Levels.

It is divided into four horizontal levels - base, clerestory, niches and pinnacles.

Base.

The lowest level consists of varied architectural decoration in Louis XII style, though the stylobates below classical-style medallions and the pointed squares draw on the Louis XI style.

Clerestory.

Since six bas-reliefs by Charles-Antoine Bridan were placed inside the choir at the end of the 18th century, this level has been obscured by plaster. The upper part made up of niches and pinnacles is still wholly in the Flamboyant Gothic style, but the level uses the very un-medieval features of arabesque pilasters instead of ogives.

Niches.

This consists of forty sculpted groups on the lives of the Virgin Mary and Jesus. Each group is numbered 1 to 40 below the niches. Some of the groups have a plaque mentioning the sculptor or a caption in Gothic script identifying the scene.  The forty groups are grouped into fifteen sections. The eight sections around the choir proper include a total of 29 scenes, including the double scene in the twelfth section ("Raising of the Cross") - each section usually has four scenes, except the third section with the astronomical clock. The apse has eleven scenes - six of its sections consist of two scenes each, whilst scene 21 in the ninth section is a double-scene ("Entry into Jerusalem"). No scenes appear on the 'axial' or 'roundabout' section.

Astronomical clock.

A 1528 astronomical clock by an unknown clockmaker is located on the south side after the Visitation scene, at the start of the third section, which thus only has two scenes ("Joseph's Dream" and "Nativity"). The original mechanism was replaced by an electrical system in 2009.

Statuary.

The columns between the spans hold statues, around 1.6m tall, all by Thomas Boudin, showing God the Father, Fulbert and other unidentified bishops of Chartres. There are also another 84 smaller statues at various levels, between 35 cm and 60 cm tall - the original plan seemed to be to show figures from society and envisaged 136 of these smaller statues.

Pinnacles.

This is made up of several architectural features such as stone baldachins, appearing like stone lace. It was built section by section with the corresponding groups and thus took more than 200 years to complete.

The choir wall of Chartres Cathedral (French - "clôture de chœur" or "tour du chœur") is a piece of stone architecture and sculpture in Chartres Cathedral, over 6 metres tall and around 100 metres long. It was commissioned right at the start of the 16th century by Jehan de Beauce to keep the laity out of the liturgical choir.


Romania in the Eurovision Song Contest 2016

Background.

Prior to the 2016 Contest, Romania had participated in the Eurovision Song Contest 17 times since its first entry in 1994. To this point, its highest placing in the contest has been third place, which the nation achieved on two occasions: in 2005 with the song "Let Me Try" performed by Luminița Anghel and Sistem, and in 2010 with the song "Playing with Fire" performed by Paula Seling and Ovi. To this point, Romania has qualified to the final on every occasion since the introduction of semi-finals to the format of the contest in 2004. In 2015, "De la capăt" by band Voltaj placed 15th in the final.  The Romanian national broadcaster, Televiziunea Română (TVR), broadcasts the event within Romania and organizes the selection process for the nation's entry. TVR has consistently selected the Romanian Eurovision entry through national finals that feature a competition among several artists and songs. The broadcaster confirmed their intentions to participate at the 2016 Eurovision Song Contest on 7 September 2015. TVR had set up national finals with several artists to choose both the song and performer to compete at Eurovision for Romania, a procedure which the broadcaster opted for once again to select their 2016 entry.

Before Eurovision.

"Selecția Națională 2016".

"Selecția Națională 2016" was the national final organised by TVR in order to select Romania's entry for the Eurovision Song Contest 2016. The competition consisted of two shows: a semi-final featuring twelve songs and a final featuring six songs to be held on 4 and 6 March 2016, respectively. Both shows took place at the Sala Sporturilor in Baia Mare and were hosted by Cornel Ilie and Ioana Voicu with Ioana Anuța–Jo hosting segments from the green room. The producer of the competition was Iuliana Marciuc, who was also appointed as the head of the Romanian delegation at the Eurovision Song Contest, while the director of the shows was Dan Manoliu. The two shows were broadcast on TVR1, TVR HD, TVRi as well as online via the broadcaster's streaming service TVR+ and YouTube. The two shows were also broadcast in Moldova via the channel TVR Moldova. The official Eurovision Song Contest website "eurovision.tv" provided an online stream for the final of the competition.

Competing entries.

TVR opened a submission period for artists and composers to submit their entries between 18 January 2016 and 7 February 2016. An expert committee reviewed the received submissions between 8 and 10 February 2016. The broadcaster received 94 submissions after the submission deadline passed. Each juror on the committee rated each song between 1 (lowest) and 10 (highest) based on criteria such as the melodic harmony and structure of the song, the orchestral arrangement, originality and stylistic diversity of the composition and sound and voice quality. After the combination of the jury votes, the top twelve entries that scored the highest were selected for the national final. The competing entries were announced during a press conference on 11 February 2016 held in the Media Room at the National Theatre in Bucharest and hosted by Iuliana Marciuc with the mayor of Baia Mare, Cătălin Cherecheș, in attendance. The press conference was televised on TVR2. Among the competing artists was Mihai Trăistariu, who previously represented Romania in the Eurovision Song Contest in 2006. TVR hosted a presentation evening at the Berăria H venue in Bucharest on 19 February where the running order for the semi-final was determined and the competing artists performed their songs live for the public.  On 17 February 2016, "Brand New Day", written by Martyn Baylay and Phil Bates and to have been performed by Hayley Evetts, was withdrawn from the competition and replaced with the song "Tu ești povestea" performed by Gașca de acasă. An additional back-up entry was selected in the event that another participant withdrew; the entry was "The Reason", written by Nora Deneș and performed by Nora Deneș and The Fridays.

Semi-final.

The semi-final took place on 4 March 2016. Twelve songs competed and six qualified to the final. A jury panel first selected four songs to advance: "Moment of Silence" performed by Ovidiu Anton, "Let It Shine" performed by Dream Walkers, "Behind the Shadows" performed by Florena and "Paradisio" performed by Mihai. The remaining eight entries then faced a public televote which determined an additional two qualifiers: "I'm Coming Home" performed by Vanotek featuring The Code and Georgian and "The Voice" performed by Doru Todoruț featuring Irina Baianț. The members of the jury panel that voted during the semi-final were: Alexandra Cepraga (music director), Horia Moculescu (composer, producer), Randi (singer, producer), Zoli Toth (musician, represented Romania in the Eurovision Song Contest 2005 as part of Sistem) and Cezar Ouatu (countertenor, represented Romania in the Eurovision Song Contest 2013). In addition to the performances of the competing entries, the interval acts featured performances from the show hosts Cornel Ilie with his band Vunk, Ioana Voicu and Ioana Anuța–Jo.

Final.

The final took place on 6 March 2016. Six songs competed and the winner, "Moment of Silence" performed by Ovidiu Anton, was selected exclusively by public televoting. In addition to the performances of the competing entries, the interval acts featured performances by 2010 and 2014 Romanian Eurovision entrant Paula Seling, 2016 Moldovan Eurovision entrant Lidia Isac performing her Eurovision song "Falling Stars", as well as performances by the members of the jury panel from the semi-final; among their performances, Zoli TOTH Project presented a performance titled "Cocoon", Horia Moculescu, Randi and Uddi performed the song "Vagabondul vieții mele" and Cezar Ouatu performed the Eurovision Song Contest 2014 winning song "Rise Like a Phoenix".

Promotion.

Ovidiu Anton made several appearances across Europe to specifically promote "Moment of Silence" as the Romanian Eurovision entry. On 9 April, Ovidiu Anton performed during the "Eurovision in Concert" event which was held at the Melkweg venue in Amsterdam, Netherlands and hosted by Cornald Maas and Hera Björk. Between 11 and 13 April, Ovidiu Anton took part in promotional activities in Tel Aviv, Israel and performed during the "Israel Calling" event held at the Ha'teatron venue. On 17 April, Ovidiu Anton performed during the "London Eurovision Party", which was held at the Café de Paris venue in London, United Kingdom and hosted by Nicki French and Paddy O'Connell.

TVR disqualification from EBU services.

On 22 April 2016, the EBU announced that the Romanian national broadcaster TVR was withdrawn from all EBU member services following the repeated non-payment of debts. The withdrawal disqualified TVR from broadcasting the Eurovision Song Contest 2016 and therefore made the selected Romanian entry ineligible to compete. TVR had a deadline until 20 April to pay their debts totaling CHF 16 million to the EBU to avoid disqualification. EBU General Director Ingrid Deltenre stated: "It is regrettable that we are forced to take this action. We are disappointed that all our attempts to resolve this matter have received no response from the Romanian government. In recent weeks the EBU has taken note of the Ministry of Finance’s suggestion that TVR may be placed into insolvency proceedings which may in turn lead to a profound restructuring of the broadcaster. The EBU is a not-for-profit association which represents 73 Public Service Broadcasters in 56 countries. The continued indebtedness of TVR jeopardizes the financial stability of the EBU itself."  Romania, originally set to perform in position 12 in the second semi-final of the contest on 12 May 2016, was removed from the running order for the competition. The EBU confirmed that the Romanian entry, already released on the official compilation album for the contest, would continue to be made available for digital download and streaming as a courtesy to the artist and that all accredited press from Romania would retain their accreditation under the International Delegation of press and fans from non-participating countries. The Executive Supervisor for the Eurovision Song Contest, Jon Ola Sand, commented: "This is of course disappointing for the artist chosen to represent Romania, for our colleagues at TVR who have prepared their participation so well this year and, not least, for Romanian viewers and the many Eurovision fans in the country. As with all participants, SVT has been preparing for Romania's act thoroughly over the past weeks. To take an act out at such late stage is of course a little disruptive, but it will not negatively affect the 2016 Eurovision Song Contest in any other way."

