Personal life.

Nordstoga grew up at Plassen in Vinje, Telemark, the homestead of author Aasmund Olavsson Vinje. He hails from a hugely cultural family. His mother, Ellen Bojer Nordstoga is a folk singer. His father, Olav Nordstoga is a folk singer, former politician and the chairman of the Vinje Literary Days. In addition, brother Aasmund Nordstoga has made a name for himself as a singer, dancer, actor and radio and TV presenter. Organist Kåre Nordstoga is his second cousin.  Nordstoga resides in Lambertseter, a borough of Oslo, together with his wife and three children.

Early career.

His career as a recording artist spans 8 years. He made his debut as a recording artist in 1997 with the band Something Odd and their self-titled debut. This album earned them a record deal with BMG Norway and they swiftly released the follow-up "Solreven" in 1998. Two minor radio-hits, the folk rock inspired "Fuggel i Karmen" and the haunting ballad "Ingen eg kjenner", came out of this album, but the album sold poorly and the band was dropped from their label. In 2000, Odd Nordstoga changed the name of Something Odd to simply Nordstoga, signed to the Norwegian label Grappa and released a more pop music oriented self-titled album. A couple of minor radio hits, "Dag" and "Bie på deg", ensued. Nordstoga won Norway's prestigious Edvardprisen Award for "Bie på Deg". However, soon afterwards they disbanded.  Between 2001-2003, Odd Nordstoga concentrated most of his efforts towards the more traditional folk music of Telemark. With his other band Blåmann Blåmann (named after the poem by Aasmund O. Vinje), consisting of Nordstoga and his friends from Vinje, guitarist Asgaut H. Bakken, flute player Silje Hegg and harding fiddle virtuoso Lars Underdal, he released a self-titled album to great reviews in 2001, and scored a radio hit in "Tippe Tippe Tuve". In 2002 he teamed up with highly respected Norwegian folk musician Øyonn Groven Myhren (amongst other things known from the folk ensemble Dvergmål) to write, perform and release the album "Nivelkinn", based on poems by Telemark poet Aslaug Vaa. This collaboration scored a couple of minor radio hits in "Uppi Måneskin" and "Guten og Folen", and earned them the Spellemannprisen award (Norwegian equivalent of the Grammy) in 2003 for best folk music album. Nordstoga was also involved in a book release in 2002, namely the song book "Song for deg og meg" ("Song for you and me") which he edited, consisting of children songs written in Nynorsk, one of Norway's two written standards. In 2014 he received the Nynorsk User of the Year award.

Breakthrough.

It was also in 2003 that the mainstream opened its eyes to Nordstoga as he teamed up with famous singer/actress/writer Herborg Kråkevik to write and perform the title track from her Édith Piaf-cabaret, entitled "Eg & Edith". The cabaret and its soundtrack, although greatly anticipated, was a minor flop in terms of album sales and tickets sold, whereas the title track proved to be a nice radio hit for the duo. Nordstoga, together with lyricist Stein Versto (another Vinje native), also contributed with the track "Rosevev" on this album.  Nordstoga had previously worked with Kråkevik in the film "Det Rare", based on a short story by famous Norwegian writer Tarjei Vesaas.  In 2004, Nordstoga signed for Universal Records and made his definitive breakthrough with the album "Luring", selling 150.000 copies and spending 14 weeks on top of the Norwegian album charts. The lead single from the album, about a howling pig entitled "Kveldssong for deg og meg", is already a Norwegian evergreen and one of the most played songs on Norwegian radio in 2004. "Texas", "Lause Ting", "Hallo Hallo" and "Farvel til deg" from the same album also became massive radio hits for Nordstoga.  The tour in the wake of the album, the so-called "Luringtur" tour, which Nordstoga played together with his backing band Daz Nordstogaz Allstars, played to a 60.000 strong crowd. At the Spellemannprisen Awards in February 2005, Nordstoga won two awards as he was named best male artist and Artist of the Year. In the summer of 2005, Nordstoga once again took to the road for the ""Luringtur" MK II" tour.  Nordstoga has also been involved in TV productions. In 2004 he did the music for the Norwegian children's series "Linus i Svingen" that was broadcast on NRK 1, Norway's public broadcaster. The theme song, "Svingensongen", is being released in 2005 on the compilation album "Tidenes beste barneplate 2". He has also been involved with the music for Norway's vastly popular UHU! series.  In June 2005, Nordstoga teamed up with some of Norway's finest jazz musicians and performed the piece "Pilegrim" to great acclaim at Festspillene i Bergen (Bergen Music Festival). the lyrics were written by lyricists Stein Versto and Ragnar Hovland, both previously involved in the "Luring" production. In August 2005, he made a cameo appearance with Norwegian rap-collective Klovner i Kamp, singing the chorus to their single "Syng".  Odd Nordstoga has also done projects for 'The Salvation Army' and folk music projects with different people, amongst other things, renditions of the famous Telemark piece "Storegut" with brother Aasmund and Lars Underdal, and guest appearances with the band Fake It or Leave It who play Beatles songs Norwegian folk music style.  Nordstoga released his follow-up to "Luring" in October 2006. Entitled "Heim Te Mor", the album received a great deal of airplay and acclaim from critics all over Norway. The radio single and title track "Heim Te Mor" became a radio hit upon release in September 2006, marking another milestone for Nordstoga as this release marks his first music video as a solo artist, an animated video based on a Nordstoga concert in his local community made by the Animidas film maker crew. With radio single number two "Frøken Franzen" coinciding with the album's release, Odd Nordstoga looks set for another album success. He is also responsible for the soundtrack to the forthcoming Christmas children series "Jul i Svingen" on Norway's NRK TV channel, which is the follow-up to "Linus i Svingen".  Nordstoga released the songbook "Songfuggel i Karmen" in 2007, containing his greatest hits and his personal favourites. In 2008 the album "Pilegrim" was released to great acclaim, securing the third bestseller in a row for the artist. In the autumn of the same year Nordstoga, together with his brother Aasmund Nordstoga and fiddler Per Anders Buen Garnås, toured Norway with a revamped version of the Storegut performance.

"Strålande Jul" and sales record.

On November 9, 2009 Nordstoga released the album "Strålande Jul" together with Norwegian soprano Sissel Kyrkjebø. The album is a collection of Norwegian, Swedish and Danish Christmas songs. The album was issued under the moniker "Sissel & Odd" and accompanied by a series of concerts in Scandinavia. In an attempt to sell more records in the age of downloading the album was partly released through the grocery store chain Coop Norge whereby its members could buy the album at a reduced price. The gimmick paid off, securing a sale of over 100.000 copies in its first week of release alone, of which 60.000 were sold in Coop stores. With the album selling well in both Norway and Sweden, it was released in Denmark on December 1, 2009. It was revealed by the end of 2009 that this album was the best selling album of the 2000s in Norway, selling 400,000 copies.

Controversy.

In the autumn of 2006, Odd Nordstoga was the cause of a controversy between the Norwegian national broadcaster NRK, his management, Universal Records and the producers and cast of Norwegian-Swedish folk music adaptation of the Wolfgang Amadeus Mozart piece "The Magic Flute" ("Tryllefløyten"). Nordstoga, having played Papageno in the piece in the spring of 2006, withdrew from the plans to show the stage adaptation on NRK TV during Christmas 2006. According to Nordstoga's management and label, a screening of the play at this time would collide with Nordstoga's two album releases of 2006 and overexpose him. The result was a massive outburst from some of his contemporaries in the Norwegian folk music scene, most prominently the folk singer Kirsten Bråten Berg. In the media, Nordstoga was portrayed as the villain, letting his personal career interfere with the ensemble of which he was part. In later interviews, Nordstoga claims to have been very sad about the situation and felt trapped by his obligations toward his recording company.

Crossover.

Odd Nordstoga has showed remarkable crossover potential in his career. He has collaborated with leading Norwegian artists and musicians from a wide variety of genres including folk music, jazz, electronica, chanson, hip hop, rock, classical music and pop. In addition to this, Nordstoga has shown that he is a "jack-of-all-trades" within the cultural field having performed in and helped writing cabarets, opera, edited books and acted in a film.

International career.

Nordstoga is for the most part famous within Norway. However, together with Rikskonsertene, he carried out a tour of China in 2008. In concurrence with the release of the Christmas album "Strålande Jul" he toured Sweden as well as appearing on Norwegian-Swedish talkshow "Skavlan". The album peaked at #17 in the Swedish Charts. The album will also be released in Denmark.

Dialect.

Being from Vinje in the traditional district of Vest-Telemark, Nordstoga writes and performs most of his original work in his native Telemark dialect. He also speaks the dialect privately and in the media. This has become a trademark for him and gained him respect from language organizations, as well as parodies and, to a small extent, ridicule from parts of the population without a distinct dialect. He was awarded the Telemark County Travel Industry Award for 2010 for using his dialect to promote the county of Telemark in a positive way.

Chart history.

