles, some shows coincided with the Jay Z and Justin Timberlake concerts. Furthermore, the tickets for Mars' show were only available one week after the Jay Z/Justin Timberlake tickets went on sale. Nevertheless, after the first sold out date in the city, a second date was scheduled and immediately sold out as well. Marx said that more dates could have been sold out in L.A, since they left at least 20,000 people in a "virtual waiting room" who could have bought tickets. All in all, and according to Marx, the team at WME was pleased with having sold 30,000 tickets, and decided to stop there.  Moreover, in Toronto there was a hold on the second date, but they ended up by re-launching and putting it on sale with 30,000 tickets being sold there. In Denver the first date was at Pepsi Center, though the arena was considered inadequate, therefore a second show was set at the Red Rocks Amphitheatre, which was chosen by the AEG team. Both shows were sold out in that day, with 18,000 tickets purchased. The only city where all the tickets were not sold was St. Louis at the Scottrade Center, since its capacity was increased to 16,000 and sold 14,000. However, "Billboard" reported 44 dates sold out of 48, totaling approximately 666,926 people and a gross of $46,417,795 after the conclusion of the first leg in North America. In Australia the concerts were scheduled for February 2014, tickets went on sale in April 2013, and by September 80% of the shows were sold out, including two dates in Sidney and in Melbourne, in arenas of 14,000 to 15,000 capacity. The total revenue was above $1 million per night in ticket sales. At that time nine dates were on sale and more were added. In New Zealand, Mars broke Vector Arena's house attendance record for a concert in "end stage" mode, with 12,142 people in attendance. The record in New Zealand contributed to a successful tour in Oceania with 10 sold out arenas and a total attendance over 130,000. Overall, the Moonshine Jungle Tour was reported to have grossed over $156.4 million, with Billboard Boxscore reporting a gross of $136 million.

Super Bowl XLVIII halftime show and Bruno Mars act.

After the Super Bowl XLVIII halftime show, which featured Mars as the headline act and the Red Hot Chili Peppers as the special guests, tickets for Mars' second North American tour were in high demand. He became the fastest entertainer to sell out three concerts at the Blaisdell Arena in Hawaii. Since the morning of February 3, 2014, many shows were sold out and only a few tickets were available on the primary market, and the average price of a ticket was around $500 on the secondary market. Ticketmaster also struggled to keep up with demand, having to switch from their interactive seating maps for most events. The price for tickets on the primary market ranged from $49 to $100, however in bigger cities the price was between $70 and $181. On the secondary market, tickets for big venues had a wider price range of $150 to $600. At these prices, Mars' tour ranked among the most expensive in the U.S. during the summer of 2014, ahead of One Direction and Jason Aldean shows, which had the highest prices for an American tour in the same period. Two months after the Super Bowl, 27 of the 48 dates booked for the second leg in North America were sold out on the primary market. The only tickets left for those shows were available on the secondary market for a lower price than after the game. Nevertheless, the tour became one of the most expensive of 2014 due to the latter market.  Due to the huge tickets reselling activities that occurred during the week after the Super Bowl, and in order to limit that kind of profiteering, in February 2014 Hawaii Senate President Donna Mercado Kim introduced Senate Resolution 12, also known as the "Bruno Mars Act." It limits all ticket purchases within 48 hours of the on-sale to the physical box office, therefore ensuring that anyone who goes to the box office to buy tickets for a concert will get one, dissuading ticket scalping. The State Senate in Hawaii passed the law. However, the bill died at the conference committee.

Personnel.

Credits adapted from several sources: The Hooligans  Production  Management

The Moonshine Jungle Tour was the third concert tour by American singer-songwriter Bruno Mars. The tour supported his second studio album, "Unorthodox Jukebox" (2012). After an official announcement on February 10, 2013, which coincided with Mars' performance at the 55th Annual Grammy Awards, a promotional trailer and behind-the-scenes footage of the tour were released through Mars' official YouTube channel and website. Mars and his team selected Ellie Goulding and Fitz and the Tantrums as the opening acts for the first North American leg, while music video director Cameron Duddy was signed as creative director for the tour in North America. In Europe and Oceania, Mayer Hawthorne and Miguel, respectively, were selected to open the shows.