Romania had originally applied and selected an entry to compete in the Eurovision Song Contest 2016 in Stockholm, Sweden, however, the European Broadcasting Union (EBU) withdrew the Romanian national broadcaster Televiziunea Română (TVR) from all EBU member services, including the contest, following repeated non-payment of debts on 22 April 2016. With TVR's inability to broadcast the contest, the Romanian entry became ineligible to compete and was removed from the contest.


Early career.

He was born to a well-to-do literary family of an army officer in Kvareli, eastern Georgia, then part of the Tiflis Governorate, Russian Empire. After acting and directing in his native country from 1893 to 1909, he went to Russia proper, Russifying his surname as Mardzhanov.  He worked for Russian provincial theaters as an actor, then as a director, until he established himself in the Moscow Nezlobin troupe in 1906 and later co-founded the Georgian Drama Studio with Alexander Yuzhin. He quickly gained a reputation as one of the most talented followers of the well-known Russian actor and theater director Konstantin Stanislavsky (1863-1938). As a director, Marjanishvili’s main technique was to guide the actor in finding an instinctive path to realizing "outer truth". In 1910, his versatility was recognized by Stanislavsky himself who invited him at the same time as Edward Gordon Craig to open up the repertoire and production techniques of the Moscow Art Theatre. There he staged works by Knut Hamsun and Henrik Ibsen and assistant-directed the Nemirovich-Danchenko "Brothers Karamazov" (1910) and the Craig "Hamlet" (1911). Fascinated by Craig’s stylized manner of using puppets, Marjanishvili temporarily returned to Georgia to stage Oedipus Rex in a similar spirit. In 1913, he broke with Stanislavsky due to his left-wing sympathies and his interest in decadence, and organized the eclectic "Free Theater", where he staged opera, operetta, drama and pantomime. The enterprise, notable for its ties with the composer Sergei Rachmaninoff and the singer Feodor Chaliapin, and for its Georgian-type choreography, was rendered abortive in a year due largely to financial problems. He then moved to Rostov-on-Don, where he directed the local theater from 1914 to 1915.

Post-revolution years.

Marjanishvili’s 1917 production of Oscar Wilde’s "Salomé" was a true triumph and continued to be staged during the tumultuous years of revolution and civil war in Kiev (Kiyv, Ukraine), Moscow, Petrograd (St. Petersburg, Russia), and Tiflis (Tbilisi, Georgia). Marjanishvili’s simultaneous experiments with festive staging in Rostov-on-Don (1914-15) and Petrograd (1916-17) led him to coordinate the mass spectacle "Toward a Worldwide Commune" (co-directed by Nikolai Petrov, Sergei Radlov, Vladimir Solovyov and Adrian Piotrovsky, 1920). For years, he also worked in films (1916-28).  Returning to the recently Sovietized Georgia in 1922, he led the Rustaveli Theater in Tbilisi. By that time, the energetic young director Sandro Akhmeteli had also returned to Tbilisi to lead the younger actors in a coup against the establishment. The two men collaborated with respect and unease, but Akhemeteli’s nearly despotic rule over his artistic corporation "Duruji" proved too violent for Marjanishvili whose production had become more restrained, motivated by his own conviction that "there’s enough suffering in life without showing it on the stage." In 1926, he and part of the company left to form a provincial touring theatre, centered on Kutaisi and Batumi, leaving Akhmeteli in sole control of the Rustaveli Theater. The new theater came to be known as The Second State Georgian Theater and would eventually be named the Marjanishvili Theater after its founder (1933). The theater is still functional in Tbilisi and continues Marjanishvili’s eclectic and somewhat conformist traditions.  In his later years, Marjanishvili worked at the Korsh Theater (Театр Корша) (1931-1932), the Maly Theater (Малый театр) and the Operetta Theater in Moscow (1933). Marjanishvili’s new repertoire was largely Russian and conformed to Bolshevik doctrine, which won him awards at the Moscow Drama Olympiad of 1930. Yet, menacing charges against Marjanishvili soon began to appear in the Soviet press. He died of illness in Moscow on 17 April 1933 before the worsening political climate led to Joseph Stalin's Great Purge which would take the life of Marjanishvili’s erstwhile collaborator and rival Sandro Akhemeteli in 1937.

Konstantine "Kote" Marjanishvili (), also known by the Russified name Konstantin Aleksandrovich Mardzhanov () (May 28, 1872 – April 17, 1933), was a Georgian theater director regarded as an important contributor to the pre- and post-revolutionary evolution of Georgian, Russian and Soviet stages. One of the most prestigious and professional of Georgia’s directors, he was particularly famous for his lavish and massive theater shows.


Background and release.

On December 25, 2015, The Weeknd released a collaborative song with Future, titled "Low Life", on SoundCloud. It was produced by Metro Boomin and Ben Billions and co-produced by The Weeknd. The song was later revealed to be included on "Evol". On March 1, 2016, "Low Life" was released as the album's first single. A music video for the track premiered on MTV on the same month.  On February 1, 2016, DJ Khaled announced that he would be premiering Future's fourth album on the debut show of "We The Best Radio" on Beats 1. Future then announced the album title, release date and artwork, as well as individually tweeting the track list.  The album cover artwork was created by the Polish creative production studio Ars Thanea. The album's title is love spelled backwards.

Critical reception.

"Evol" was met with generally positive reviews. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream publications, the album received an average score of 68, based on 17 reviews. The aggregator AnyDecentMusic? gave it 6.8 out of 10, based on its assessment of the critical consensus. Album of the Year assessed the critical consensus as 70 out of 100, based on 18 reviews.  In his review, Craig Jenkins of "Billboard" states, "The spite of 2014 mixtape "Monster", the woe of 2015's "Beast Mode", and the devilish glee of his No. 1 album "DS2" have all chilled into a dull malaise here". He concluded with ""Evol" doesn't break any rules or set many new ones, but as the latest in a seemingly never-ending series of wonders Future and his team wield in their creation of druggy, downcast afterparty dispatches, it is a joy." Matthew Ramirez of "Pitchfork" found that while "Evol" "has slightly more misses than hits, the highs are high—arguably higher than "Purple Reign"s". Sheldon Pearce of "Consequence of Sound" said, "It's an extraordinary triumph of ambitious trap soundscapes and an excellent complement for a driven artist, a man no longer inhibited by loss. With every passing release, Future grows more confident, and more callous." Dean Van Nguyen of "Clash" said, "Again Future marshals the glittering soundscapes expertly, his tuneful flow reining in the beats while imbuing all the fragility, heartsickness and aggression that make it the most impressive instrument in rap right now." Israel Daramola of "Spin" said, ""EVOL", along with the "Purple Reign" mixtape, doesn't provide that instant hit that Future's world-class 2015 was so full of. Instead it crawls into your brain and makes itself at home; you'll find yourself going back to it over and over without even realizing."  Chris Gibbons of "XXL" said, ""EVOL" is only the latest building block on one of the most impressive runs from any rapper we've seen, and Future shows no signs of slowing down for anything." Grant Rindner of "The Line of Best Fit" said, "Odds are Future will drop another project or five between now and the end of the calendar year, so while "EVOL" is ultimately dispensable it's still a pretty good time." Shirley Ju of "HipHopDX" said, "As it stands, "EVOL" is nothing out of the ordinary from his past endeavors. With no measures in place preventing from Future releasing new full-length projects, this album could easily be surpassed in a month or two." Lanre Bakare of "The Guardian" said, "The formula is working, but for fans using his albums as a way in, they're missing a big part of what makes Future so intriguing." Brian Duricy of "PopMatters" said, ""EVOL" doesn't stand up to his critical peaks, but this could easily be seen as but a release to tide fans over before the next blockbuster." Andy Gill of "The Independent" said, "His raps here still stick fairly closely to the trap-music conventions that have dominated the hip-hop scene in Future's hometown Atlanta for the past decade or so."

Commercial performance.

"Evol" debuted at number one on the US "Billboard" 200 with 134,000 album-equivalent units; it sold 100,000 copies in its first week, and boasted over 25 million streams. "Evol" is the third project by Future to debut on the "Billboard" 200 at number one in seven months. As of March 2016, the album has sold 125,000 copies domestically. As of May 2018, the album has been certified platinum by the Recording Industry Association of America (RIAA) for shipments of 1,000,000 units in the United States.

Track listing.

Sample credits

Evol (stylized in all caps) is the fourth studio album by American rapper Future. It was released on February 6, 2016, through A1 Recordings and Freebandz, and distributed by Epic Records. It premiered on DJ Khaled's "We The Best Radio" debut on Beats 1. "Evol" follows five months after the collaborative mixtape, "What a Time to Be Alive" (2015), and a month after "Purple Reign" (2016). Production was handled by frequent collaborators Metro Boomin, Southside, TM88 and DJ Spinz, among others.


Biography.

Lee Minhyuk was born on November 29, 1990 in Seoul, South Korea. He graduated from Kwangsung High School and attended Dankook University, majored in Musical. He's been active as an underground music artist by the name Heota and was featured in Block B's Zico and Park Kyung's songs.

Personal life.

Lee enlisted as a conscripted police officer on February 7, 2019.

Career.

Pre-debut.

Lee, together with fellow members of BtoB, Seo Eunkwang, Lim Hyunsik, Jung Ilhoon, and former BtoB member Lee Minwoo (now ex C-Clown member T.K). acted in a JTBC sit-com as Invincible Chungdam No. 5 member before officially debuting as BtoB.

BtoB.

Lee made his debut as a member boy-group BtoB in 2012. The group made their official debut on March 21, 2012 on "M! Countdown".

Solo activities.