All of Odd Nordstoga's solo albums have charted highly in the Norwegian Top 40 Albums Chart. "Luring" stayed in the charts for 38 weeks in 2004-2005 and peaked at no. 1. "Heim te Mor" stayed in the charts for 19 weeks in 2006-2007 and peaked at no. 2. "Pilegrim" stayed in the charts for 17 weeks in 2008-2009 and peaked at no. 2. The album "Strålande Jul" marked Nordstoga's first international hit album, entering the Swedish Top 40 Charts at #37 in its first week., and peaking at #17 in its third week. In Norway, the same album entered at #2, selling 100.000 copies in its first week, eventually reaching #1 in its second week. His latest album "November" debuted at no. 1 on the Norwegian charts.  The soundtrack album for the NRK series "Jul i Svingen", written in its entirety by Odd Nordstoga and John VInge, charted for 4 weeks in 2006, peaking at no. 22.  Nordstoga's single "Heim te Mor" spent 16 weeks on the Norwegian Top 20 Singles Chart in 2006-2007 peaking at no. 5. The single "Min Eigen Song" stayed in the charts for one week only in 2008, peaking at no. 19.  The album "Eg & Edith" by Herborg Kråkevik, of which Odd Nordstoga was a substantial contributor both as a musician and songwriter, stayed in the Norwegian charts for 7 weeks in 2002 and peaked at no. 21.

Other projects.

Audio books:

Appearances.

TV shows.

Odd Nordstoga has appeared in, amongst others, these TV shows

Radio shows.

Odd Nordstoga has appeared in, amongst others, these radio shows

Odd Nordstoga (born 10 December 1972) is a folk singer, musician, actor and editor from Vinje in Telemark, Norway. In 2004, he went from relative obscurity to becoming the country's biggest selling recording artist, with the phenomenal success of his first solo album proper, ""Luring"". The album, a fusion of pop and Norwegian folk music, has sold more than 160,000 copies in Norway to date and earned him several Spellemannsprisen awards. For the album "Strålande Jul", released together with Sissel Kyrkjebø, he won an unprecedented 11 Norwegian platinum trophies.


Advantages.

The advantages of a flapwheel over a traditional disk are twofold:

Development.

They appeared in the 1950s and their use was encouraged by developments in gas turbines. These demanded an increased production of fine investment castings that required careful polishing. In particular, the high centrifugal stresses these experienced in service required a finishing technique that did not give rise to oriented scratches that could act as stress risers.  The first flapwheels were made from cut sheets of abrasive, stacked into a multi-layered flat disk. These gained the advantage of long life from their materials, but their geometry was still flat and so they tended to produce surface flats if not carefully handled.  Early flapwheels were large diameter and intended for use on fixed buffing machines. They were used for deburring and polishing of castings, often instead of wire wheels. These cut faster, with less burnishing and surface contamination from the bristles.  Portable flapwheels were made by bonding radial flaps of abrasive into a hub fitted with a spindle shank. These were intended for use with electric drills and were limited to a maximum speed of around 1,000 rpm.  With developments in abrasive coating, the sheet material could withstand greater forces and speeds. This allowed the production of flapwheels for use with high speed angle grinders. These disks were different in format: flatter, like the original rigid angle grinder disks, and with the flaps arranged in a densely overlapped layout rather than radial. The extra lifetime this gave to the disk allowed their use for stock removal and metal shaping, not just finishing and polishing.  The flexibility of a flapwheel is an advantage for smoothing curved work and avoids the production of facets, as was a problem for rigid disks. This was taken further advantage of with the development of foam-bonded flapwheels. These use fewer flaps, spaced apart by a flexible foam spacer. This makes them even more flexible, thus more suited for producing a smooth finish to curved surfaces.

A flapwheel and the related flap disk is an abrasive disk, used for metal finishing. Unlike the simpler flat disks, made from a circular flat sheet of a coated abrasive, a flapwheel is made of multiple overlapping small pieces or 'flaps', bonded to a central hub.


Early life.

Born as David Spencer in Ynysddu, Monmouthshire, Wales, the eldest of seven children, he sang in his church choir and worked in a coal mine and a factory before joining the RAF at the age of 17.

Music career.

He started his musical career after leaving the armed forces. He performed in local clubs in the north of England as a cabaret singer for a couple of years, before he was discovered by an A&R representative from EMI, signed to EMI's Columbia label, and placed with the record producer Norrie Paramor.  He claimed he selected the stage name Ricky Valance because he liked the name Ricky, and took the name Valance from that of a trainer at a horse racing meeting; it was not a tribute to Ritchie Valens as sometimes reported.  At his first recording session, Paramor suggested that Valance cover Ray Peterson's American hit, "Tell Laura I Love Her", co-written by Jeff Barry. The recording was arranged by Frank Barber. Peterson's original version of the song had never been released in the United Kingdom, as Decca Records considered a rock song about death and tragedy to be in bad taste. The BBC refused to play teenage tragedy songs like "Tell Laura I Love Her", but, thanks to airplay on Radio Luxembourg, Valance was rewarded with a number 1 hit in September 1960. Valance thus became the first Welsh man to reach the top spot – Shirley Bassey being the first Welsh female with "As I Love You" in February 1959. The record was his only chart hit in the UK.  After topping the UK Singles Chart, Valance appeared in the 1961 "" competition, hoping to represent the UK in the upcoming Eurovision Song Contest. His song, "Why Can't We?", placed third out of the nine entries; the winner was "Are You Sure?" performed by the Allisons.  Further singles included "Movin' Away" and "Jimmy's Girl". Over 100,000 copies were sold of "Jimmy's Girl", and "Movin' Away" made it to number one in Australia and Scandinavia.  While Valance continued to have some international success, changes in musical taste in the mid 1960s resulted in the ending of his Columbia contract. He sang in Ireland with a showband, the Chessmen, in 1967, and also undertook work as an actor, and performed country music. In later years, he featured in 1960s revival festivals in Britain, and on cruise ships. In 1989, he visited Nashville where he appeared on the show "Nashville Now", and he returned there in 2001 to record an album, "One of the Best". Later, he continued to perform, when living in Spain, and hosted a local golf-based chat show on television, "Play a Round with Ricky".  In 2015, he was given an award at the Wales Millennium Centre, as the first Welsh man to have a UK number one hit. He released a single, "Welcome Home", in 2017, to raise funds for the Royal Air Force Museum.

Personal life and death.

Valance lived on the outskirts of Torrevieja on the Costa Blanca in Spain, where he performed regularly. In 2015 he and his wife moved to Skegness, Lincolnshire.  He died on 12 June 2020. He was 84, and was hospitalised for dementia in the months leading up to his death. Sources differ over whether his death was in Lincolnshire or in Spain.

David Spencer (10 April 193612 June 2020), known professionally as Ricky Valance, was a Welsh pop singer. He was best known for the UK number one single "Tell Laura I Love Her", which sold over a million copies in 1960. He was the first male Welsh singer to have a UK number one single hit.


Early life and education.

Pagels (pronounced Paygulls) was born February 13, 1943, in California. She is the daughter of Stanford University botanist William Hiesey. According to Pagels, she's been fascinated with the Gospel of John since her youth. She found it to be "the most spiritual of the four gospels". After joining an Evangelical church at the age of 13, she quit when the church announced that a Jewish friend of hers who had been killed in a car crash would go to hell because he'd not been "born again". Pagels remained fascinated by the power of the New Testament. She started to learn Greek when she entered college, and read the Gospels in their original language. She graduated from Stanford University, earning a B.A. in 1964 and M.A. in 1965. After briefly studying dance at Martha Graham's studio, she began studying for a Ph.D. in religion at Harvard University as a student of Helmut Koester and part of a team studying the Nag Hammadi library manuscripts.

Academic work.

Pagels completed her Ph.D. in 1970, and joined the faculty at Barnard College. She headed its Department of Religion from 1974 until she moved to Princeton in 1982. In 1975, after studying the Pauline Epistles and comparing them to Gnosticism and the early Church, Pagels wrote the book, "The Gnostic Paul" which argues that Paul the Apostle was a source for Gnosticism and hypothesizes that Paul's influence on the direction of the early Christian church was great enough to inspire the creation of pseudonymous writings such as the Pastoral Epistles (First and Second Timothy and Titus), in order to make it appear that Paul was anti-Gnostic.  Pagels' study of the Nag Hammadi manuscripts was the basis for "The Gnostic Gospels" (1979), a popular introduction to the Nag Hammadi library. It was a best seller and won both the National Book Award in one-year category Religion/Inspiration and the National Book Critics Circle Award. Modern Library named it one of the 100 best books of the twentieth century. She follows the well-known thesis that Walter Bauer first put forth in 1934 and argues that the Christian church was founded in a society espousing contradictory viewpoints. A review of the book in the UK newspaper, "The Sunday Times", led to the UK broadcaster, Channel 4, commissioning a major three-part series inspired by it, called "". The programme triggered a national furore, and marked a significant moment in the changes that religious broadcasting was already undergoing at that time. As a movement Gnosticism was not coherent and there were several areas of disagreement among the different factions. According to Pagels's interpretation of an era different from ours, Gnosticism "attracted women because it allowed female participation in sacred rites".  In 1982, Pagels joined Princeton University as a professor of early Christian history. Aided by a MacArthur fellowship (1980–85), she researched and wrote "Adam, Eve, and the Serpent", which examines the creation account and its role in the development of sexual attitudes in the Christian West. In both "The Gnostic Gospels" and "Adam, Eve, and the Serpent", Pagels focuses especially on the way that women have been viewed throughout Jewish and Christian history. Her other books include "The Origin of Satan" (1995), "Beyond Belief: The Secret Gospel of Thomas" (2003), "Reading Judas: The Gospel of Judas and the Shaping of Christianity" (2007), and "Revelations: Visions, Prophecy, and Politics in the Book of Revelation" (2012).  In April 1987, Pagels's son Mark died after five years of illness, and in July 1988, her husband Heinz Pagels died in a mountain climbing accident. These personal tragedies deepened her spiritual awareness and afterwards Pagels began research leading to "The Origin of Satan". This book argues that the figure of Satan became a way for Jews and Christians to demonize their religious and cultural opponents, namely, pagans, other Christian sects, and Jews.  Her "New York Times" bestseller, "Beyond Belief: The Secret Gospel of Thomas" (2003), contrasts the Gospel of Thomas with the Gospel of John, and argues that a close reading of the works shows that while the Gospel of Thomas taught its adherents that "there is a light within each person, and it lights up the whole universe [-] If it does not shine, there is darkness", the Gospel of John emphasizes the revelation that God as Jesus Christ is the "light of the world". On Pagels' interpretation, the Gospel of Thomas claims, along with other apocryphal teachings, that Jesus was not God, but rather, a human teacher who sought to uncover the divine light in all human beings. This apocryphal viewpoint is in contradiction with the four New Testament gospels. Pagels argues that the Gospel of John was written as a rebuttal to the viewpoints put forth in the non-canonical Gospel of Thomas. She bases her conclusion on the theory that, in the Gospel of John, the apostle Thomas is portrayed as a disciple of little faith who cannot believe without seeing and, that the Gospel of John places an emphasis on Divine Jesus Christ as the center of belief, which Pagels views as a hallmark of early orthodoxy. "Beyond Belief" also includes Pagels' personal exploration of meaning during a time of loss and tragedy.  In 2012, Pagels received Princeton University's Howard T. Behrman Award for Distinguished Achievement in the Humanities for, as one nominator wrote, "her ability to show readers that the ancient texts she studies are concerned with the great questions of human existence though they may discuss them in mythological or theological language very different from our own."