The Moonshine Jungle Tour est la seconde tournée internationale du chanteur, auteur et compositeur Bruno Mars. Elle débute le 22 juin 2013 à Washington. Il est prévu que le chanteur passe par l'Amérique du Nord, l'Europe, et l'Océanie, notamment avec trois dates en France au palais omnisports de Paris-Bercy le 14 octobre, au Dôme de Marseille le 18 novembre et au Zénith de Toulouse le 19 novembre. Elle promeut son second album "Unorthodox Jukebox" sorti le 7 décembre 2012.


Ingroup vs. outgroup in meta-stereotyping.

The ingroup vs. outgroup phenomenon, originally described by sociology and social psychology, has been closely tied to human stereotyping and meta-stereotyping tendencies. While "ingroup" is commonly defined as a social group to which an individual belongs, the "outgroup" is a social group with which the individual does not identify. The criteria for group membership include but are not limited to one's race, culture, nationality, ethnicity, age, gender, religion, and sexual orientation.  The tendency to favor one's own social group is called an ingroup bias, and it can be both explicit (conscious and controllable) and implicit (unconscious and instinctual). The realistic conflict theory, social identity theory, and optimal distinctiveness theory aim to explain the ingroup bias and its possible negative impacts on the outgroups. Favoritism of one’s own group does not always lead to discrimination of and hostility towards outgroups. However, racial prejudice was found to be closely related to the development of social cognition in children around the age of 5 years.  Social projection, which is a tendency to attribute one’s own feelings and attitudes to others, is also important for understanding how the ingroup vs. outgroup phenomenon relates to meta-stereotyping. Humans tend to project and share their own social attitudes to the other members of the ingroup. For example, members of a dominant Australian group who held more negative attitudes toward members of a low status Australian group perceived greater ingroup agreement and support for their attitudes.  Social projection is important for understanding of the role of ingroup vs. outgroup in meta-stereotyping. Tajfel (1981) stated that "no social group is an island", and, therefore, it is likely that members of a particular group are aware of the opinions other groups held about them (e.g. the members of punk subculture may believe that the dominant non-punk culture perceives them as rioters). When an ingroup believes that the outgroup perceives the members of the ingroup negatively, it can reversely increase the negative stereotypes, prejudice, and hostility about the outgroup. For example, a dominant group of White Canadians held negative stereotypes about a lower status group of Aboriginal Canadians when the dominant white group thought that the lower status Aboriginal group held negative feelings towards them. Such behavior is traditionally called "outgroup meta-prejudice".  "Ingroup meta-prejudice" also exists, and it describes the way the individual members of the ingroup understand the ingroup’s collective stereotypes about a particular outgroup. For example, individuals belonging to Indonesian Sunni Muslim group held negative stereotypes about the way their own group perceived two outgroups; Ahmadiyya and Christians. Interestingly, research indicates that that ingroup meta-prejudice can mediate the effects of outgroup meta-prejudice on prejudice (i.e. ingroup members’ beliefs about the way the ingroup perceives the outgroup can influence the stereotypes and the meta-stereotypes about the outgroup held by the ingroup). For example, a member of a biker group may believe that his group of bikers thinks that outsiders perceive them as criminals. Such interaction between ingroup and outgroup meta-prejudice can strengthen prejudice and stereotypes in an individual.  Furthermore, ingroup members may attempt to modify the perceived stereotype held by the outgroup about the ingroup (i.e. meta-stereotype) to their advantage by confirming the positive traits and disconfirming the negative ones. For example, a group of undergraduate Belgian students (ingroup) were more likely to confirm self-identified meta-stereotypical traits about the Belgian population in front of a French audience (outgroup) when the trait was positive and disconfirm it when it was negative. Such attempts to present the ingroup in a more favorable light was not present when the audience was Belgian (ingroup).  Meta-stereotypes can have positive effects on the interaction between the ingroup and outgroup as well. Italian students (ingroup) were found to experience more enjoyment from expected interaction with African immigrants (outgroup) when informed that the outgroup perceives them positively. Members of minority (ingroup) who endorsed a high-dependency meta-stereotype (i.e. belief that the ingroup is dependent on the outgroup) also tend to seek more help from the outgroup, even if help-seeking reversely confirms the dependency meta-stereotype