In 2012, Lee was cast in a variety show, tvN's "The Romantic & Idol 2". He also had multiple appearances since 2013 on "Let's Go! Dream Team Season 2".  In 2014, he received supporting roles in dramas, "A New Leaf" and the Idol Special of "Love & War 2". Following his acting career, he joined the casts of "Sweet, Savage Family" in 2015. He also starred as a lead in the web-drama "Nightmare Teacher".  Lee returned under the name Heota as he featured as a rapper in Postmen's "I'm OK" that was released on July 14, 2015.  Lee is also known as one of the best idol-athletes in the industry as his impressive skills when it comes to sports are acknowledged on Idol Star Athletics Championships in which idols compete in different fields of sport. He was crowned as the MVP of the 2014 Idol Star Athletics Championships in which their group, Team B won and Lee was awarded with three gold medals and one silver medal.  Lee released the self-produced "Purple Rain" featuring CHEEZE as part of BTOB's solo project series, "Piece of BTOB" on August 10, 2017. Later in the year on December 6, Childlike (유치해도) produced by Lee was released.  Lee is set to make his silver screen debut in the upcoming historical action film, "The Swordsman", as Gyeom Sa-bok.  Lee is set to make his solo debut in Japan with his first Japanese EP, "Summer Diary", that will be released on July 25 with a total of five tracks.  In January 2019, Lee's Korean debut was announced with all self-composed album 'Hutazone'. The album containing a total of eleven songs, including a Korean version of "All Day","It Must Have Been A Dream" and "You Too? Me Too!", featuring Yook Sungjae and Jeon So-yeon, respectively.  He will hold his first solo concert, "HUTAZONE: Two Night" on 2 and 3 February 2019 at the Yes24 Live Hall in Gwangjin District, Seoul.

Discography.

Albums.

Note: Bolded Tracks are the title song of the album(s).

Lee Min-hyuk (; born November 29, 1990), commonly known as Minhyuk or Huta, is a South Korean singer, rapper, songwriter and actor. He is a member of the South Korean boy group BtoB. He received multiple supporting roles in television series such as "A New Leaf" and "Sweet, Savage Family".


Story of the novel's creation.

The novel was started in December 12, 2012 as a Facebook page, where author published 100 words - messages from parallel reality of a future - everyday. The project has been planned as multimedia one. The author recorded several music fragments in concrete music genre for it, using instead of musical instruments sounds of surrounding reality (such as knocks at the washing machine, fridge, radiator, pans, coffee mill electric motor, Serbian orthodox chorals fragments etc.) united in absurd collages to illustrate storyline.

Plot summary.

The plot unfolds in 2114 year or 100 after Euromaidan and Russian invasion in Ukraine. The local population in Ukraine is in the medieval state. The main character Olexander Sahaidachny recovers consciousness in a house at the edge of Kyiv. He feels almost full loss of his memory and remembers just one that he needs to find his wife Olena immediately. Sahaydachnyi hopes that his memory will turn back together with his wife.  In the same house, he meets Birgir Hansen, unknown person who knows something about his past and suggests finding his wife in a little town Kaharlyk (next to Kyiv), besides Birgir hints to the fact that the outside world is changed in a peculiar way and it is very difficult to survive there.  Out in the street, Olexander meets a Kaharlyk inhabitant old man Petro and he agreed to take him to his house and even shelter there. Sahaydachnyi unsuccessfully tries to find his wife, but found just some evidences of Russian occupation in old newspapers. Soon old man Petro dies. Sahaydachnyi finds on the road badly wounded orthodox fundamentalist Mikhail Kalashnikov. Dying Kalashnikov asks Olexander to back-up his mind in the special device “morphone” before his death and suggests to find Olena in Kyiv.  Kyiv is a devastated city with 2500 people. Sahaydachnyi meets priest Andryi there. Andryi professes a special kind of religion and believes that God is hiding on the Earth amongst beggars and refuses to rule this world. Together with Andryi they go in disturbed by war supermarket, where ancient morphones with long before died people are piled. The supermarket dweller major Hryhorenko together with priest Andryi try listening to old morphones establish what year is it now. Some people who want to seize with food remains constantly attack the dwelling of Hryhorenko. One of them kills major and the killer is immediately murdered by a mysterious creature – Russian military satellite armed with nuclear laser, which states that its mind was copied from Olexander Sahaydachnyi mind. Priest Anryi persuades Sahaydachnyi to stay in Kyiv, but he decides to come back in Kaharlyk to search Olena there.  Russian military satellite is in the opposition to the power in Moscow and doesn't execute its orders. It says that he is going to save Olexander Sahaydachnyi and convey him to the civilized world. It established a special foundation for the purpose and hired Birgir Hansen to go in Ukraine. But he refused to convey Sahaydachnyi at once and decided firstly to explore folklore traditions which emerged around Kaharlyk, where time has stopped forever owing to Russian military experiments. Leaving Kyiv Sahaydachnyi meets Birgir again. He says Olexander that is going to folklore expedition in Kaharlyk, so they are going there together.  The first village on the road was Lisnyky where space-time anomalies considerably influence life of its people. Birgir tells Olexander the story of his previous life: after going to Ukraine he was busy with terraforming of the Mars watching over a nuclear power plant which melted Mars polar cap. It was a dull work, so he went to Ukraine for adventures and exiting experience. The next village on the road to Kaharlyk is Hodosivka. Its people were tortured by a peculiar religious cult. Next village Romankiv was completely under the ground. Its people hid there from Russian occupation, but stayed there even after the war was finished. In Obuhiv village people exist dottedly periodically appearing from other times.  Russian military satellite “Yuri Gagarin” was in the near-earth geostationary orbit and its mind was copied from Olexander Sahaydachnyi mind too, but Gagarin was fully loyal to the power in Moscow. It made an attempt to eliminate real Sahaydachnyi on the road between Obuhiv and Kaharlyk, but missed the mark because of strong space-time anomalies. The shot led to elimination of Yuri Gagarin itself.  In Kaharlyk Olexander meets Olena, a 50-year-old woman. He thinks that she is his missed wife and her age is explained by time anomalies of the town. Olena tells that she was searching for her husband too, but says that Olexander is not like him. Though Olena agrees to consider Olexander as her husband, because she is not sure due to her weak memory.  Birgir suggests Sahaydachnyi to go abroad at least, but he refuses, because wants to put Ukraine in order. He is going to write a novel about his adventures. Suddenly on the edge of the town he notices inscription on the wall “Kontraktova Square 12 Olena”. It is a place in Kyiv so it gives him hope that real Olena could wait for him in Kyiv and Olexander sets out there again.

Reception.

Andrey Kurkov "Book discoveries-2014 of the famous book lovers" Chytomo  "Oleh Shynkarenko's novel "Kaharlyk" is assembled from many of one-hundred-words units and best of all suited to my understanding of the hologram-novel, a novel that consists of artfully carved puzzles which a reader has to collect in a complete picture of a fictional life invented by the author. However, that invented life has coincided largely with the new reality that came to Ukraine late last year. But real Ukrainian life approaching to the novel "Kagarlyk" is not decisive for me in evaluating this wonderful and talented work".  Mykhaylo Brynych "Just a little and there will be Kaharlyk" Litaccent  "The novel despite its small size is stuffed with many interesting ideas and their combination even pretends to absolute originality..."  "They grow potatoe at the Independence Square in Kyiv, ruins of "Achan" supermarket are bequeathed as a legacy like a patrimonial castle, several insane contenders to the Kyiv mayor position are trying to shoot down each others".  "in details, concerning Russian-Ukrainian war, to say the author makes an impression of well trained Baba Vanga is putting it mildly. One would like to spit long and exhausting over his left shoulder (as a token from hex) when he runs across predictions which during the last months became a part of our history".

English translation.

Steven Komarnitskyj plans to translate the novel till the August 2016 and publish it in Great Britain. A large excerpt from the novel was published by Index of Censorship in July 2016 issue.

Notes.

A novel written on Facebook during the Euromaidan protests will be published in English  War, in pieces: Ukrainian protest literature  Dystopian Ukraine novel, written on Facebook during protests, gets English translation  Oleg Shynkarenko: "It was a surprise for me that Babay from my novel is already in Ukraine" (interview with the author at "Lyuta Sprava" publishing house internet site)  Ukraine's executed renaissance and a kickstarter for one of its modern successors

Kaharlyk (The name of a little town Kaharlyk next to Kiev) is a Ukrainian satirical dystopia novel by Oleg Shynkarenko, first published in hardcover by Sergy Pantyuk Publishing House in 2014. The novel depicts life in Ukraine a hundred years after the present time. Ukraine returned to the Middle Ages because of consequences of Russian occupation. The main character Olexandr Sahaidachny, whose mind was used for creation of Russian military satellites's supercomputers, is trying to get back his lost memory and wife. For this, he embarks on a mysterious city Kaharlyk, where time stopped after testing the newest Russian weapons.


Early life.

Sehun was born in Jungnang-gu, Seoul, South Korea, on April 12, 1994. He graduated from the School of Performing Arts Seoul in February 2013. He has an older brother.

Career.