Criticism.

While Pagels and other scholars argue for reading the Gospel of John as responding to ideas advanced in the Gospel of Thomas, other scholars have reacted critically to these suggestions. Larry Hurtado writes that John portrays Thomas as no worse than, for example, Peter in John 21:15-23 where Peter is discomfited by being asked by Jesus whether he really loved him and Jesus' later admonishment of Peter and that the actions of Thomas in John 11 are portrayed no worse than that of the group of disciples. Hurtado also notes that Thomas's request to see Jesus in the post-resurrection accounts is answered positively by Jesus and that Thomas is not represented polemically but as coming to faith.

Personal life.

She married theoretical physicist Heinz Pagels in 1969, with whom she had a son and adopted two children. In April 1987, their son Mark died at age six and a half, followed 15 months later by the death of her husband in a climbing accident. Pagels married law professor Kent Greenawalt from Columbia University in June 1995. Each had been widowed about six years earlier, left with children. She had a son and a daughter, while Greenawalt had three sons.  The couple divorced in 2005.

Elaine Pagels, née Hiesey (born February 13, 1943), is an American religious historian. She is the Harrington Spear Paine Professor of Religion at Princeton University. Pagels has conducted extensive research into early Christianity and Gnosticism.


Biography.

Virgil Warden Finlay was born and raised in Rochester, New York; his father, woodworker Warden Hugh Finlay, died at age 40 in the midst of the Great Depression, leaving his family (widow Ruth and two children, Jean and Virgil) in straitened circumstances. By his high school years, Virgil Finlay was exercising his passions for art and poetry, and discovered his lifelong subject matter in the pulp magazines of the era—science fiction in "Amazing Stories" (1927), fantasy and horror in "Weird Tales" (1928)—and began to exhibit at the age of 16. By age 21 he was confident enough in his art to send six pieces, unsolicited, to editor Farnsworth Wright at "Weird Tales", who determined that such detailed work would transfer successfully to relatively rough paper the magazine used (pulp magazines were so described because of their paper quality). Wright began buying Finlay's work, which debuted with illustrations of three different stories in the December 1935 issue and appeared in 62 issues including the last in September 1954. He also created 19 color covers for "Weird Tales" numbers from February 1937 to March 1953. (In the latter year he won one of the inaugural Hugo Awards, as the previous year's best "Interior Illustrator"; cover artists and interior illustrators were not thereafter distinguished by the Hugo Award for Best Artist under various names. He was also named the best artist of 1945 in the 50-year Retro Hugos of 1996.)  Finlay quickly branched out to other publications after his 1935 debut; he was an immediate hit. In 1938 he went to work for A. Merritt at "The American Weekly", moving from Rochester to New York City. Later the same year, he married Beverly Stiles, whom he had known in childhood in Rochester (Nov. 16, 1938). His adjustment to the city and to his new job was not smooth, however; he was fired and re-hired more than once. Yet during his period on the magazine's staff (1938–43), and later as a freelancer (1946–51), Finlay estimated that he produced 845 different illustrations, large and small, for Merritt's magazine.  Finlay served in the US Army during World War II, and saw extensive combat in the South West Pacific theater, notably on Okinawa, and did posters and illustrations for the Morale Services during his three years of military service. He resumed his artistic career after demobilization, doing a considerable amount of work for science fiction magazines and books. As the pulp magazine market narrowed through the 1950s, Finlay turned to astrology magazines as a new venue for his art.  Finlay also wrote poetry throughout his adult life. Virtually none was published in his lifetime, though significant samples have been printed posthumously.  Finlay had to undergo major surgery for cancer in early 1969. He recovered enough to go back to work for a time, but the cancer returned, and Finlay died of the disease early in 1971, aged 56. Finlay just missed a resurgence in interest in his artwork from the early 1970s onward. Both Donald M. Grant and Gerry de la Ree have published series of collections of Finlay artwork since the artist's death. The later books published by Underwood-Miller contain illustrations from the Gerry de la Ree editions, as well as additional material. A slightly later generation of fantasy fans were introduced to Finlay's art by reprints of his earlier work in the horror film fan magazine "Castle of Frankenstein" alongside the fine writing that gave significance to that magazine.  "Roads", a fantasy novella by Seabury Quinn, first published in the January 1938 "Weird Tales", and featuring a cover and interior illustrations by Finlay, was originally published in a very limited edition by Arkham House in 1948. It was recently given a 21st-century facsimile reprinting by Red Jacket Press.

Virgil Finlay (July 23, 1914 – January 18, 1971) was an American pulp fantasy, science fiction and horror illustrator. He has been called "part of the pulp magazine history... one of the foremost contributors of original and imaginative art work for the most memorable science fiction and fantasy publications of our time." While he worked in a range of media, from gouache to oils, Finlay specialized in, and became famous for, detailed pen-and-ink drawings accomplished with abundant stippling, cross-hatching, and scratchboard techniques. Despite the very labor-intensive and time-consuming nature of his specialty, Finlay created more than 2600 works of graphic art in his 35-year career.


History.

Origins.

The history of the conga (also known as comparsa conga or conga de comparsa) is obscure and its origins remain largely unknown. In the early 19th century, although the word "conga" is not found in written sources, there are references to "tumbas", and, according to Brea and Millet (1993:204), "tumba" refers to the percussion ensemble of the conga. "Tumba" is mentioned in connection with "mamarrachos" (summer festivals in Santiago de Cuba) as early as 1847 (Pérez I 1988:54). A word that may be synonymous with "tumba" is the word "tango", mentioned as early as 1856 (Pérez I 1988:79). Unfortunately, most 19th-century writers were extremely negative towards Afro-Cuban culture and little information about the tumbas or tangos was recorded.

Relation to Kongo ethnic group.

"Congo" was the word used to designate African slaves brought to Cuba from the Congo region of Africa (currently the Republic of the Congo, the Democratic Republic of the Congo and Angola). According to the rules of Spanish grammar, "congo" became a masculine noun/adjective and its feminine counterpart was formed by changing final "o" to "a." This Spanish noun/adjective pair has been used in Cuba to designate anything pertaining to the above-mentioned African slaves and their culture. Therefore, some have assumed that ""conga"" was originally an adjective (as in the expression "comparsa conga"), and that the "comparsa" was dropped and "conga" changed to a noun (del Carmen et al. 2005). However, the word "conga" may also derive from either "maconga" (song) or "nkunga" (song, sound) in "the language of the Congo" (Ortiz 1924:118).  Ortiz (II 1952-5:34) also states that the drum called bokú (one of the instruments of the conga) is "...typical of the congos." Goodman mentions the “"comparsa conga"” in conjunction with a "carnaval" figure known as “"el Rey del Congo"” (the "King of the Congo”), which seems to confirm a "kongo" ethnic connection to the "conga" (Pérez I 1988:104). Also, the word "bokú" means “drum” in Kikongo (Orovio 1981:58).

Antipathy after independence.

In the early years after the establishment of the Republic of Cuba in 1902, there were numerous decrees by successive mayors of Santiago de Cuba banning "African drums and "tangos"". (Pérez I 1988:177, etc.) Apparently, these decrees were not faithfully enforced:  “In spite of the prohibitive proclamation, the "tumbas" echoed loudly everywhere, including in the most central and heavily-traveled areas.  According to Pérez,  “Although the prohibition of African manifestations was reiterated, the "comparsas" were permitted. In reality, it was just a question of maintaining on paper that which could not really be enforced due to the express desire of the "bourgeoisie", to whom these manifestations were a diversion, ‘something colorful’ and amusing.” (Pérez I 1988:179, note 13)

Debate.