Effects of meta-stereotypes on the individual.

The holding of certain types of meta-stereotypes has been shown to have adverse effects. For example, people who are exposed to negative meta-stereotypes about their own group tend to have lower identification with their ingroup, and that individuals may avoid seeking needed help if by doing so they may confirm negative stereotype of their group.  Other studies have shown that individuals facing meta-stereotypes tend to feel more anxious interacting with members who were not from their own racial group, and that individuals who identified negative meta-stereotypes tended to be angrier and have fewer positive attitudes towards the outgroup. Meta-stereotypes have also been associated with lower anticipated enjoyment in intergroup interactions, higher levels of anxiety in interracial conversations, and negative racial attitudes.  Meta-stereotypes have also been linked to negative effects in the workplace. Meta-stereotypes were linked to lower employability beliefs for stigmatized groups. For example, women and minorities in the workplace showed increase self-doubt, lower self-esteem, and undermined attitudes towards their ability to obtain a job. Research has also shown that meta-stereotypes affect older age individuals. Due to meta-stereotypes about age, older workers were found to perceive less work opportunities, which leads to a greater desire to retire. In general, negative meta-stereotyping is associated with more negative individual self-view.  Awareness and endorsement of meta-stereotypes have been linked to negative effects on the individual. Research supported that awareness of negative meta-stereotypes was both directly and indirectly linked to poorer health and increased alcohol use. The research revealed that being aware that others held negative stereotypes about an individual’s race, helped predict negative mental health outcomes, such as depression, anxiety, and hostility. This in turn predicted reduced self-care behaviors and increased the use of drugs and alcohol for coping. Embracing meta-stereotypes have also been linked to negative effects in black women. Black women who endorsed the meta-stereotypes were more susceptible to engage in risky sexual behaviors binge drinking, and marijuana use.

Meta-stereotypes across different populations.

Minorities.

When majority members of a population felt that the minority members wanted to seek contact with them, their meta-stereotypes about themselves were more positive and that led to them having more positive attitudes about the minority group.  The collectivistic meta-stereotype of Asians may lead them to think that they need to be more of an individual. This self-perceived notion of individuation may lead to tension with their culture and a continuation of their stereotype to relieve this tension.  White Americans may hold the meta-stereotype that Black Americans perceive them negatively. The majority of Black Americans surveyed believed that White Americans think Black Americans are more likely to commit violent crimes, are better athletes, are less intelligent, would rather live off welfare than work, have low moral standards, are more likely to abuse drugs and alcohol, are always whining about racism, are lazy, have no self-discipline, and are religious. These meta-stereotypes are perceived at a higher rate by Black Americans than the rate at which White Americans actually report believing these stereotypes.  Another example of meta-stereotypes can be found between Aboriginal and White Canadians. Aboriginal Canadians perceive White Canadians as egocentric, lacking feeling, prejudice, ambitious, and high status. Conversely, White Canadian’s meta-stereotype of Aboriginals was perceived as lazy, rebellious, lacking ambition, low status, unscientific in nature, and unsociable.

Age.

Younger people hold meta-stereotypes that older people think they are lazy and unmotivated, irresponsible, unreliable, inexperienced and add no value. Older people hold meta-stereotypes that younger people think they are boring, stubborn, and grumpy. These results are not representative of what young people actually think of older people.