Sehun was first scouted by an SM Entertainment casting agent at 12 years old while he was out having lunch with friends. While at first running away from the agent for 30 minutes and being chased down the streets, he was eventually cast into SM Entertainment in 2008. He went through four auditions in two years. On January 10, 2012, Sehun became the fifth Exo member to be officially introduced to the public. The group made their debut with the extended play "Mama" in April 2012.  In February 2016, Sehun received a Weibo Star Award as voted by users of the Chinese social networking site Sina Weibo at the 5th Gaon Chart K-Pop Awards. In March 2016, Sehun was cast as the male lead in the upcoming Korean-Chinese film "Catman", which was released in 2018. In July 2016, Sehun was announced to be starring as the male lead in the upcoming Korean-Chinese web drama "Dear Archimedes", which began airing in 2019.  In September 2017, Sehun became a fixed cast member in a new Netflix original variety show "Busted!".  In February 2018, Sehun was cast in the action web drama "Dokgo Rewind" as the male lead. In May 2018, it was announced that Sehun will be starring in the web drama "Secret Queen Makers" which is produced by Lotte Duty Free.  On September 14, 2018, Sehun with fellow Exo member Chanyeol released a collaborative single, "We Young", for SM Station X 0. On September 19, Italian men's clothing brand "Ermenegildo Zegna" announced that Sehun, alongside Chinese singer and actor William Chan, would be the ambassadors for the brand's clothing line XXX.  On June 28, 2019, it was confirmed that Sehun and Chanyeol were preparing to debut as the group's second sub-unit Exo-SC. They released their first EP, "What a Life", on July 22, 2019.

Songwriting.

All credits are adapted from the Korea Music Copyright Association (KOMCA), unless stated otherwise.

Oh Se-hun (born April 12, 1994), better known mononymously as Sehun, is a South Korean rapper, singer-songwriter, dancer, model and actor. He is a member of the South Korean-Chinese boy group Exo, its sub-group Exo-K and sub-unit Exo-SC. Apart from his group's activities, Sehun has also starred in various television dramas and films such as "Secret Queen Makers" (2018) and "Dokgo Rewind" (2018). He has been a cast member of "Busted!" since 2018.


Life.

Janina Hescheles' father, Henryk Hescheles, was a journalist in Lwów and publisher of the Polish-language Zionist periodical "Chwila". Her mother was registrar at a hospital on Józef-Dwernicki Street, and after the outbreak of World War II also served as a nurse.  The family lived with her grandparents in the Jewish Quarter of Lwów, a city which at the time was about one-fourth Jewish. When Nazi Germany invaded Poland in September 1939, Hescheles' uncle, Marian Hemar, a brother of her father, was able to flee from Warsaw to Great Britain. In 1939, under terms of the Nazi-Soviet Pact, Lwów was annexed to the Soviet Union, becoming part of Soviet Ukraine.  The day after the Germans invaded the Soviet Union in June 1941 and conquered Lwów, Hescheles' father was murdered in a pogrom perpetrated by the Ukrainian population of Lwów. However, another uncle, Stanisław Lem, managed to conceal his Jewish heritage and survived. Janina Hescheles and her mother survived the pogrom. Then they and Hescheles' grandparents and other relatives were imprisoned by the Nazis and forced to work in the German armaments factories. However, with help from the writer Michał Borwicz and the Polish resistance organization Żegota, she was able to escape from the Janowska concentration camp in October 1943.  Janina was hidden by various families from Kraków (Cracow) in an orphanage in Poronin, in southern Poland. Three weeks after her escape, with encouragement from Borwicz, Janina Hescheles began writing a memoir of their persecution in Lwów. In 1946, soon after the war ended, it was published in Polish as "Oczyma dwunastoletniej dziewczyny" (""Through the Eyes of a 12-year-old girl"") by the Organization of Polish Jews in Kraków. Later on, a German translation, "Mit den Augen eines zwölfjährigen Mädchens", was published in East Germany (1958) and in West Germany (1963). SInce 2011 it was published in ten different languages.  In 1950, Hescheles emigrated to Israel, where she eventually earned a doctorate in chemistry at Technion (the Israeli Institute of Technology). She married the physicist Kalman Altman, and they had two sons. Hescheles (now Janina Altman) continued to work at Technion and the Weizmann Institute of Science, and also at the Technical University of Munich, Germany. Her research has been published in several English and German scientific journals. Since the First Intifada (1987-1991), she has supported the pacifist group Women in Black.  Theatre and shows on Janina:  Films on Janina:  Other references: On the poem To Belzec of Janina Hescheles

References.

[[Category:Polish emigrants to Israel] [[Category:Jewish concentration camp survivors]] [[Category:Janowska concentration camp survivors]]

Janina Altman (née Hescheles), born 2 January 1931 in Lwów, Poland (now Lviv, Ukraine), is a Polish-Israeli chemist, author and a Holocaust survivor.


Early Career at Middlesbrough.

Roberts began his career at Middlesbrough F.C. on the Youth Training Scheme in 1991, aged 16, and quickly graduated through the ranks, making his first team debut aged 19 in the Anglo Italia Cup in Ancona. Loan spells at Hartlepool United in 1994, Wycombe Wanderers during the 1994/1995 season and Bradford City in 1996 preceded his Premier League debut against Sheffield Wednesday in February 1997.  Also in 1997, Roberts made one appearance for England at under-21 level.  After an injury to Mark Schwarzer, Roberts finished the ill-fated 1996/97 season as Middlesbrough's first-choice goalkeeper, notably playing in the 1997 FA Cup Final, League Cup final replay and the club's remaining Premier League games (Schwarzer was cup-tied for the FA Cup run anyway). He is remembered among Middlesbrough supporters for conceding a goal after only 43 seconds by Roberto Di Matteo of Chelsea in the FA Cup Final.  Roberts' remaining time with Middlesbrough saw him struggle with fitness and injuries, and between back operations he spent time on loan at Millwall and Luton Town in 1999 and 2000. He helped Millwall reach the 1999 Football League Trophy Final, where they lost to Wigan Athletic.

Later career.

Roberts transferred to Charlton Athletic in the summer of 2000. While with Charlton, he had further loan spells at Reading, Luton and Brighton & Hove Albion, before making a permanent move to Brighton in 2003. His only appearance for Charlton had come on the last day of the 2002/2003 season, Roberts playing as a substitute against Fulham after Dean Kiely was sent off.  Roberts contributed to Brighton's promotion-winning season in 2003/2004, making 35 appearances as first-choice goalkeeper, the season culminating in victory in the 2004 League One play-off final at the Millennium Stadium against Bristol City.  However, in 2005, a recurrent back injury forced him to retire from playing at the age of 29.

After retirement.

After retiring, Roberts went to university, graduating from Roehampton University with a first class honours degree in sports science and coaching, and won the Adidas 'Pursuit of Excellence' award for his dissertation, which was entitled 'A Biomechanical Analysis of a Football Goalkeeper's Jumping Technique'.

Coaching career.

In June 2009, having briefly come out of retirement to join Derry City in 2007, Roberts was appointed the goalkeeper coach and chief scout at Yeovil Town. During the two seasons he spent at Yeovil Town, he assisted in the development of goalkeepers Alex McCarthy and Stephen Henderson, making a substitute appearance himself in a 3–3 draw with Swindon Town in October 2010, his first league match in six years.  On 29 December 2010, he left Yeovil Town to return to their League One rivals Charlton Athletic. During his tenure at Charlton, Roberts oversaw the early careers of Rob Elliot, Ben Hamer, Neil Etheridge, Marko Dmitrovic, Dillon Phillips, David Button and Nick Pope.  On 23 June 2015, Roberts returned to Brighton & Hove Albion as goalkeeping coach, replacing Antti Niemi, who had left for Finland that summer. During the last four seasons he has played a pivotal role in the careers of the Goalkeepers at the Sussex club. Amongst those that Roberts has coached and developed during this period are Mat Ryan, David Stockdale, Christian Walton and Robert Sanchez.

Outside football.

After retiring from football in 2005, Roberts took a year out before university to backpack around the world, which included a 6-month spell living in Brazil where he closely studied Brazilian training methods.  He is also a keen runner, taking part in the London Marathon and Great North Run for the Asthma UK charity.

Ben James Roberts (born 22 June 1975 in Bishop Auckland) is an English former professional footballer who played as a Goalkeeper. Since being forced into early retirement in 2005 at the age of 29 through injury, he has become a goalkeeping coach; he is currently employed in this capacity at Brighton & Hove Albion, whom he represented as a player between 2003 and 2005.


History.

The Prime Minister of India declared the government's intention to upgrade Coimbatore Airport to International status in a meeting with senior ministers on 6 June 2012 and the Union Cabinet granted it the status of international airport on 2 October 2012.

Infrastructure.

The airport has one runway that is in length extended from to accommodate larger aircraft. In 2008, the airport was expanded at a cost of with aero bridges, parking bays and Instrument Landing System (ILS). In 2010, new domestic and international divisions were added to the already existing common terminal.  The airport has a parking management system with a capacity to accommodate nearly 300 cars. There are two hangars in the airport; one provides housing for the planes of Coimbatore Flying Club, the other provides shelter for private carriers.  The further proposed expansion of the airport includes extension of runway to to accommodate larger aircraft such as the Boeing 787 and construction of a parallel taxiway to the runway to minimize runway occupancy time and turnaround time of aircraft. Construction of two additional parking bays and two new aerobridges are presently underway.

Connectivity.

The airport is located on Avinashi Road about from the central bus station. Frequent bus services are available from Gandhipuram central bus station and also from other auxiliary bus stations at Singanallur and Ukkadam. The airport is from the major railway station, Coimbatore Junction and the nearest rail stations are at Singanallur and Peelamedu. Cab services, call taxis and auto rickshaws provide 24 hours commuting services to the airport.

Coimbatore International Airport is the primary airport serving the city of Coimbatore in Tamil Nadu. It is located within the city at Peelamedu, about from the center of the city. It is the 18th busiest airport in India for passengers handled, 18th busiest for total aircraft movement and 15th busiest for cargo handled. This airport is second largest airport in the state for Terminal Area, runway length, aircraft movement, passenger traffic and cargo after Chennai International Airport in Tamil Nadu. The airport is served by five Indian and three foreign carriers providing direct connectivity to 12 domestic and 3 International destinations.


Plot.