Opponents to the "conga" in print outnumbered defenders. The "conga" was a thing of the illiterate Afro-Cuban working people, while the writers of editorials and angry letters to the editor were upper-class Hispano-Cubans. One prominent attacker of the "conga", and perhaps the most florid in his prose, was the long-time mayor of Santiago, Desiderio Arnaz (father of American TV star Desi Arnaz), who expressed the feelings of some upper-class Cubans in a newspaper article of 1925:  “I will have you know that the initial days of our traditional masquerades – which have just passed – have left painful impressions in my mind. Allow me to explain. In every way, the carnival has been a joyful celebration of the soul of the people, an exhibition of good artistic taste, a competition of original ideas, a contest in which thought and action have always vied in giving objective form to the perfect conception of Beauty and towards the noble intent of the dignification of society; Paris, Rome, Venice, Madrid and Havana itself offer in their "carnestolendas" lessons on how complaisant liberty ought to be used in those periods of fantasy in order to educate the wishes and aspirations of the citizen. But here, in our city, in one of those scientifically inexplicable regressions towards a dark past, certain elements of our commonwealth seem committed – under the pretext of "carnaval" – to the repugnant task of checking human progress and causing harm to Civilization with their excesses.  I refer to the ‘"conga",’ that strident group of drums, frying pans and shrieks, to whose sounds epileptic, ragged, semi-nude crowds run about the streets of our metropolis, and who, between lubricous contortions and abrupt movements, show a lack of respect to society, offend morality, discredit our customs, lower us in the eyes of people from other countries and, what is worse, by their example, contaminate schoolchildren, who I have seen carried away by the heat of the lesson, panting and sweaty, engaging in frenetic competitions in corporal flexibility in those shameful tourneys of licentiousness.” (Pérez I 1988:337)  On the other hand, an opinion poll of 1936 on the "conga" elicited the following comments: “...Let the hours, the minutes and the seconds pass as they will, as long as they do so as quickly as possible so that I can slap that "bocú"... From today, it is only 18 days until the "carnaval" starts. How it torments me to think that there are still so many days to go; I wish it were tomorrow;... I want you to know... that the sound of the "conga" nourishes me, the sound of the frying pans gives me life and the sound of the "bocú" drives me crazy. Several days prior to the beginning of rehearsals, I went to see a doctor; I felt overwhelmed, sad, pensive. He prescribed and gave me some injections, and I felt absolutely no different, but as soon as I heard the sound of the first "bocú", I was completely cured, I felt strong and ready for anything. And I advise those who are unhappy and listless to get an invigorating injection of "bocú", "conga" and frying pans and you’ll be OK in 24 hours.” (Pérez II 1988:22-3)

Conga of Los Hoyos.

Los Hoyos is a district in downtown Santiago de Cuba and home to the conga of Los Hoyos. The date of the founding of this "conga" is unknown, but it was already in existence in 1902 (del Carmen et al. 2005).  At first, the instruments of the group were a "pilón", some "bocúes", a cowbell and a "güiro". Later, two "redoblantes" were added, the number of "bocúes" was increased and the cowbell and "güiro" were replaced by frying pans. Later still, the frying pans were replaced by the "campanas" (automobile brake drums or other pieces of metal chosen for their distinct sound qualities). Also added were the "quinto" and the "requinto". Los Hoyos first began using a "corneta china" in 1916 (del Carmen et al. 2005), one year after the instrument was introduced by the conga Los Colombianos from Tívoli.  During the "carnaval" season, Los Hoyos performs a traditional event known as an ""invasión"," in which it marches around the streets of Santiago and visits the neighborhoods where the other famous "congas" are located. This ""invasión"" commemorates the invasion of the Army of Liberation at the end of the War of Independence. Los Hoyos also closes the traditional parades of the "Carnaval" of Santiago de Cuba (del Carmen et al. 2005).

Instrumentation.

Walter Goodman (1838–1912), an Englishman who lived in Santiago de Cuba from 1864 to 1869, left what may be the earliest written description of the instruments of the "conga": “... an odd orchestra composed of drums, frying pans, tin utensils, graters and "güiros" (Pérez I 1988:102)."  The present-day instruments fall into four categories. First are the "campanas" (Brea and Millet 1993:181), which are instruments of metal struck with metal beaters. Preferably, brake drums from older model American vehicles (1950s or older) are used. Originally, before brake drums were available, frying pans were used (Pérez I 1988:310, Pérez II 1988:23, etc.) and possibly plow blades as well (Pérez I 1988:106 and 134).  The second category is the "bocuses" (sing. "bocú" alt. pl. "bocúes"), also called "fondos" ("bottoms").“The "bokú" is a single-headed drum, skin nailed to the shell, shell open at one end, long, shaped like a conic section and made of staves with iron hoops that circle them and hold them together. They are heated with fire and played with both hands and no sticks. The musician or "bokusero" carries the drum on his left side, hung over the shoulder with a strap.” (Ortíz II 1952-5:34) Nowadays, the skin is usually held on by a metal hardware system similar to that of the commercial conga drum. Anywhere from four to 16 "bocuses" are used in one "conga" (Brea and Millet 1993:179). The "bocuses" play simple interlocking parts with few variations (however, the sum of the parts results in quite a complex drum melody). A smaller "bocú," called a "quinto" or "bocusito," plays complex off-beat figures and improvisations.  According to Ortiz, the "bocú" was adopted by the "conga" when African drums were banned in the early years of the Republic.“The fact that the modern Cuban "bokú" originates and is found only in the cities of Oriente, permits one to suppose that the "bokú", with or without exact Bantu morphological antecedents, is an unusual type of drum in Cuba; but was adopted by the Cubans when, upon the prohibition of African drums, they resorted to new types of drums which, due to their unaccustomed appearances, were not imputable to Africans.”(Ortíz II 1952-5:36)  A third category are the bimembranophone "tambores" (Brea and Millet 1993:200), mentioned in documents as early as 1916 (Pérez I 1988:217) There are three "tambores": one "requinto" and two "galletas". The "requinto" (Brea and Millet 1993:198), first mentioned in writing as early as 1931 (Pérez II 1988:9), is shaped somewhat like a snare drum- about 50% wider than it is tall. It is hung from the left shoulder with the top of the drum slightly skewed to the left and is played with a stick on the right-hand skin while the left hand mutes or opens the left-hand skin. Its part is simple with few variations. The "galletas" (also called "congas"- Orovio 1981:186) are like bass drums, but flatter. They are both played with a stick in a manner similar to the "requinto", except that they are hung from the shoulders in such a way that the skins are nearly horizontal to the ground. The higher pitched of the two is called a "redoblante" (Brea and Millet 1993:197). It measures approximately 2 feet in diameter and 5 inches high. In addition to its basic pattern, there are many "floreos" (variations) that it can play. The lower-pitched "galleta" is called a "pilón" (Brea and Millet 1993:196) or "pilonera" (Ortíz II 1952-5:242). It measure about 2 inches larger in each dimension than the "redoblante." This drum plays a basic pattern with few variations. All three of the drums utilize a metal hardware system for attaching the skins to the drum shells.  As with the "bocú", Ortiz asserts that the "tambores" were not originally used in the pre-Republican "congas". “One is soon aware that these "congas" ["galletas"], like the drums of the "comparsa carabalí", are ‘white’ imitations of drums whose African morphology has been disguised” (Ortíz II 1952-5:242).  The final category includes only one item: the "trompetica china" or "corneta china" (literally “Chinese trumpet/bugle”). This double reed instrument, called "suona" in Chinese, was brought to Havana in the 19th century by Chinese immigrants. It was being used to play traditional Chinese music in the Chinese theaters in Havana's Chinatown, when an Afro-Cuban "comparsa" named “Los Chinos Buenos” adapted it to use in place of an "inspirador" ("lead singer"). Although it was very difficult for anyone not standing within ten feet of the "inspirador" to hear him or her singing during a street performance, the "trompetica china", due to its peculiar raucous and nasal sound, could usually be heard by the entire "comparsa" and its followers. In 1910, the "trompetica china" was brought to Santiago de Cuba by soldiers of the Cuban army (Ortíz II 1952-5:451). The first "conga" to incorporate its use was Paso Franco in 1915 (del Carmen et al. 2005). By 1924, it was a well-established feature of the "conga" (Pérez; I 1988:310). Today, the sound of this instrument is recognized by Cubans as the symbol of the "carnavales" of Oriente.

Dance.

The "conga" is danced with small sliding steps, advancing alternately. Imagining two measures of time (the traditional time signature for the "conga"), if the right foot starts on the first eighth note of the first measure, then the left foot steps on the third eighth note of the first measure, the right again on the first eighth note of the second measure, the left on the third eighth note of the second measure, and so on. This basic step is called the ""arrollao."" The arms are bent at the elbow and swung opposite to the rhythm of the feet (Fernández 1974:91).  There are many variations on the basic step, as well as simple figures such as "kick," "single turn," "cutting sugar cane," "shining shoes," etc.  A common variation on the above variation is to eliminate the tie.

The term conga refers to the music groups within Cuban comparsas and the music they play. Comparsas are large ensembles of musicians, singers and dancers with a specific costume and choreography which perform in the street carnivals of Santiago de Cuba and Havana.