Gender.

Men and women typically hold meta-stereotypes about the opposite genders. For example, meta-stereotypes held by men about women include women being affectionate, artificial, attentive, attractive, bad-drivers, bitchy, controlling, fearful, feminine, fussy, gentle, giving, gossipy, insecure, intuitive, moody, multitaskers, nagging, organized, sensitive, shy, soft-hearted, sweet, timid, understanding.

Religion.

Between non-believers and believers, the meta-stereotype about non-believers is being immoral (low in altruism and honesty) and high in extraversion. Non-believers also tend to exaggerate their differences on the topic of meta-stereotypes. Believers that hold strong ingroup bias feel that non-believers see them as dogmatic and dishonest.

In social psychology, a metastereotype (or meta-stereotype) is a stereotype that members of one group have about the way in which they are stereotypically viewed by members of another group. In other words, it is a stereotype about a stereotype. They have been shown to have adverse effects on individuals that hold them, including on their levels of anxiety in interracial conversations. Meta-stereotypes held by African Americans regarding the stereotypes White Americans have about them have been found to be largely both negative and accurate. People portray meta-stereotypes of their ingroup more positively when talking to a member of an outgroup than to a fellow member of their ingroup.

Méta est un préfixe utilisé dans le vocabulaire scientifique principalement pour faire de l'auto-référence (c'est-à-dire de la réflexion sur l'objet-même) ou pour désigner un niveau d'abstraction supérieur. Tandis que le stéréotype fait référence à l'ensemble des idées et des représentations stables que nous pouvons entretenir à l'égard d'un groupe donné ou d'une classe sociale. Ainsi, un méta-stéréotype est une réflexion sur l'ensemble des représentations stables qu'autrui entretient à notre égard. En d'autres termes, le méta-stéréotype correspond à ce que nous pensons que l'autre pense de nous.


Club career.

Negeri Sembilan.

Aidil Zafuan began his career with Negeri Sembilan youth team. He has represented his hometown, Negeri Sembilan at 2004 Sukma Games. He has helped his side to win the gold medal during the tournament that took place at the Tuanku Abdul Rahman Stadium, Seremban. For 2005-06 season, he has been promoted to the first team after his convincing during the SUKMA Games. During his season debut, Negeri Sembilan has won their first Malaysia Super League title.

Malaysian Armed Forces.

Aidil has signed a contract with Malaysia Premier League side Malaysian Armed Forces for the 2012 Malaysia Premier League season. He has helped his side to clinch the Malaysia Premier League title in 2012.

Johor Darul Ta'zim (formerly known as Darul Takzim).

For 2013 season, Zafuan joined the rebranded club Darul Takzim FC along with his twin brother.

International career.

Youth.

Aidil has represented Malaysia since he was 14 years old. He is very experienced in international youth arena. He played for the Malaysia U-20 side on two AFC Youth Championship on 2004 in Malaysia as Malaysia reached the quarter finals but was defeated by China. At the AFC Youth Championship in India, he was chosen as the captain of the team. Malaysia failed to win all three matches and only managed to score 9 goal and conceding 7 goals.

Under-23.

Aidil started representing the Malaysia U-23 squad during 2008 Olympic Games qualifier. He continued to represent Malaysia in the 2007 Merdeka Tournament that held in Shah Alam and Petaling Jaya and managed to win the Merdeka Tournament after defeating Myanmar 3:1. He then represented Malaysia in the South East Asia Games held in Thailand. However, Malaysia failed to advance into the semi finals after drawing against rivals Singapore.

Senior.