John Smith (Christian Slater) is down on his luck. His girlfriend left him for a doctor. He headed to an Indian Reservation casino only to have his wallet stolen by a hooker. His money was in a security wallet though, so he enters an Elvis Impersonation contest and loses but then proceeds to play cards with four other Elvis impersonators: The Winner Elvis (Gary Oldman), Gay Elvis (Chris Kattan), Little Person Elvis (Tony Cox), and Asian Elvis (Anthony Brandon Wong). They beat him at cards enough times to bankrupt him and then he dozes off. He is later awakened by casino security guards who think he stole a priceless ancient Native American mask.  It turns out that the owner of the casino "The Chief" (Gordon Tootoosis) had the ancient Native mask in a saferoom and now it's gone and witnesses saw an Elvis impersonator steal it, so John becomes the prime suspect. The two Native security guards (Michael and Eddie Spears) figure John didn't take it but they still decide to kill him while they hunt for the real culprit, presumably Winner Elvis. The Chief says he will pay $1,000,000 for its return. The last thing John sees is them opening the trunk of his car, then writing down Elvis's address, then they knock him out.  Meanwhile, we get introduced to a hitwoman known as "The Blonde" (Helena Mattsson) who quotes Edgar Allan Poe before killing her victims. She confronts Gay Elvis and asks where the mask is. He tells her he doesn't have it. She kills him and leaves one of John Smith's credit cards on his corpse (apparently she is allied with John's wallet thief).  John regains consciousness and is still in the trunk of the car. He escapes and finds the Native security guards shot dead. He gets Winner Elvis's address and goes to his house. When he gets there, he meets Elvis's neighbor Cindy (Megan Park). They realize the mask isn't there, but they find Asian Elvis's address and decide to go to his house. Before they leave, they are almost shot to death by another hitman "The Cowboy" (Jeff Fahey) and his sidekick Mo (Danny James). As they escape, John suggests calling the sheriff only to have Cindy explain that there are two sheriffs (Dane Cook and Sam Trammell) and both are corrupt. One is on The Chief's payroll and the other is on The Rancher's payroll. They also encounter "The Rancher" (Powers Boothe). He explains that he hired the Elvises to steal the mask because he used to have it. It is revealed through a flashback that back in the 1980s, a family consisting of a father, mother, and son were working for the rancher and transporting the mask. They reached a train station only to get ambushed by Natives who killed the family and took back the mask. Now he wants it back and will pay $1,000,000 to whoever gets it.  They leave and go to Asian Elvis's house. He tries to kill them before getting tomahawked to death by another hitman "The Indian" (Matt Willig). They escape and head back to Elvis's house only to have Little Man Elvis show up with a gun asking them where the mask is. Before he can shoot them, The Blonde shows up and kills Little Man Elvis. As they are leaving, they run into The Sheriffs who arrest John for Little Man Elvis's murder. However, Cindy posts bail and he is released. But the Sheriffs know that John knows more than he's letting on so they follow him.  Meanwhile, Winner Elvis is on the way to delivering the mask only to have his car break down. He hikes a long way and gets to a bus stop. As he boards the bus, The Blonde enters and shoots him. As he is dying he whispers something to The Blonde and she smiles broadly. The bus driver is on the phone with someone and The Blonde deduces that he is in cahoots with The Rancher and The Chief playing both sides. She kills him as well.  Later, John, Cindy, and The Sheriffs make it to the bus. They see Elvis and the bus driver's bodies inside the bus and written on them is "Bring the mask and John Smith to Station 12". Station 12 is the same station where the family was killed in the 80s. As they're leaving, The Cowboy and Mo show up and reveal that The Cowboy is a fast sharpshooter who killed the two Indian security guards earlier in the film. As The Sheriffs are drawing their guns, The Cowboy kills them both. Then The Indian shows up and tomahawks The Cowboy and Mo before they can get a shot off. The Indian accompanies them to Station 12.  As they show up, The Rancher and The Chief also show up each holding a briefcase with $1,000,000. At this point, Cindy reveals that she is The Rancher's daughter and was following John to make sure he would find the mask for her father. The Blonde comes out and instructs them to hand their briefcases to John and he enters the station alone. The Indian has a better idea and runs in with his tomahawk to kill The Blonde. The Indian then tries to attack The Blonde, but she blocks all of his attacks. She then kicks him several times, knocking him out. Then The Blonde shoots The Indian and kills him. She re-emerges and repeats her instructions promising more deaths if they don't comply.  John takes the briefcases and enters the station. As he enters, he and The Blonde embrace. They are scamming everybody.  It turns out that the family that was killed in the 1980s were John Smith's parents. They had an Indian servant who hid John in the floorboard of the station and told the Indians that he was dead too. The servant was part of a rival Native tribe "The Hopi". The mask really belonged to her tribe and The Chief stole it from her.  The Blonde is the girlfriend who left John Smith at the beginning of the movie because she realized she liked women. However, she knew what happened to John's family so she stuck around long enough to assist him. Also, when John told her she would get one of the briefcases, that enticed her further.  John and The Blonde emerge from the station and tell The Rancher and The Chief why they are doing this. Also, she tells them that Elvis destroyed the mask when he realized he wouldn't be able to sell it. That was what he said to her before dying.  John tells The Rancher and The Chief that he's keeping one briefcase because of what they did to his family. The Blonde tells them she will return and kill them if they try to retaliate. Then she leaves with the other briefcase on a motorcycle driven by the woman who stole John's wallet. She is actually the doctor that The Blonde left him for posing as a hooker.  At this point, he finds Elvis's car and repairs it and drives it. It only broke down before because he sabotaged it in a way that could be repaired. Also, he actually tried to steal the mask earlier in the film, but Elvis caught him doing it and knocked him out and took it for himself.  It turns out the Indian servant was in on the scam too. The mask wasn't really destroyed. John returns it to her since her tribe rightfully owns it. Elvis actually told The Blonde "Elvis has left the building" before dying. She just lied about his last words.  And finally, it is revealed that his name isn't even John Smith. Someone he bumped into at the beginning of the movie is really John Smith and he pickpocketed him.

Production.

The film was first announced on June 17, 2010. Some of the filming occurred in Utah. On July 8, 2010, Megan Park was confirmed to have joined the cast.  On July 13, 2010, it was confirmed that Chris Kattan and Helena Mattsson had joined that cast. On July 14, 2010, Jeff Fahey was announced to have joined the cast.  Principal photography began on July 6, 2010.  The film is not rated. However, on Dish TV, it's rated NC17.

Release.

The film was released on DVD in North America on January 8, 2013.

Guns, Girls and Gambling is a 2012 American action comedy thriller film written and directed by Michael Winnick. The film stars an ensemble cast, which includes Gary Oldman, Christian Slater, Megan Park, Helena Mattsson, Tony Cox, Chris Kattan, Powers Boothe, Michael and Eddie Spears, and Jeff Fahey.


Service pattern.

The line has a reciprocal through service with the Hokushin Kyuko Electric Railway; all trains run between either or and, stopping at every station. During rush hours, additional trains run between Shin-Kobe and.

History.

On October 15, 1971, a railway license was issued to the Kobe Municipal Transportation Bureau to build a subway line linking the Myōdani district to the Shin-Kobe Shinkansen station; construction on the first segment of that line began on November 25 of that year. The first segment of the subway (between Shin-Nagata and Myodani, known as the Seishin Line) opened on March 13, 1977; a second segment of the line (between Shin-Nagata and Okurayama, known as the Yamate Line) opened on February 17, 1982. The line was extended to Shin-Kobe on June 18, 1985; a western extension to Gakuen-toshi (from Myodani) opened that same day. On March 18, 1987, the final segment of the subway line opened between Gakuen-toshi and Seishin-chūō.  The Hokushin Kyuko Electric Railway opened on April 2, 1988, providing service between Tanigami and Shin-Kobe. An infill station () opened in between Seishin-chūō and Ikawadani stations on March 20, 1993, expanding the line to a total of 16 stations. On January 17, 1995, the subway line was shut down due to damage caused by the Great Hanshin earthquake; the line resumed operation with limited service between Seishin-chūō and Itayado the following day, along with the entirety of the Hokushin Kyuko line. Limited service was resumed across the entire line on February 16, and full service was restored in March 1995 after repairs were completed, albeit with speed restrictions remaining in place until July 21 of that year.  The subway began to accept the Surotto Kansai smart card in October 1999; it would start accepting PiTaPa in October 2006.  Women-only cars began to be used on the subway line from December 16, 2002. Currently, one car heading in the direction of Seishin-chūō (car number 4) is reserved for women only; the restriction applies throughout the entire day.

Rolling stock.

All trains are based at Tanigami and Myōdani Depots.  A fleet of new trains (known as the 6000 series) is to be introduced on the line between fiscal 2018 and 2022; these trains will replace all existing trains on the line. Built by Kawasaki Heavy Industries, the design of the new trains will be overseen by Ken Okuyama Design.

The, also known as the "U-Line", is one of two lines of Kobe Municipal Subway that links the central district and suburbs of Kobe. The line color is green.


Life.

Origin and the palace coups of 944.