Plot.

When Wilbur leaves the hospital after having tried once more to kill himself, the staff ask his brother Harbour to let Wilbur move in with him. The brothers thus share their childhood flat, which is adjacent to the bookshop their father left them.  Uninterested in the family business, Wilbur works in a nursery. Harbour manages the shop and meets Alice, who sells him books she finds when working as a hospital cleaner. When she is sacked for always being late, she visits Harbour to explain why she will not be coming again. Following his brother's advice on "grabbing" women, Harbour asks Alice to marry him. The wedding meal is held at an Asian restaurant and allows Wilbur to get acquainted with Sophie, Alice's ex-colleague from the hospital. The two start flirting, but Wilbur pushes Sophie away after she licks his ear. After the meal, Wilbur goes back home and slits his wrists in the bath.  Harbour finds his brother just in time and Alice saves Wilbur by using towels to stop the bleeding. While discussing Wilbur with Alice, Harbour tells her his brother feels responsible for their mother's death.  As he is about to leave the hospital, Wilbur gets a nurse named Moira, infatuated with him, to lick his ear. Instead of reciprocating the favour, he wipes his ear and leaves the room. At the same time, a few doors along, Harbour is told by a doctor that he needs to stay in the hospital for some tests. Harbour refuses because he wants to be at home with his new family.  Wilbur, Harbour, Alice and Mary live together, allowing them to get acquainted. Before Mary's birthday party, Alice asks Harbour buy some whipped cream at the supermarket, where he has a fit. He wakes up at the hospital, where Dr Horst, a psychologist he has met often through Wilbur, tries to convince him to get treatment for pancreatic cancer. The two men share a bottle of whisky, Dr Horst believing that such is the condition of Harbour's liver that a little alcohol will be insignificant. Wilbur goes back to the bookshop to bring Alice the whipped cream for Mary's party. When a little girl asks him to stand on his head, he throws up on her dress. Harbour is put to bed; as Wilbur and Alice tidy up after the party, they kiss briefly until she says she cannot continue.  The next day, Wilbur tries to jump off a building, only to realise he does not want to. He goes home to apologise to Alice for kissing her, but they do so again.  Dr Horst tells Harbour he must explain his very serious situation to his family, but he does not know how to.  To fight the mutual attraction Wilbur has with Alice, Wilbur decides to make nurse Moira his girlfriend. One evening, as they are all out for a meal, Moira tells the family they should change their eating habits to help Harbour during his chemotherapy. Furious at Harbour for not getting treatment, Alice takes him to hospital and spends the night there with him despite Harbour being scared that Wilbur might try to kill himself. The latter, having stayed at home to take care of Mary, decides not to commit suicide when he realises the little girl needs him. Wilbur resigns from his job to replace his brother at the bookshop. Harbour's condition does not improve, so his doctor allows him to spend his last Christmas at the bookshop.  After dinner, as Harbour tucks Mary into bed, she asks him if he is going to spend the night in Wilbur's room, implying that Wilbur will be in Alice's. As he is about to take a taxi back to the hospital, Harbour asks his brother to take care of Alice and Mary. In his hospital room, Harbour takes an overdose of pills and trims his fingernails before lying in bed fully clothed. The film ends with Wilbur, Alice, and Mary visiting Harbour's grave.

Reception.

The film has been well received by audiences. Review aggregator Rotten Tomatoes, based on 79 reviews, gives the film an 86% approval, the average rating being 7.1/10.

Wilbur Wants to Kill Himself is a 2002 Danish-Scottish drama film directed by Lone Scherfig and starring Jamie Sives, Adrian Rawlins, Shirley Henderson, Lisa McKinlay, Mads Mikkelsen, and Julia Davis. Harbour and his suicidal brother, Wilbur, inherit their father's secondhand bookshop in their native Glasgow. Their lives become entangled with a woman called Alice and her young daughter, Mary, after the two visit the shop. Idealistic Mary captures Wilbur's heart, and may be able to help save his life or help him find peace.


History.

Nielsen Media Research, once one of the largest media research companies in the world, began as a division of ACNielsen, a marketing research firm. In 1996, Nielsen Media Research was split off into an independent company and in 1999, was purchased by the Dutch conglomerate VNU. In 2001, VNU also purchased ACNielsen, thereby bringing both companies under the same corporate umbrella. VNU was reorganized and renamed the Nielsen Company in 2007.  The Nielsen TV Ratings have been produced in the USA since the 1950-51 television season and statistically measure which programs are watched by different segments of the population. The most well-known portion is the "diary". During the four "sweeps" months of February, May, July and November, Nielsen interviewers in Oldsmar, Florida and Radcliff, Kentucky ask homes to participate in filling out a diary of the programs watched in their home for a one-week period.  The Nielsen sample included roughly 1,700 audiometer homes and rotating board of nearly 850 diary respondents, by the early 1980s. Nielsen launched its Nielsen Homevideo Index (NHI) in 1980 to measure cable, pay cable, and VCRs, and the NHI began offering daily cable ratings in 1982. Nielsen's continued to advance with steady changes into the mid 2000s (decade). Along with changing their counting methods, Nielsen also started emphasizing their sample in 2003 in reaction to census shifts and requests from some industry sectors. Nielsen's automated Local People Meter (LPM) technology was introduced in New York and Los Angeles. The LPM improved the method of measurement from active and diary-based to passive and meter-monitored. More importantly, the LPM provides accurate measurements to particular local markets, verse a nationwide sample from the People meter. While diary-based surveys concentrated on quarterly sweeps periods, the industry has been pushed toward year-round measurement, due to the automated LPM system.  In 1996 Nielsen Media Research began tracking computer, internet, and video game usage through telephone surveys.  Recently, Nielsen announced the launch of its A2M2 project that would measure television viewing in and out of the home.  Nielsen Media Research is a sister company to Nielsen NetRatings, which measures Internet and digital media audiences through a telephone and internet survey, and Nielsen BuzzMetrics, which measures Consumer-Generated Media.  Nielsen also conducts market research for the film industry through National Research Group (NRG).  In September 2018, Nielsen acquired SuperData Research, an industry analysis firm that deals with tracking viewing habits within the video game and eSports areas, an area that Nielsen plans to expand into.

Corporate affairs.

Nielsen has its headquarters in Lower Manhattan, New York City.  The company maintains an office in Oldsmar, Florida. Most of the employees of Nielsen Media Research work in Oldsmar, and the company's media measurement work originates from the office. The "Associated Press" said that the Oldsmar building, with a cost figure of $80 million, was "its so-called nerve center."

Initial public offering.

Nielsen went in for an IPO () in January 2011 and was the largest public offer in the United States in the previous four years. Being the largest IPO for a firm backed by private equity at $1.64 billion, the IPO was well received and closely watched by all big banks and private equity boutiques On March 1, 2011 they announced the appointment of Liz Zale as Senior Vice President for Investor Relations. Liz Zale was previously Vice President for Investor Relations at Moody's Corporation ().

Nielsen Media Research (NMR) is an American firm that measures media audiences, including television, radio, theatre films (via the AMC Theatres MAP program) and newspapers. NMR, headquartered in New York City, is best known for the Nielsen ratings, an audience measurement system of television viewership that for years has been the deciding factor in canceling or renewing television shows by television networks. As of May 2012, it is part of Nielsen Holdings.


History.

The band's early years were spent living in burnt out buildings, squats and on the streets. By 1982/83 Flanagan recorded the very first Cro-Mags demo consisting of 4 songs that would become the blue print for their debut album "The Age of Quarrel" (1986). Flanagan wrote all of the music, played each instrument, and performed vocals. Before long he connected with Parris Mayhew and the two started writing music and auditioning band members. Age of Quarrel singer John Joseph parted ways with the band for the first time after Age of Quarrel, leaving bass player Harley Flanagan to sing on the following Cro-Mags release, "Best Wishes" (1989), which had a more heavy metal-influenced sound. The next record "Alpha Omega" saw the return of Joseph singing along with Flanagan. According to guitarist and songwriter Parris Mayhew, he wrote most of the album with guitarist Rob Buckley. However, neither Mayhew or Buckley played on the actual recording and the writing has been disputed by Flanagan and others. The Cro-Mags disbanded and later recorded the album with the return of Doug Holland and a new rhythm guitarist: Gabby Abularach.  The album "Near Death Experience" was released in 1993, after which the group disbanded for several years. They began touring again in the late 1990s with Flanagan on vocals and bass and Mayhew returning to the fold and eventually released "Revenge" in 2000. For many fans, this album signified a return to Cro-Mags' early hardcore roots. Many songs were comparable to those on "The Age of Quarrel", although some featured a more melodic/punk rock style. The release of "Revenge" and its subsequent tour resulted in yet another break up, which caused lasting resentment between Mayhew and Flanagan. In 2001 Flanagan asked Joseph to join him once again, but that was a short lived reunion and ended in 2002.  In 2008, John Joseph and Mackie began playing shows under the Cro-Mags name with other established hardcore musicians such as Craig Setari from Sick of It All on bass, and A.J. Novello from Leeway on guitar. In an October 2010 interview, Joseph revealed that they were planning to release a new album in 2011, though ultimately this did not happen. Flanagan released his solo debut album, "Cro-Mags", in 2016, it featured Cro-Mags alum Gabby Abularach on guitar.  In 2018, Flanagan filed a federal trademark infringement action suing prior band members John Joseph and Mackie Jayson. In April 2019, Flanagan announced a settlement wherein he would own exclusive use of the name "Cro-Mags"; simultaneously, Joseph announced his recognition of the settlement, and that he and his band would perform as Cro-Mags "JM", beginning in August.  On June 28, 2019, Cro-Mags released their first new music in nineteen years, sharing three new songs "Don't Give In", "Drag You Under" and "No One's Victim", and they were preparing a new album with producer, Arthur Rizk for a planned early 2020 release date. They were the opening act for four shows with the reunited Misfits: June 29 in Los Angeles, September 7 in Denver, September 11 in Oakland and September 14 in Seattle. This was followed by a ten-date European tour to commemorate the thirtieth anniversary of the "Best Wishes" album.  Following the European tour, Cro-Mags released the digital single, "From the Grave" that featured former Motörhead guitarist Phil Campbell on lead and slide guitar. A three-song 7" EP of the same name was released on December 6 2019 in various colors and have the tracks "PTSD" and "Between Wars" included. The band was set to perform with Body Count in New York City on March 15 at Webster Hall. The show was postponed due to the COVID-19 virus. The band decided to live stream a free performance from SIR studios, one of the first bands to do so during the pandemic. On March 31, 2020, the band offered a free download of the track, "The Final Test" and announced their first studio album in twenty years, "In the Beginning", would be released on June 19, 2020.