Aidil made his debut on 18 July 2007 against Cambodia. He also scored his first international goal in his debut against Cambodia. He then became one of the players from the under-23 side who were selected into Malaysia 2007 AFC Asian Cup squad. He only made his appearance on the last game against Iran where Malaysia lost 0–2.  Aidil received his first red card in international duty during the World Cup qualifier second leg against Bahrain. As a result, he was banned by FIFA from taking part in international match for three games.  He also represented the Malaysia XI (represent Malaysia for B match) squad against Chelsea F.C. at Shah Alam Stadium on 29 July 2008. The Malaysia XI eventually lost 0–2. However, Chelsea coach Luiz Felipe Scolari praise the Malaysia XI for giving a good fight against his team.  On July 12, 2016, Aidil with 71 international caps announced his retirement from international football via his football club's website and its Facebook page. He made a return in 2017 and was part of Malaysia's 2018 AFF Suzuki Cup squad earning 82 international caps during the tournament. In 2019, he earned his 83rd international caps against Sri Lanka.

Personal life.

Aidil married actress Rita Rudaini in 2009. They had 2 children before the couple divorced in 2014. Aidil then married Zarema Zainal in the same year.

Honours.

Club.

Negeri Sembilan  Malaysian Armed Forces  Johor Darul Ta'zim

International.

Malaysia U-23  Malaysia

Mohamad Aidil Zafuan bin Abd. Radzak (born 3 August 1987) is a Malaysian professional footballer who plays as a defender for Malaysia Super League club Johor Darul Ta'zim and the Malaysia national.

Mohd Aidil Zafuan Abdul Radzak, né le à Seremban en Malaisie, est un footballeur international malaisien. Il évolue au poste de défenseur.


Biography.

Fanja Goldstein was born in Paris in 1908 to a Jewish father and a Catholic mother. Her father, Jules Goldstein, was an engineer in the rubber industry. She had two brothers, Leonide and Michel Goldstein, both of whom also survived the war. Her marriage to Silvio Perla (a Swiss athlete, specialist in the 5000 m) ended in divorce, which was finalized after the war.

Schooling.

She attended the Conservatoire de Paris, where she studied under Germaine Martinelli, obtaining a first prize in piano (despite her diminutive size and very small hands) and at the same time worked nights, singing in bars.

During the War.

During the Second World War, she joined the French Resistance in 1940 until her arrest and deportation to Auschwitz-Birkenau, where she was a member of the Women's Orchestra of Auschwitz, then to Bergen-Belsen, until she was freed in 1945. Suffering from a potentially fatal case of typhus and weighing only 65 pounds, she sang for the BBC on the day of her liberation by British troops. (A Library of Congress entry for this recording gives her name as Fanja Perla, her married name at the time; her divorce from Perla was finalized after the war.)  Under her pseudonym of "Fénelon", which she took up after the war, Goldstein became a well known cabaret singer. In 1966 she went with her African-American life-partner, baritone singer Aubrey Pankey, to East Berlin. After Pankey's death she returned to France. From 1973 to 1975, with Marcelle Routier, she wrote "Sursis pour l'orchestre", a book about her experiences, based on the diary she kept at the concentration camps. It dealt with the degrading compromises survivors had to make, the black humor of inmates who would sometimes laugh hysterically over gruesome sights, the religious and national tensions among inmates (e.g. between the Jewish musicians and the Poles, some of whom were anti-Semitic), and the normality of prostitution and lesbian relationships. At Birkenau, Fénelon served as a pianist, one of the two main singers, an occasional arranger of musical pieces, and even a temporary drummer, when the original drummer briefly took ill.  All of the orchestra members survived the war, except two players, Lola Kroner and Julie Stroumsa, and conductor Alma Rosé who died of a sudden illness, possibly food poisoning, at the camp. Most of the other survivors, particularly Anita Lasker-Wallfisch and Violette Jacquet-Silberstein, disagreed with Fénelon's negative portrayal of Rosé, who, although Jewish, had been given the equivalent status of a kapo. The book was translated into German and English in slightly abridged editions.

After the War.