Marianos was the eldest son of the general Leo Argyros, active in the first decades of the 10th century. He had a brother, Romanos Argyros, who in 921 married Agathe, a daughter of Emperor Romanos I Lekapenos (r. 920–944). The Argyroi therefore were counted among the firmest supporters of the Lekapenos regime. Romanos Lekapenos had risen to power in 919 as regent over the young Constantine VII Porphyrogennetos (r. 913–959), whom he married to his daughter Helena. By December 920, his position had become so unassailable that he was crowned senior emperor. To consolidate his hold on power, and possibly aiming to supplant the ruling Macedonian dynasty with his own family, Romanos raised his eldest son Christopher to co-emperor in 921, while the younger sons Stephen and Constantine were proclaimed co-emperors in 924. Christopher died in 931, and as Constantine VII remained sidelined, Stephen and Constantine assumed an increased prominence, although formally they still ranked after their brother-in-law in the college of emperors. However, in 943, the elderly Romanos drafted a will which would leave Constantine VII as the senior emperor following his death. This greatly upset his two sons, who started planning to seize power through a coup d'état, with Stephen apparently the ringleader and Constantine a rather reluctant partner.  It is in this context that Marianos Argyros is first mentioned in December 944. At the time, he was a monk, and a confidant of Stephen Lekapenos. According to the 11th-century historian John Skylitzes, he had earlier been honoured and trusted by Romanos, but Marianos nevertheless supported the coup of the Lekapenoi brothers on 20 December, which successfully deposed their father and exiled him to a monastery on the island of Prote. A few weeks later, however, with the support of the populace, Constantine VII managed to sideline the Lekapenoi, who joined their father in exile. It appears that Marianos had changed sides in time, for he participated in the arrest of the Lekapenoi. As a reward, Constantine VII, now sole ruler, freed him of his monastic vows and raised him to the rank of "patrikios" and the post of Count of the Stable. His abandonment of the monastic habit earned him the nickname "Apambas" or "Apabbas" (), whose etymology is unclear.

Command in southern Italy.

Marianos then disappears from the scene until he was sent at the head of troops from the themes of Macedonia and Thrace in an expedition to southern Italy, dated by modern scholars to 955. A rebellion that had broken out in the local Byzantine themes of Langobardia and Calabria, involving also the imperial vassal city-state of Naples. The Byzantine expeditionary force encircled and besieged Naples, until the city surrendered. Marianos then took over the governance of the Byzantine provinces of Italy: in 956, he is attested as "strategos" (governor) of Calabria and Langobardia in a charter of privilege for the monastery of Monte Cassino. At about the same time, following a Fatimid raid on Almeria, war had broken out between the Fatimids and the Umayyad Caliphate of Cordoba. Fatimid sources report that the Umayyads proposed joint action with Byzantium, but Marianos appears to have been focused on suppressing the rebellion rather than engaging in war with the Fatimids. Byzantine envoys even went to the Fatimid caliph, al-Mu'izz, and offered to renew and extend the existing truce. Al-Mu'izz however, determined to expose the Umayyads' collaboration with the infidel enemy and emulate the achievements of his father, refused.  The Caliph dispatched new forces to Sicily under Ammar ibn Ali al-Kalbi and his brother al-Hasan ibn Ali al-Kalbi. In spring/summer 956, the Fatimid fleet clashed with and defeated the Byzantine fleet in two battles in the Straits of Messina, followed by Fatimid raids on the Calabrian coast. In the aftermath of these raids, Marianos travelled to the Fatimid court in person, and sought a truce in exchange for the resumption of a payment of tribute and the annual release of prisoners of war taken in the East. Al-Mu'izz agreed to these terms, but warfare resumed soon after, when the Byzantine admiral Basil destroyed the mosque built by the Fatimids at Rhegion and raided Termini. Marianos therefore returned to the Fatimid court in a second embassy in 957, going first through Sicily, where he apparently delivered to the local Fatimid governor, Ahmad ibn al-Hasan al-Kalbi, the agreed tribute. During the reception by al-Mu'izz, Marianos presented a letter by Constantine VII confirming the terms agreed during the first embassy, but this time al-Mu'izz rejected the terms. As a result of the breakdown in these negotiations, Constantine VII sent a massive expedition to Italy under admirals Krambeas and Moroleon, while Marianos commanded the land troops. The Fatimids under the Kalbid brothers al-Hasan and Ammar were victorious over Marianos, but following the arrival of the Byzantine reinforcements the Fatimid fleet left Calabria, only to suffer a shipwreck on its return to Sicily. Marianos is no longer mentioned in Italy after that, although he may have led a third embassy to al-Mu'izz in September 958, which led to the conclusion of a five-year truce between the two powers.

Command in the Balkans and death.

In ca. 959/961, he defeated a raid by the Magyars into Thrace, taking many of them prisoner. In connection with this operation, Theophanes Continuatus refers to him as ""monostrategos" of the theme of Macedonia and "katepano" of the West", a position equivalent to that of the Domestic of the Schools of the West, in command of all the "western" (European) troops. It is unclear, however, whether this means a permanent appointment or was an "ad hoc" position, i.e. as "strategos" of Macedonia and temporary overall commander of detachments from the other European themes. The latter is more likely, as it is documented that Leo Phokas the Younger held the post of Domestic of the West, but was fighting against the Arabs in the east at the time. On 15 March 963, Emperor Romanos II (r. 959–963) unexpectedly died, leaving his young sons Basil II and Constantine VIII as emperors. The powerful general Nikephoros Phokas (the brother of Leo) decided to seize the throne for himself, but was opposed by the "parakoimomenos" and guardian of the young emperors, Joseph Bringas. Seeking support, Bringas offered Marianos the high command in the east and potentially even the throne if he would aid him. Marianos first suggested trying to win over Nikephoros Phokas' popular nephew and lieutenant, the "strategos" of the Anatolics John Tzimiskes. The latter not only refused, however, but took his letter straight to his uncle, who summoned his armies to Caesarea and had them proclaim him emperor in early summer. As Phokas' army advanced across Asia Minor on Constantinople, Marianos then tried to stage a coup in Constantinople with men of the Macedonian regiments and armed prisoners of war. This move was opposed by the populace, however, resulting in clashes in the streets. The populace became especially enraged when Marianos tried to forcibly remove the Phokades' elderly father, Bardas, from the Hagia Sophia where he had sought sanctuary, on 15 August. Marianos was reportedly hit on the head by a platter, thrown by a woman from a nearby house roof. Mortally wounded, he died on the next day. Phokas' supporters rapidly prevailed thereafter. Bringas was forced to flee himself to the Hagia Sophia, and on 16 August Nikephoros Phokas was crowned senior emperor as guardian of Basil and Constantine.

Marianos Argyros (, ) was a Byzantine aristocrat and member of the Argyros family. A monk, in 944 he supported the assumption of sole rule by Constantine VII, and was allowed to leave the monastery and enter imperial service. He held a succession of senior military commands, fighting in southern Italy against local rebels and the Fatimids, and in the Balkans against the Magyars. In 963, he tried to oppose the takeover of the imperial throne by the general Nikephoros Phokas by assuming control over Constantinople and arresting his father, Bardas Phokas the Elder. During the ensuing clashes, he was hit on the head by a platter, and died on the next day, 16 August 963.


History.

In 1957, some of the barrios of the municipality of Bansalan namely Kibao, San Vicente, Kibuaya, Managa Km. 67, Sinawilan, New Visayas, Sacub, Upper Malabang, Tibongbong, Sinaragan, Maliit Digos, Kapok, Tamlangon, Manga, Buas, New Katipunan, Da-Anama, Upper Kauswagan, Kagaulas, Kabasagan, Tuwak, Mal, Latian, Lanturi, Dongan-Pekong, La Union, Kauswagan, and Paitan were grouped and constituted into a new and independent municipality known as Matanao.  Matanao means a place or something to see or witness at a vantage point. In the earlier days, the place was known as “Matin-aw”, a term used to mean clear. The name is derived from the crystal clear brooks and rivers that abound in the area. No one could exactly tell how, when and why “Matin-aw” became Matanao.  In 1920, long before Matanao was formally created into a municipality, Buas had already existed (representing Matanao) as a barangay of Santa Cruz inhabited by tribal minorities, the Blaans ("Bilaan") with Datu Edu Gamban as their recognized leader. In 1927, migrants from the Visayas led by the late Rosendo Javelona and his family came to the place. Protestantism was spread by one Pastor Diamonon through the Javelonas. Ranchers also invaded the place and have for themselves large homesteads. Ten years later, sometime in 1937, scores of Cebuanos came. Among them were Roman Albarracin, Pablo Chavez and Crispin Puerto and their kins. The next batch of Cebuanos came in 1940′s including the Famor Clan. The clan introduced Catholicism in the area and a chapel was built giving honor to the present patron Saint Senor San Miguel, the Archangel.  Countless batches of migrants flocked to the place and various cultural influences account for what Matanao is today. The people of the municipality is a blend of Cebuanos, Ilongos, Bicolanos, Boholanos, Ilocanos, Zamboanguenos, Tagalogs, Blaans, Calagans and Bagobos, Babel of dialects was experienced by the people in the place, but Cebuano came out to be the dominating dialect, thus, becoming the mother tongue of the municipality until the present time.

Geography.

Matanao is located in the province of Davao Del Sur in Region XI Davao Region on Mindanao Island. The municipality Matanao is about west-south-west of province capital City Of Digos and about south-south-east of Philippine main capital Manila.

Climate.

Hot and humid most of the year. May to November is typhoon season. The mean annual temperature of the municipality is between. The annual rainfall ranges from. The coldest part of the year is usually during the month of December to February and the hottest month are April and May. Rainfall distribution is more or less even during the year.

Barangays.

Matanao is politically subdivided into 33 barangays. The poblacion forms the center of the municipality whereas the other 32 are in the outlying areas which several kilometers away from the town.

Economy.

Although predominantly a rice farming municipality, Matanao is a growing area for banana cultivation. Cavendish and Lakatan banana plantations are now being established in barangays Manga, Dongan-Pekong and Saboy.

', officially the ', is a in the province of,. According to the, it has a population of people.


Education.