Members.

Former.

At various times during the 1990s and 2000s, Flanagan and Joseph simultaneously led separate versions of the Cro-Mags with completely different lineups. The groups billed themselves as Cro-Mag Jam, Street Justice, Age of Quarrel, Rival Mob, FVK (Fearless Vampire Killers) or Cholo-Mags.

The Cro-Mags are an American hardcore punk band from New York City, United States. The band, which has a strong cult following, has released five studio albums, their first two considered the most influential. With a Hare Krishna background, they were among the first bands to fuse hardcore punk with thrash metal and were associated with the birth of a tougher attitude within the hardcore scene in the late 1980s, related to the world of martial arts. Harley Flanagan (formerly drummer for the Stimulators) and John Joseph are practitioners of Brazilian jiu-jitsu and boxing respectively.


Competition.

Competitive events are separated into middle school and high school levels, with students competing only with their respective age group. Competitions take place at the local, state, regional and national level. A component of leadership is often entailed in events at both levels, with some events being devoted to leadership (such as the Leadership Challenge).  All TSA competitions are correlated with national science, technology, engineering and mathematics and business standards. Expert judging by technology educators and industry representatives inspires the best from participants. Sample middle school events include Biotechnology Issues, Career Prep, Video Game Design, and Inventions and Innovations. High school events include Animatronics, Computer Aided Design (CAD), Dragster Design, Promotional Design, System Control Technology, Flight Endurance, Software Development, and Webmaster. Scores are out of 100 points and based upon a nationally developed rubric. Winners are chosen based on these scores. In many events, semi-finalists (top 12) move onto a second round of competition which usually involves an interview with the judges about the project. First, second, and third-place winners are awarded a trophy, and finalists (top 10) are recognized at the national level.

Program initiatives.

The Technology Student Association has partnered with many groups to promote other skills. Junior Solar Sprint is a national program allows students to design solar-powered cars. Tests of Engineering Aptitude, Mathematics, and Science (TEAMS) is an annual one-day competition where students use their skills to solve issues facing our global society. TSA has partnered with the VEX Robotics Competition to allow students to design and create robots to complete specific tasks. UNITE is a summer program funded by the U.S. Army Research Office that encourages high school students to pursue engineering careers. Every TSA middle school and high school member is required to submit LEAP (Leadership. Education. Achievement. Personal Growth.) documentation as part of every competition in which they compete. LEAP documentation tracks the leadership activities and experiences a TSA member has completed as part of each competition.

History.

TSA became an independent organization in 1978, when AIASA Inc. was formed to oversee the activities of the American Industrial Arts Student Association. Between the foundation of AIASA as an independent organization (it had formerly been a part of the American Industrial Arts Association) and 1988, the association grew and began to take shape.  In 1988, the AIASA changed its name to the Technology Student Association as part of a shift in focus from industrial arts to mainstream technology. This action followed a similar name change by the Texas state delegation the previous year. In 1989, the official logo, submitted by a chapter advisor, was adopted. In 1990, the logo received a trademark from the U.S. Patent and Trademark Office.  Today, the association has grown to include over 250,000 members in 2,000 secondary schools across 49 states. It has established an Honor Society, manages numerous competitive events and has partnerships with several organizations. Since 1978, TSA has had a membership almost 4,000,000.  Additionally, TSA has a service partnership with the American Cancer Society (ACS), which are parts of their National Service Project. TSA members raise money to promote advocacy and research in the ACS, and the ACS issues Spirit of Service awards at each national conference. In the past, conferences have hosted Relay for Life events on site.

Student Leadership.

Every year at the Technology Student Association National conference, the students elect a National Officer team.

The Technology Student Association (TSA) is a national student organization created to develop skills in science, technology, engineering, and mathematics (STEM) as well as business education. TSA aims to develop leadership, academic, and business management skills in the workplace among students and leaders within the community. The organization has 250,000 members. The 2019 national conference was held on June 28 - July 2, 2019, in Gaylord National Resort, National Harbor, MD. The 2020 national conference will be held from June 27 - July 1, 2020, in Gaylord Opryland Resort and Convention Center in Nashville, TN.


Operationals importance.

The new high-speed railway from Ingolstadt to Nuremberg branches off the old Munich–Ingolstadt–Treuchtlingen (timetable no. KBS 990). The high-speed tracks begin turning out even within the station limits in order to run into the Audi Tunnel which is immediately next to the station. There is also a heavily used goods siding which branches off to the refineries that are located in the eastern part of the city.

Passenger services.

The Nordbahnhof is only served by regional train services: the "Regionalexpress (RE)" and "Regionalbahn (RB)" trains. "Intercity-Express (ICE)" and "InterCity (IC)" trains pass through without stopping. A summary of passenger services at the station is shown in the table below:  In addition several extra trains are laid on during rush hours between Ingolstadt Nord and Eichstätt and between Ingolstadt Nord and Munich. Because the Nordbahnhof, unlike the Hauptbahnhof, is located close to the town centre and not far from the Audi factory, it is used particularly by schoolchildren, students and Audi employees travelling to and from the area.

Goods traffic.

Goods traffic plays a major role at Ingolstadt Nord. Numerous goods trains arrive with manufacturing parts for the Audi factory. These trains are detached in the station and shunted into the car manufacturer's industrial sidings. The factory has an extensive set of tracks that are busy around the clock.  In Ingolstadt Nord there is also a branch line, several kilometres long, that is still used by goods traffic. This splits again at the edge of the town into various goods sidings leading to two oil refineries and the "InterPark" industrial estate.

Infrastructure.

The station has an extensive track system which includes five tracks with platforms (nos. 3 to 7) and which are used by passenger trains. Tracks 4 and 5 belong to the new high-speed route and only trains of the Munich-Nuremberg Express stop here. All platforms have a height of 76 cm. Tracks 3, 6 and 7 are 270 m long; tracks 4 and 5 are only 170 m long. All platforms have lifts; platforms 4 and 5 are only partly suitable for wheelchairs due to their steep slopes. Apart from 3 ticket machines, two snack vending machines and a toilet block there are no services at the station.  The station building, dating from 1869/1870, and the station forecourt are currently (2007) in poor structural condition. In the near future, however, a conversion is planned which should see the town of Ingolstadt purchasing the station building from Deutsche Bahn, and converting it into a cultural centre. However, there are no firm plans yet. In addition, there is a plan to build a multi-storey car park with 290 bays and an integrated kiosk, which will greatly improve the parking situation for travellers. It was announced that the necessary real estate would be bought in September or October 2007 and that work would begin in spring 2008.

Ingolstadt Nord station (also called the "Nordbahnhof" in German, meaning "North station") is the second operational passenger station in the town of Ingolstadt, in the state of Bavaria in southern Germany. The other station is Ingolstadt Hauptbahnhof.


Early life.

Zoeppritz was born on 22 October 1881 in Mergelstetten, a small village several miles south of Heidenheim an der Brenz. He studied natural science and geology at the universities of Munich and Freiburg, finishing his education with a doctoral dissertation on the geology of part of the Swiss Alps in 1905, at the University of Freiburg. Following the completion of his doctorate, in the summer of 1906 in Karlsruhe, Zoeppritz passed the "Oberlehrerexamen", a teaching certificate that allowed him to lecture at a University.

Work in geophysics.