Linda Yellen filmed "Playing for Time" using as script a dramatic adaptation by Arthur Miller. Fénelon bitterly opposed Miller's and Yellen's purportedly sanitized rendition of life in the camps and above all Yellen's casting of Vanessa Redgrave to play her. Redgrave was a well-known PLO sympathizer and, standing close to six feet tall, bore little resemblance to the petite Fania. "I do not accept a person to play me who is the opposite of me... I wanted Liza Minnelli. She's small, she's full of life, she sings and dances. Vanessa... doesn't have a sense of humor, and that is the one thing that saved me from death in the camp", Fénelon said. She scolded Redgrave in person during a "60 Minutes" interview but the actress garnered the support of the acting community. Fénelon never forgave Redgrave, but eventually softened her view of the production to concede that it was "a fair film".

Death.

Fania Fénelon died on 19 December 1983, aged 75, in a Paris hospital. The causes of death were listed as cancer and heart disease. She was survived by her brothers, Leonide Goldstein, a professor of psychiatry at the University of Medicine and Dentistry of New Jersey, and Michel Goldstein, a retired businessman in Paris.

Fania Fénelon (2 September 1908 – 19 December 1983) was a French pianist, composer and cabaret singer, whose survival of the Women's Orchestra of Auschwitz and the Holocaust was made into a television film, "Playing For Time".

Fania Fénelon, née Goldstein, est une chanteuse, pianiste et écrivaine française née le à Paris et morte le dans la même ville. Elle est principalement connue pour son livre "Sursis pour l’orchestre" qui relate sa survie dans divers camps d’extermination et de concentration.


Sizing and deployment.

Snow socks are sold in pairs and come in sizes that are specific to a range of tire codes. Snow sock sizes are available for different motor vehicle classes, but most snow sock brands focus on cars and pickup trucks rather than semi-trailer trucks or larger vehicles. Since the largest variation of snow socks is in the market for cars and pickup trucks, wide or low-profile tires are often covered. Buses, semi-trailer trucks or larger vehicles require snow sock models that can support the heavier axle load and larger wheel dimensions. Some brands also offer snow socks for specialized vehicles such as forklifts or airport ground support equipment (e.g. pushback tugs or loaders).  Driving with snow socks usually reduces the maximum allowable speed to between and depending on the snow sock brand, snow sock size and vehicle class. These restrictions are normally stated in the product's or vehicle's owner’s manual. Neither snow socks nor snow chains are considered direct substitutes to snow tires.

Legality of use.

During inclement weather, regions may invoke snow chain laws as a precautionary measure. Snow socks are generally not considered a legal equivalent to snow chains, though some brands are individually approved.  If snow chains are prohibited, snow socks without metal components may be permitted. This depends on local legislature.

Textile snow socks.

This is a cover in textile that covers the tire and insulates the tire from snow. They do not disturb safety systems (ABS, ESP) or damage aluminum rims.  One important component is polyester. The fibres absorb the water and improves grip. They have been used safely up to.

Snow socks made of composite materials.

Michelin manufactures a composite snow sock called Easy Grip. It is coupled with an inner elastic band to facilitate installation. To strengthen the tread and maximise road holding there are 150 galvanised steel rings.

Benefits of snow socks.

Snow socks offer added benefit in that they do not disturb the safety systems on a vehicle such as ESP or ABS. Snow socks with a high polyester count absorb more surface water from the road improving grip and allowing driving at speeds up to.

Snow socks (also known as tire socks or auto socks) are textile alternatives to snow chains. Snow sock devices wrap around the tires of a vehicle to increase traction on snow and ice. Snow socks are normally composed of a woven fabric with an elastomer attached to the inner and/or outer edge. The woven fabric covers the tire tread and is the contact point between the vehicle and the road. The elastomer keeps the snow sock in place and facilitates with installation. Some snow sock models have an additional component that covers the rim of the tire, which prevents snow or debris from gathering between the tread of the tire and the inner side of the woven fabric. When winter tires aren’t enough, snow socks help to enhance the grip on snowy roads.