Born at Kingston College, at Hessle, Yorkshire on 28 May 1857, he was the eldest son of Rev. Charles Voysey, a Church of England priest who was deprived of his living in 1871 for his heterodox views. The family moved to London where his father founded the Theistic Church. Voysey was educated by his father, then briefly at Dulwich College.  In 1874 Voysey was articled for five years to the architect J. P. Seddon, with whom he subsequently remained a further year as chief assistant. From Seddon Voysey learnt the 'Gothic' principles of design first propounded by A. W. N. Pugin: elevations should grow naturally out of the requirements of the plan and only 'honest' construction should be used. Seddon and Voysey both believed in following these principles of design without slavishly copying Gothic styles. But, however freely Seddon interpreted the Gothic styles, his work remained discernibly Gothic, whereas Voysey’s mature work eliminated all trace of period styles. Voysey followed Seddon in believing, like Pugin, that it was the business of an architect to make designs not only for buildings but also for the allied crafts.  In 1879 Voysey spent a brief period as assistant to the architect Henry Saxon Snell (1830–1904), and from 1880 to 1881 he worked as an assistant in the office of George Devey, who was a follower of his father's Theistic Church. There he gained valuable site experience, and would have encountered Devey's skill as a watercolourist and his considerable knowledge of English vernacular architecture. In 1881 or early 1882 Voysey set up his own practice in London.

Design.

Voysey's designs in the field of applied art included furniture, wallpapers, fabrics, carpets, tiles, metalwork, ceramics and graphic design. Sometimes he designed artefacts specially for his own buildings, and sometimes he sold designs to manufacturers for wider use.  Voysey's development as a furniture designer corresponded to his development as an architect, and by c.1895 he had evolved a definitive personal style. His furniture conformed, with a few exceptions, to this style until 1910, when he began to introduce greater elaboration, including Gothic motifs, into his designs. The simple elegance of Voysey's furniture from the period 1895–1910 was achieved by relying on the innate beauty of high quality materials, especially unpolished oak, and by eschewing complicated decoration in favour of a careful balance of the vertical and horizontal elements in a design.  The vertical elements were often emphasised by tapering the vertical supports from a square to an octagonal section and by carrying corner supports up above the functionally necessary height; the horizontal elements were often emphasised by simply moulded cornices, by circular caps on the tops of corner supports (a motif borrowed from Arthur Heygate Mackmurdo) and by long strap-hinges made of unpolished bronze.  Voysey was a distinguished designer of flat patterns for wallpapers, fabrics, carpets and tiles. It was Mackmurdo who first introduced him to the techniques of wallpaper design, and some of Voysey's early pattern designs incorporated more restrained versions of the swirling motifs beloved by Mackmurdo and the Century guild of artists. Voysey sold his first wallpaper design in 1883; by the late 1880s his reputation as a wallpaper designer was established at home and abroad, and he was still selling pattern designs in 1930. His career as a pattern designer was thus longer and more prolific than his career as an architect. But it was also complementary to his architectural career, because selling patterns supplemented his income in the lean years of his architectural practice, before c. 1895 and after c. 1910. Many of Voysey's pattern designs rely for their effect on rhythmically contrasted shapes consisting of areas of flat, clear colour, usually bounded by dark or pale outlines. This is in the tradition of oriental design praised by Victorian reformers of design, such as Owen Jones and Matthew Digby Wyatt. In Voysey's work stylised natural forms, especially plants and birds, often represent the positive shapes, and areas of background form the contrasting negative shapes. This skilful juxtaposition can also be seen in his handling of the solids and voids in his designs for two-dimensional metalwork, such as ventilator grilles and hinges. Some of Voysey's pattern designs after c. 1900 consist of motifs placed in comparative isolation against a light ground. The use of scale is arbitrary, giving an effect of naive charm reminiscent of medieval illuminations and tapestries. The later designs are generally smaller and more delicately coloured than the designs of the 1880s and 1890s.  At the suggestion of his friend A. H. Mackmurdo, Voysey began designing wallpapers in 1883 under contract for Jeffrey & Co while waiting for architectural commissions to come in. He joined the Art-Workers' Guild in 1884, and displayed both printed textiles and wallpapers at the inaugural Arts and Crafts Exhibition Society show at the New Gallery in 1888. In 1893 he began designing wallpapers for Essex & Co., for whom he executed several hundred patterns.  Distinct stages can be identified in Voysey's wallpaper and textile designs. His earliest works, through the late 1880s, have historically-influenced traditional repeats. By the mid-1890s, he was creating his most characteristic and original designs, flowing patterns in pastel colourways with flattened silhouettes of birds, florals, and hearts. Designs were used for both wallpaper and textiles, which were often executed as wool double cloths for furnishing.  Typical patterns of this period include "The Saladin" wallpaper, 1897 and "The Owl" jacquard-woven woollen textile, 1898. From 1910 onwards, his patterns became more narrative, with isolated motifs, and were often meant for the nursery. The "Alice in Wonderland" furnishing fabric, c.1920, is typical of this phase. His last recorded wallpaper commission was dated 1930.  In 1896, "The Studio" confirmed Voysey's place in the decorative arts, writing "Now a 'Voysey wall-paper' sounds almost as familiar as a 'Morris chintz' or a 'Liberty silk'." Voysey also designed for Donegal Carpets and many other firms over a fifty-year career in design.

Architectural work.

Voysey's first design was for a house at Loughton for Octavius Dixie Deacon. A house was erected on the site, but whether it bore any relation to Voysey's design is not known. By 1894 Voysey had moved his practice to Melina Place, St John's Wood, London, next door to the influential Arts and Crafts architect Edward Schroeder Prior, resulting in the development of a long term friendship and exchange of ideas between the two men.  Voysey's architectural practice began slowly, with small alterations and surveys; a number of unexecuted designs from these early years were published and reveal the influence of both Seddon and Devey. In 1888 he obtained his first architectural commission, for The Cottage (addition by Voysey, 1900) at Bishop's Itchington, Warwicks. The Cottage was built of thin, buttressed brickwork, roughcast and painted cream.  This form of construction was chosen by Voysey because it was cheap, but in his hands it became an aesthetic end in itself, as he skilfully juxtaposed the solid and void, light and shadow, of the clean-cut forms. Other 19th-century architects, including Devey, had built country cottages in a simple vernacular style with whitened roughcast for estate workers, parsons and schoolmasters. For 1888, The Cottage was unusual not only for being entirely roughcast but also for its simplicity and informality, which were revolutionary in a gentleman's house.  Walnut Tree Farm (1890) at Castlemorton, near Malvern, Worcestershire, and a house at Bedford Park (1891), Chiswick, west London, have certain novel features that became characteristic of Voysey's designs. Walnut Tree Farm shows for the first time the lively colouring that was to become typical of his houses: whitened roughcast, bright green exterior woodwork, oversize, bright green water-butts, bright green tubs of bay trees and bright red curtains at the windows. At Bedford Park the innovation consisted in very simplified classical or Queen Anne details, a slate roof and practical metal frames and stone surrounds of the windows.  In 1893 Voysey obtained his first commission for a relatively expensive house, Perrycroft, at Colwall, near Malvern. From then until 1910 Voysey received a steady stream of architectural commissions; most were simple, white country or suburban houses with low, spreading lines, for which he became famous. He introduced some mannered, even eccentric, classical detailing into two fairly expensive houses in Surrey, designed in 1897: New Place, near Haslemere, and Norney, near Shackleford. But there was a return to simplicity at Broad Leys and Moorcrag, the lakeside houses near Windermere that he designed in 1898.  Between 1900 and 1910 Voysey obtained a series of commissions that gave him the opportunity to design complete houses, including every detail of the interiors, not only fixtures, but also movable furniture, carpets, curtains and wall coverings. The Orchard, Chorleywood, Herts, designed for himself and his wife in 1899, was the first such house. In 1901 came The Pastures at North Luffenham, Rutland; in 1905 Holly Mount, near Beaconsfield, Bucks, and The Homestead at Frinton-on-Sea, Essex.  An interior design carried out in London was Garden Corner (1906) on the Chelsea Embankment. In the typical Voysey interior the low ceilings and deep friezes were white; the woodwork was unpolished oak, if possible, or cheaper deal painted white. Colours in furnishings, tiled fireplaces and wall and floor coverings were soft and light, for example delicate greens and heathery purples, with a few bright accents of red and turquoise. There was no clutter in a Voysey interior: furniture was sparse and the use of pattern in wallpapers, carpets and metalwork was sparing.  From c. 1910 Voysey’s architectural practice declined, largely because he was out of sympathy with the new fashion for classical forms. He reacted against this by introducing details of Gothic origin into his work. In 1909 he used a pointed arch in the porch of Brooke End at Henley-in-Arden, Warwickshire, and in the same year he built a miniature courtyard house in Tudor Gothic style at Combe Down, near Bath. Unexecuted designs of 1914 for larger houses have eccentric courtyard plans, pointed arches, crenellations and towers.  Voysey obtained commissions only occasionally for buildings other than country or suburban houses, but when he did he displayed considerable versatility. On the restricted site of his Bedford Park house he abandoned his usual horizontal planning and built a ‘tower house’. The two brick-faced terrace houses (1891) that he built in Hans Road, Knightsbridge, London, display great ingenuity in the arrangement of plan and section. The Sanderson wallpaper factory (1902) in Chiswick is severely functional in form and faced with white-glazed bricks. However, for the fitting out of the offices of the Essex and Suffolk Equitable Insurance Company (designed 1906–9), Capel House, New Broad Street, London, he considered a degree of expensive decoration to be appropriate.  Voysey designed every detail of his houses, including the furniture. His houses were inspired by English vernacular sources of the 16th and early 17th centuries, featuring white roughcast walls with horizontal ribbon windows and huge pitched roofs, and used rough plaster, slate and other materials typical of English farmhouses.  Examples of his completed architectural works are: Perrycroft, Colwall, Herefordshire 1893; Annesley Lodge, Hampstead, London, 1896; An artist's cottage (14 South Parade), Chiswick, London C.1890; Merlshanger (later Greyfriars), Hog's Back, Puttenham near Guildford, 1896; Norney, Shackleford, 1897; Spade House, Sandgate, Kent (the home of the writer H.G. Wells); Voysey House (a Sanderson's wallpaper factory, building now offices), Chiswick 1902; The Pastures, North Luffenham, Rutland 1903; The Orchard, Chorleywood, 1900, which he designed for himself; Voysey Garden, Emslie Horniman's Pleasance, North Kensington, 1914 is a public garden designed by Voysey. Voysey designed the Malvern Wells War Memorial in Malvern Wells, Worcestershire. It was unveiled in 1920 and is topped by a sculpture of a pelican.  There are several examples of Voysey's design near Bowness-on-Windermere, Cumbria, with roughcast walls and massive rendered stacks on sweeping slate roofs. Architectural historian Nikolaus Pevsner greatly admired the Orchard and identified Broad Leys as Voysey's masterpiece, seeing in them seeds of the modernist movement.  In fact, Voysey himself, who was Master of the Art-Workers Guild in 1924, had a strong dislike of modern architecture, and was irritated by Pevsner's identification of his work with the movement.  Broad Leys (1898-1900) is now the headquarters of the Windermere Motor Boat Racing Club, and featured in the film "The French Lieutenant's Woman". It is the only Voysey house open for the public to stay in.  Voysey died in Winchester in 1941.