Zoeppritz became interested in the application of physics in geology, but the field of geophysics was still in its infancy. The only place in Germany where Zoeppritz could specifically study geophysics was at the University of Göttingen, as an assistant in the influential Emil Wiechert's research group.  Using Wiechert's theoretical work and data from earthquakes including the 1905 Kangra earthquake, 1905 Calabria earthquake and the 1906 San Francisco earthquake, Zoeppritz's most important early contribution was the construction of travel-time curves - and their associated velocity-depth functions - for P-waves, S-waves and surface waves, recognising for the first time that body waves are reflected and converted at discontinuities. These curves were later used by other members of the research group, Ludwig Carl Geiger and Beno Gutenberg, as well as the British astronomer and seismologist Herbert Hall Turner at the International Seismological Summary. The related ill-posed inverse problem of inferring a discrete velocity distribution, representing the layers of the crust and mantle, was solved by fellow Göttingen mathematician Gustav Herglotz.  Zoeppritz used Wiechert's work and went on to derive a full set of transmission and reflection coefficients for a plane wave approaching a discontinuity. Zoeppritz was not the first to mathematically describe this phenomenon as the British seismologist Cargill Gilston Knott used a different approach to derive Knott's equations in 1899, but this was still unknown in Germany by the 1920s. The equations that Zoeppritz described are now named after him (Zoeppritz equations) and are used extensively in reflection seismology (particularly amplitude versus offset), for a number of applications including hydrocarbon exploration.

Death and legacy.

In the summer of 1908, at the age of 26, Zoeppritz died after succumbing to an infectious illness of several months. He accomplished all of his work at Göttingen in just two years, but much of it was left unpublished at the time of his death. Much of the unpublished work was revised and published by Wiechert, Gutenberg and Geiger, with his most important work that described the reflection and transmission of seismic waves in elastic media - the Zoeppritz equations - not being published until 1919.  In 2002, the German Geophysical Society (DGG) began awarding the Zoeppritz Prize to outstanding young geophysicists.

Karl Bernhard Zoeppritz (22 October 1881 – 20 July 1908) was a German geophysicist who made important contributions to seismology, in particular the formulation of the Zoeppritz equations.


Modern glitter.

The first production of modern plastic glitter is credited to the American machinist Henry Ruschmann, who found a way to cut sheets of plastic such as mylar into glitter in 1934. During World War II, glass glitter became unavailable so Ruschmann found a market for scrap plastics, which were ground into glitter. He founded Meadowbrook Inventions, Inc., in Bernardsville, New Jersey, and the company is still a producer of industrial glitter. Decades later he filed a patent for a mechanism for cross-cutting films as well as other related inventions.  Today over 20,000 varieties of glitter are manufactured in a vast number of different colors, sizes, and materials. Over of glitter were purchased between the years of 1989 and 2009 alone. Commercial glitter ranges in size from a side. First, flat multi-layered sheets are produced combining plastic, coloring, and reflective material such as aluminium, titanium dioxide, iron oxide, and bismuth oxychloride. These sheets are then cut into tiny particles of many shapes including squares, triangles, rectangles, and hexagons.

Ancient glitter.

Glittering surfaces have been found to be used since prehistoric times and the arts and in cosmetics. The modern English word "glitter" comes from the Middle English word "gliteren," possibly by way of the Old Norse word "glitra." However, as early as 30,000 years ago, mica flakes were used to give cave paintings a glittering appearance. Prehistoric humans are believed to have used cosmetics, made of powdered hematite, a sparkling mineral.  8,000 years ago people of the Americas were using powdered galena, a form of lead, to produce a bright greyish-white glittering paint used for objects of adornment. The collecting and surface mining of galena was prevalent in the Upper Mississippi Valley region by the Cahokia native peoples, for regional trade both raw and crafted into beads or other objects.  From 40,000 BC to 200 BC, ancient Egyptians, produced "glitter-like substances from crushed beetles" as well as finely ground green malachite crystal. Researchers believe Mayan temples were sometimes painted with red, green, and grey glitter paint made from mica dust, based on infrared scans of the remnants of paint still found on the structures in present-day Guatemala.

Uses.

Prior to fabrics made with modern glitter, sequins were sewn or woven on to fabric to give it a glittering appearance. Edible glitter made from gum arabic and other ingredients is even used by culinary artists.  Glitter is used in cosmetics to make the face and nails shiny or sparkly. Additionally, it is commonly used in arts and crafts to color, accessorise and texture items. The small, brightly colored particles often stick to clothing, skin, and furniture, and can be difficult to remove. It is also used on optically variable inks.  Glitter coatings or finishes are frequently used on fishing lures to draw attention by simulating the scales of prey fish.  Due to its unique characteristics, glitter has also proven to be useful forensic evidence. Because of the tens of thousands of different commercial glitters, identical glitter particles can be compelling evidence that a suspect has been at a crime scene. Forensic scientist Edwin Jones has one of the largest collections of glitter consisting of over 1,000 different samples used in comparison of samples taken from crime scenes. Glitter particles are easily transferred through the air or by touch, yet cling to bodies and clothing, often unnoticed by suspects.

Subculture.

Glitter can be seen as a tool of fashion used by various subcultures, as it allows for a visible statement to be worn and seen on the body. This is because it has been theorized to be a "flickering signifier", or something that destabilizes known notions of popular culture, identity, and society. Glitter is associated with "fringe cultures", which often use excessive glam and glamor such as glitter to evoke a deeper understanding between the relationships of commercialized popular culture and "high" culture, or "high-brow" art.  Used by glam rockers, such as David Bowie, Gary Glitter, and Iggy Pop glitter is also used as a tool to help blur gender lines. This helped to create the more extreme "Glitter Rock" – an even more heightened version of glam rock.  Glitter is also used by nail artists and make-up artists to make statements about femininity and beauty standards. The flashy, sparkling nature of glitter allows users to push standard ideas of beauty and what is and isn't considered "excessive" in terms of make-up. Glitter is usually associated with nightlife and not professionalism, but wearing it in different settings can push these boundaries.  Glitter is also used for glitter bombing, which is an act of protest in which activists throw glitter on people at public events. Glitter bombers have frequently been motivated by, though not limited to, their targets' opposition to same-sex marriage. Some legal officials argue glitter bombing is technically assault and battery. It is possible for glitter to enter the eyes or nose and cause damage to the cornea or other soft tissues potentially irritating them or leading to infection, depending on the size of the glitter. Whether a prosecutor would pursue the charges depends on a number of factors.

Environmental Impact.

Trisia Farrelly, an environmental anthropologist at Massey University, has called for a ban on glitter made of polyethylene terephthalate (PETE) and aluminium, as it is a microplastic that can break down into hormonal disruptors in the environment. Furthermore, plastic glitter takes about one thousand years to biodegrade, according to Victoria Miller, a materials and engineering scientist at North Carolina State University. When dozens of British music festivals pledged to ban single-use plastics by 2021, the proposed ban included plastic glitter.  Biodegradable glitter made from eucalyptus tree extract is metaled with aluminium and can be coloured. It is "40% softer and more delicate on the skin than conventional glitter," and it decomposes in soil or water. Cellulose glitter is also available.  According to Dr. Chris Flower, Director-General of the Cosmetic Toiletry and Perfumery Association, "the total contribution to marine plastic litter from glittery cosmetic products is negligible when compared to the damaging effects of bags and bottles... [The] total effect of giving up traditional glitter might not be great in comparison with other harmful plastics, we should still do everything we can."

Glitter is an assortment of small, reflective particles that come in a variety of shapes and colors. Glitter particles reflect light at different angles, causing the surface to sparkle or shimmer. Glitter is similar to confetti, sparkles, or sequins, but somewhat smaller.


Components.

Universities.

All four campuses are comprehensive, separately accredited, land-grant/research-intensive institutions offering undergraduate, graduate, and professional degree programs.

Health care.

The University of Missouri Health Care system operates several facilities in central Missouri, including University Hospital (the only Level I trauma center in central Missouri) and Ellis Fischel Cancer Center (the only hospital in Missouri specializing in cancer treatment). It is also closely affiliated with MU's School of Medicine, University of Missouri School of Health Professions, and Sinclair School of Nursing.  It employs 4,515 employees.

Extension.

Using science-based knowledge, University of Missouri Extension engages people to understand change, solve problems and make informed decisions.  MU Extension makes university education and information accessible for:  University of Missouri Extension is a partnership of the University of Missouri-Columbia, Lincoln University, the people of Missouri through county extension councils, and the National Institute for Food and Agriculture of the U.S. Department of Agriculture.  MU Extension offers distance learning, Mizzou Online, continuing education, evening classes. Programs in agriculture, natural resources, lawn and garden, home and consumer life, nutrition and health, families and relationships, community and leadership, business and careers, and emergency management are available through offices throughout the state.

Research and technology parks.

As part of its economic development mission to support high-tech growth in Missouri, the UM System owns and operates 10 research parks throughout the state.

Press.

The University of Missouri Press was established in 1958 and today publishes over 70 titles per year, including several series such as the "Missouri Biography Series". It also distributes books for the Missouri Historical Society Press.

Students organization.

The Associated Students of the University of Missouri is a student run organization that represents the students of all four UM system campuses in Jefferson City and Washington, D.C. It was created in 1975 by the Missouri Students Association. ASUM has an internship program that lobbies the Missouri General Assembly on a regular basis pertaining to student issues including equalizing the Access Missouri tuition grant, increasing funding for the Bright Flight Scholarship, and giving the student representative to the UM Board of Curators a vote.

Administration.

Organization.

The UM System is governed by a board of curators, consisting of nine members appointed by the governor with the advice and consent of the Missouri Senate. Curators serve six-year terms, staggered by three positions expiring every two years. Not more than one curator can be appointed from the same congressional district, and no more than five curators can belong to the same political party. In addition, there is a non-voting student representative to the board, likewise appointed and confirmed, who serves a two-year term. The post is rotated among the four universities. Presently, the post is held by Avery Welker from the S&T campus.  The board of curators selects the president of the system, who reports to the board along with the general counsel. Each campus is led by a chancellor who reports to the president, as does an executive vice president, four vice presidents, and a chief of staff. The president chairs the University of Missouri Health System advisory board.