Les chaussettes à neige sont des dispositifs antidérapants amovibles destinés à équiper les pneumatiques automobiles sur des sols enneigés. Elles sont en Europe une alternative aux chaînes à neige lorsqu'elles répondent aux normes TUV et ont reçu l'homologation correspondante, connue en France sous le terme de « dispositif antidérapant amovible garantissant le démarrage, le guidage et le freinage du véhicule ». "Leur utilisation sur un sol qui n'est pas enneigé les dégrade très rapidement". Avec la grande diversité des types de neiges, structure microscopique, quantité d'eau en suspens, c'est comme en ski, les adhérences sont variables. Il est des situations où ces.


Transport.

Regular ferries carry tourists to and from the island and other marine-park sights, the journey taking 5 minutes from Mersey point. The island can also be reached by private boat, kayaking, swimming, or walking across a tidal sandbar, which is often exposed above sea level at low tide for a large portion of its length, however at high tide, most of the sandbar is under varying depths of water. The Department of Parks and Wildlife (DPAW) advises against the sandbar walk as weather conditions can change quickly, making the crossing dangerous, which has resulted in several drownings.

Facilities.

There is a picnic area with seating and water taps, and waterless composting toilets on the island. Visitors should take their own supply of food and drink with them, since none can be purchased there.  Litter bins are not provided on the island and all visitors are required to take away their own rubbish. This is to remove potential food sources for destructive animals such as black rats, which have previously led to a reduction in the penguin population. In 2013 a successful baiting program was conducted to eliminate a rat population that had become established on the island.

Natural features.

While the island's little penguins are the island's main attraction, many other nesting and roosting seabirds can be seen including a -strong colony of pelicans.  Penguin Island's varied geographical features include cliffs, small sea caves, headlands, beaches, coves, notches and natural bridges. There are also numerous wave-cut platforms.  Significant areas of Penguin Island include North Rock, Pelican Bluff, North Beach, McKenzies Well, South Beach, Abalone Point, and Surfers Beach.  There are numerous lookouts, boardwalks and walkways throughout most of the island. Some areas are fenced off to the public to protect wildlife and lessen dune erosion.

Penguin Island Board Walk and Walk Trail.

The Penguin Island Walk Trail is a 1.5 km trail that loops around the island. The walking trail starts at the Penguin Island Discovery Center and includes several lookout points from where some of the terrestrial and marine animals can be observed.

Little penguin colony.

In the 19th and 20th centuries, the penguins of Penguin Island were victims of dog attacks and shooting by holiday-makers. An informal assessment of the Penguin Island colony was made by Vincent Serventy in 1946. After several visits, he estimated the colony to number approximately pairs. In the 1940s concern was expressed for the viability of the penguin colony on Penguin Island, due to combined threats of human landing parties with guns and dogs, occasional fires, and an abundance of rabbits which were denuding the island of its former vegetation and accelerating its erosion. Rabbits were believed to have been introduced to the island in the 1920s, and numbered approximately four to five thousand in the late 1940s. By 1950, it had become an illegal act to take a dog to Penguin Island.  Penguins were present on Penguin Island in the 1900s, 1910s and 1920s. Seals were also known to haul out on the island around this time.  In the 21st century, spotting wild little penguins at the island is unusual as for most of the year, daylight hours are spent at sea chasing fish, and visitors are strictly prohibited from being on the island except during specified daylight hours from mid-September to early June.  The little penguin population which breeds on Penguin Island is genetically distinct and in decline. In 2007 there were between and little penguins on Penguin Island during breeding months. By 2011, the number had dropped to about. Penguins have been observed taking longer foraging trips leading to chick malnutrition and starvation. Prey depletion and climate change are considered to be major pressures on the breeding population. A proposal to construct a marina at Point Peron is also considered a future threat.  Little penguins also breed on nearby Garden Island, to the north. The two colonies are considered as a single meta-population. In 2007, the meta-population was estimated to include a total of individuals.

Rescued penguins.