Legacy.

Voysey was influenced by the work of William Morris, the Arts and Crafts Movement and Art Nouveau, and was concerned with form and function rather than ornamental complexities. He felt that "simplicity in decoration is one of the essential qualities without which no true richness is possible" and often worked in a limited colour palette, "emphasizing outline, eliminating shading, and minimizing detail."  His furniture designs were simple and functional, and only sparingly decorated. He particularly advocated that wood should be left with its natural finish, contrary to the popular techniques which covered wood with paint and stain. He eschewed the complexities identified with late Victorian design.  Many modest houses built in Britain in the 1920s and 1930s were inspired by Voysey's simple vernacular country houses, although Voysey himself built no houses after 1918.  The Victoria and Albert Museum has an extensive collection of Voysey's work, including design drawings, fabrics, carpets, and wallpapers. Architects influenced by C. F. Voysey include Jan Kotera who was a leading Czech architect.  2011 saw the formation of The C.F.A. Voysey Society, dedicated to his life and work.

Charles Francis Annesley Voysey (28 May 1857 – 12 February 1941) was an English architect and furniture and textile designer. Voysey's early work was as a designer of wallpapers, fabrics and furnishings in a simple Arts and Crafts style, but he is renowned as the architect of several country houses.


St. Augustine's University (Raleigh, North Carolina)

History.

Founded in 1867 as Saint Augustine's Normal School, the name of the school changed to Saint Augustine's School in 1893 and Saint Augustine's Junior College in 1919, when it began offering college-level coursework. It began offering coursework leading to a four-year degree in 1927 and changed its name to Saint Augustine's College one year later with the first baccalaureate degrees awarded in 1931. In 2012, the institution again expanded its focus and changed its name to St. Augustine's University.  In April 2014, in the midst of what "The Chronicle of Higher Education" characterized as "significant turmoil" and "" described as "financial problems...stemming from a loss in enrollment and revenue", the university's board of trustees fired university president Dianne Boardley Suber one month prior to her planned retirement. At the same time, the board reinstated two senior employees that Suber had recently fired. Suber had led the university for nearly 15 years.  Dr. Everett Ward was appointed President in 2015 after serving as interim President since 2014. Gaddis Faulcon was named interim president in 2019.

Radio and television stations.

Saint Augustine's University was the nation's first historically black college to have its own on-campus commercial radio and television stations (WAUG 750 AM, WAUG-TV 8, and Time Warner cable channel 10). It is one of two schools in the Raleigh/Durham area to offer a degree in film production.

Honorary degree for Robert Mugabe.

Of the 5 colleges in the Western world which have awarded honorary degrees to controversial Zimbabwean president Robert Mugabe, Saint Augustine's College is one of only 2 which has not revoked the award (in this case, a Legum Doctor).

2011 social media controversy.

In 2011, the university barred a student from participation in the 2011 commencement exercises because of a negative comment he had made on the College's Facebook page. Shortly thereafter, the student initiated a lawsuit against the College in North Carolina State Court which was later settled out of court.

2013 summer camp employees controversy.

In the summer of 2013, local news affiliates reported that two convicted murderers had been hired by the university to work for a children's summer camp. Although the university defended the employees as "exemplary employees and productive members of the community", the university reassigned them.

Campus.

The school's size is of historic land in an Urban setting and large city (250,000 – 499,999), just minutes away from downtown. The main area of the campus is approximately of land housing the following facilities:  Emery Gymnasium, George "Pup" Williams Track & Field Stadium, Penick Hall of Math & Sciences, Charles Mosee Building (Office of Academic Affairs), Delany Hall (Office of Financial Aid & Admissions), Martin Luther King, Jr. Reception Center, Joseph C. Gordan Health & Science Center, The Prezell R. Robinson Library, Cheshire Building (Division of Business), Tuttle Hall of Military Sciences, St. Agnes Hospital, Goold Hall Student Union, Charles H. Boyer Administration Building (Office of the President), Hunter Administration Bldg., Hermitage Faculty Bldg., Benson Bldg. of Technology, Seby Jones Fine Arts Center, and The Historic Chapel.

Student enrollment.

In recent years, the university's annual enrollment has approximated 800-1000 students, about half from North Carolina, the remainder from 37 states, the District of Columbia, the U.S. Virgin Islands, Jamaica, and 30 foreign countries. Its faculty consists of nearly 100 people.

Student activities.

Gateway Program.

The mission of "The Gateway Lifelong Learning Program" is to offer non-traditional, continuing and alternative academic educational opportunities for adult learners. The Gateway Program is designed to give working, non-traditional and community college transfer students an option to pursue a degree and/or personal/professional development. These academic programs address the learning needs of employed adults who prefer an educational delivery system that is participatory and experientially related to the workplace. An example of an educational program consistent with the lifelong learning philosophy is the Organizational Management (OM) major, which is offered through the university's Gateway Program. This unique program offers an ideal alternative academic opportunity for the employed adult to complete the Bachelor of Science degree in an accelerated format while attending classes during the evening each week.

Athletics.

Saint Augustine's competes in NCAA Division II in the Central Intercollegiate Athletic Association. Varsity sports include:

Saint Augustine's University is a private historically black college in Raleigh, North Carolina. It was founded by Episcopal clergy in 1867 for the education of freed slaves.


Biography.

Solomon was born in the New York City borough of the Bronx. His father's death in 1939 had a profoundly negative effect on his early life. Solomon later said of the time, "I drifted into indiscipline and intellectual adventure that eventually became complete confusion." Graduating from high school at fifteen, Solomon then went to the City College of New York (CCNY) for a short time before joining the United States Maritime Service in 1944. In his travels overseas, Solomon became exposed to Surrealism and Dada, ideas that would inspire him throughout his life. In Paris, he witnessed Antonin Artaud give a screaming poetry reading—this so impressed him that he would remain a disciple of Artaud for much of his life. It was shortly after this period that Carl Solomon was voluntarily institutionalized, a gesture he made as a Dadaist symbol of defeat.  Solomon first met Beat poet Allen Ginsberg in the waiting room of New York State Psychiatric Institute. Ginsberg later dedicated his poem "Howl" to Solomon. The poem's third section uses the refrain "I'm with you in Rockland", a different institution that Solomon never attended. Solomon had many complaints about Allen and about Howl, including the fact that he was, by his own account "never in Rockland" and that the third section of the poem "garbles history completely". The reference to Rockland appears to be a poetic fabrication. Ginsberg likely used the name because it was more appropriate and emphatic than "New York State Hospital", or "Pilgrim" Pilgrim Psychiatric Center, another psychiatric hospital that Solomon was admitted to.. The first section of the poem immortalizes a few of Solomon's personal exploits, such as the line, "...who threw potato salad at CCNY lecturers on Dadaism and subsequently presented themselves on the granite steps of the madhouse with shaven heads and harlequin speech of suicide, demanding instantaneous lobotomy."  It was at Ginsberg's insistence that William S. Burroughs' first novel, "Junkie", was published by Ace Books. Solomon's uncle, A. A. Wyn, was the owner of Ace Books, a purveyor of pulp fiction and non-fiction paperbacks. Solomon worked for Ace and was responsible for the Publisher's Note from the first printing of "Junkie", as well as the Introduction to the 1964 reprinting.  One of Solomon's best-known pieces of writing is "Report from the Asylum: Afterthoughts of a Shock Patient". It is an account of the shock-therapy treatment used to treat patients in asylums, drawn directly from personal experience. It was written with Antonin Artaud somewhat in mind because he had received the same treatment himself when he was unjustly institutionalized by the French government. This piece was included in the 50th-anniversary "Howl" facsimile, as part of an appendix.  In the late 1960s, Solomon published two chapbooks of prose poems with Mary Beach's "Beach Books, Texts & Documents", distributed by City Lights Books: "Mishaps, Perhaps" (1966) and "More Mishaps" (1968). "Emergency Messages" (published in 1989), features selections from the two books, along with some of Solomon's other autobiographical, critical and poetic writings. During his life, Solomon was also a frequent contributor to "New Directions Annual", "American Book Review", and "The New Leader".

Carl Solomon (March 30, 1928 – February 26, 1993) was an American writer. One of Solomon's best-known pieces of writing is "Report from the Asylum: Afterthoughts of a Shock Patient".