A number of rescued penguins are kept in a dedicated enclosure for visitors to the island to observe. A small population of rescued penguins are kept in a dedicated enclosure on the island (known as the Discovery Centre) which was built by the Department of Environment and Conservation in 1987. As well as being a sanctuary to care for injured wild penguins, it is also the home of the resident penguins that have been badly injured, orphaned as chicks or born in captivity, and it is unlikely that they would survive in the wild. It has been designed to reflect the penguins natural sandy, coastal scrub environment and includes a saltwater pond with viewing panels to watch the little penguins swim. Penguin feedings are held three times daily by a park ranger.

Penguin Island is a island off the coast near Perth, Western Australia, approximately from Shoalwater. It is home to a colony of approximately little penguins, the largest population of the birds in Western Australia. The waters surrounding the island make up the Shoalwater Islands Marine Park.

Penguin Island est une île d’Australie-Occidentale, située au large de Perth, à 700 mètres de Rockingham. D’une surface de 12,5 hectares, elle est habitée par la plus grande colonie de manchots pygmées d’Australie-Occidentale. Les eaux qui la bordent forment le.


Early life.

Alemu was born in the Zenebework area of Addis Ababa. Her parents worked at a local hospital. Alemu attended public primary and secondary schools, and then went on to study accounting at Unity University, graduating in 2004.

Business ventures.

In early 2005, Alemu founded soleRebels to provide ecologically and economically sustainable jobs for her community.

History.

The company began out of a workshop on a plot of land owned by Alemu's grandmother in Zenebework.  SoleRebels has flourished, growing to one hundred employees, with distribution to thirty countries worldwide, selling to market kingmakers Whole Foods, Urban Outfitters and Amazon. Franchised and company-owned stores were planned to open in Austria, Switzerland, Taiwan, and the UK. Alemu wanted to create well-paid jobs which could create prosperity using the artisan talents and natural resources of Ethiopia. The selection of footwear as the launch product for the company came later. Alemu was inspired by the seleate or barabasso, the traditional recycled tire sole shoe crafted in Ethiopia, and footwear became the locus around which she chose to build the company.  In 2016 the company sold 125,000 pairs of shoes and it had created 1,200 jobs. In 2014, Alemu announced a new business venture, The Republic of Leather, via a blog post on the soleRebels website. Alemu identified the luxury leather goods industry as being "ripe for a total re-imagining," along similar lines to what she had accomplished with soleRebels and the footwear industry. Besides espousing the same ideals of ecological and economic sustainability as soleRebels, The Republic of Leather is centered on principles of customer choice—customer choice of design, producer and receiving charity of 5% of the price they pay.  In 2017, "Garden of Coffee" was added to her companies. It begins with outlets in Addis Ababa.

Philosophy.

Alemu seeks to challenge the traditional narrative about Africa and in particular, Ethiopia, "countering the shibboleth that Africa and Africans don't know how to create their way to prosperity." Alemu believes Ethiopians must wrest control of their own narrative from the "people and elites with a vested interest in positioning Ethiopia as 'needing help' and specifically needing the 'help' they happen to be offering," as Alemu explained in an interview with "The Next Woman". The global success of companies like soleRebels helps to dispel these old narratives and allows for Ethiopians to shape their own international image.

Bethlehem Tilahun Alemu (born 1980) is an Ethiopian business woman, founder and executive director of soleRebels, Africa's "fastest growing footwear company". Alemu has received honors and accolades for her business acumen, as well as her efforts to shift the discourse on Africa away from poverty to the continent's entrepreneurial spirit, social capital, and economic potential. Alemu launched "The Republic of Leather", designing sustainable luxury leather goods, and "Garden of Coffee" retail outlets to promote Ethiopian coffees.

, née en 1980 à Addis-Abeba est une femme d'affaires éthiopienne, fondatrice de SoleRebels, une entreprise fabriquant des chaussures à partir de pneus usagés.