Presidents.

There have been ten presidents of UM System since its inception in 1963. Prior to the formation of the system, the position of president was more akin to what is now chancellor of the Columbia campus. However, the UM System counts presidents who served before the system was created, therefore the numbering starts at 14. See University of Missouri#Presidents and chancellors for a list of presidents from 1841–1963 and chancellors from 1963–present. This list does not include all interim presidents.

History.

The University of Missouri was founded in 1839 in Columbia. It was the first public institution of higher learning west of the Mississippi River. It became a land-grant university after passage of the Morrill Act of 1862. In 1870, the University established the "Missouri School of Mines and Metallurgy" in Rolla.  The UM System was created in 1963 when the University of Kansas City, which had been a private institution, was acquired and renamed "University of Missouri-Kansas City". That same year, a new university named University of Missouri-"St. Louis" was created. In 1964, the "School of Mines" ‡ was renamed "the University of Missouri-Rolla", and the original university in Columbia was renamed "University of Missouri-Columbia". Effective January 1, 2008, "UM–Rolla" became the "Missouri University of Science and Technology".

Naming.

Since its founding in 1839 until the formation of the system in 1963, the institution in Columbia was known simply as the University of Missouri. When the University of Missouri System was established, the existing institutions—the University of Missouri in Columbia and its offshoot, the Missouri School of Mines and Metallurgy in Rolla were renamed the University of Missouri–Columbia and the University of Missouri–Rolla. The formerly private institution acquired by the system, the University of Kansas City, was renamed the University of Missouri–Kansas City. The newly created institution in St. Louis was suitably named the University of Missouri–St. Louis, thus creating a uniformly named system of institutions.  The original generic name, the University of Missouri, was not officially assigned to any of the schools or the system. However, it has been commonly used both formally and informally to mean the original Columbia campus or the system. It has also been used to mean any of the other three campuses, though this is most often done in a casual manner at the campus in question, or by persons unfamiliar with the system. All four campuses have felt their regional designations potentially cause them to be mistaken as second-tier regional institutions. Considerable controversy over use of the generic name has been caused by the Columbia campus claiming de facto ownership, further marginalizing the other three campuses.  The Rolla campus was first to enact a break from regional designation. On 6 April 2007, the Board of Curators approved a proposal to rename the school the Missouri University of Science and Technology, effective 1 January 2008. In addition to ridding itself of a regional designation, it also emphasizes the school's technological research mission. This quickly catalyzed a long-dormant "name restoration" campaign at the Columbia campus to drop its regional designation. This proposal met with considerable criticism, mainly from the Kansas City and St. Louis campuses, who saw this as unnecessary or unfair and an intentional detriment to their campuses. On 29 November 2007, the Board of Curators voted unanimously to allow the Columbia campus to use the generic University of Missouri name for essentially all public purposes, but not when dealing with "official business" such as budget documents, legal contracts, and other internal UM System documentation, or whenever clarification from the system or other campuses is needed. Use of the generic name is not compulsory and the Columbia designation may continue to be used in any context. The decision also stipulates that the UM System utilize the "System" designation in most instances. Proponents of the change say that it simply provides clarification and recognizes what has always been common usage, but the issue remains controversial.  Southwest Missouri State University sought and eventually was granted permission to drop its regional designation and become Missouri State University. This change was initially vehemently opposed by the UM System, as it saw this as a threat to its funding and its stature as the premier public institution of higher learning in Missouri. It also would create historic entanglements, as the University of Missouri had interchangeably used the Missouri State University name at times in its history. This resulted from MU being designated as both a land grant and a research institution, unlike states such as Iowa where separate institutions (University of Iowa and Iowa State University) were created.

Proposed merger.

In April 2003, Northwest Missouri State University in Maryville approached the UM System with the possibility of becoming the fifth school in the system. Name proposals for the university after the merger, such as the University of Missouri–Northwest, were to reflect the school's separate heritage. The Maryville institution would have become a doctoral degree-granting research university of equal stature with the existing UM System universities. However, the enabling legislation before the Missouri General Assembly never passed and the deal sunset. There have been no further attempts at a merger.

2015 racial controversies, protests, and resignations.

In 2015, Wolfe was the subject of criticism from a variety of groups over his failure to address a series of racist incidents at the University of Missouri, including students openly using racial slurs towards minority student leaders, and an October incident where feces was used to draw a swastika, drawing condemnation from black and Jewish student organizations. In November 2015, Missouri's Legion of Black Collegians announced that approximately thirty athletes would not participate in any team activities unless Wolfe resigned. On November 8, 2015, the Missouri Student Association joined in calling for Wolfe's resignation.  On November 9, 2015, Wolfe resigned at a special Board of Curators meeting that morning. In a statement, he said, "My motivation in making this decision comes from a love of Columbia where I grew up and the state of Missouri. I thought and prayed over this decision. It is the right thing to do.... The frustration and anger I see is real and I don't doubt it for a second.... I take full responsibility for the actions that have occurred. I have asked everybody to use my resignation to heal. Let's focus in changing what we can change today and in the future, not what we can't change in the past."

The University of Missouri System is a state university system providing centralized administration for four universities, a health care system, an extension program, and ten research and technology parks. Nearly 70,000 students are currently enrolled at its four campuses. The health care system operates several hospitals and clinics in central Missouri, while the extension program provides distance learning and other educational initiatives statewide.


Early life.

Kunene was born in Durban, in the modern province of KwaZulu-Natal. From very early he began writing poetry and short stories in Zulu, and by age eleven he was being published in local papers. He later undertook a Bachelor of Arts from the University of Natal in Zulu and history and later a Master of Arts in Zulu Poetry. His Master's thesis was titled "An Analytical Survey of Zulu Poetry, Both Traditional and Modern". There he criticized the changing nature of Zulu literature, and its emulation of the Western tradition. He won a Bantu Literary Competition in 1956 and left for London to study at the School of Oriental and African Studies, London in 1959.

Career.

He opposed the apartheid government as the head of the African United Front. Fleeing into exile from the country in 1959, he helped push for the anti-apartheid movement in Britain between 1959-1968. Kunene was closely affiliated with the African National Congress, quickly becoming their main representative in Europe and the United States in 1962. He would later become the director of finance for the ANC in 1972. He became a Professor of African literature at the University of California, Los Angeles (UCLA) in 1975 after lecturing in a number of universities as a cultural advisor for UNESCO. He remained at UCLA for nearly two decades, retiring in 1992.

Literary works.

Kunene wrote and published poetry from very early in his life. His works were written originally in Zulu and then translated into English. In 1966, his works were banned by the Apartheid government of South Africa. In 1970, Kunene published "Zulu Poems," an anthology of poems ranging from "moral reflection to political commentary." In "Emperor Shaka the Great", published in English in 1979, Kunene tells the story of the rise of the Zulu under Shaka. "World Literature Today" contributor Christopher Larson described it as "a monumental undertaking and achievement by any standards." This extremely nationalistic work charted the growth of the Zulu nation under Shaka, as he reforms the military and the nation and conquers many of the tribes around Zululand.  "Anthem of the Decades:A Zulu Epic" published in English in 1981 tells the Zulu legend of how death came to mankind. In 1982, Kunene published a second collection of poems titled "The Ancestors and the Sacred Mountain: Poems" containing 100 of his poems. This collection had a particular emphasis on socio-political topics.  "Unodumehlezi Kamenzi" was published in 2017 on the tenth anniversary of his death. This book is the isiZulu edition of "Emperor Shaka the Great" and embraces Kunene's original dream to have his poem published as intended in the original isiZulu form.

Late life.

Kunene returned to South Africa in 1992, where he taught at the University of Natal until his retirement. UNESCO made him Africa's poet laureate in 1993 and in 2005 he became South Africa's first poet laureate.

Death.

Kunene died on 11 August 2006 in Durban, after a lengthy bout of cancer. He was survived by his wife and four children.

Bibliography.

Poetic works:

Mazisi (Raymond) Kunene (12 May 1930 – 11 August 2006) was a South African poet best known for his poem "Emperor Shaka the Great". While in exile from South Africa's apartheid regime, Kunene was an active supporter and organizer of the anti-apartheid movement in Europe and Africa. He would later teach at UCLA and become Africa's and South Africa's poet laureate.


History and architecture.

The church was originally dedicated to Saint Vitus. It served as market church of the city and later also as church of the city council. Around 1020, a new building was erected of which only the crypt still exists, decorated with medieval frescos. The church was extended to form a basilica in the middle of the 12th century. Around 1220, it was consecrated to the Virgin Mary. From 1230 onwards, it was rebuilt in the early Gothic style as a hall church. A westwork with two towers was added. For many years, the northern tower contained the archive of the city council of Bremen, known as the "Tresekammer". In the 14th century, the choir was extended.

Interior.

The interior was damaged by fire in 1944, but much less than the other medieval churches of the city. When the new organ was installed in 1953, the acoustics were so poor that in 1958 the city assigned Dieter Oesterlen to manage the church's refurbishment. The residual medieval plastering and the remains of the frescos were removed, leaving plain brick walls. In 1966, the French artist Alfred Manessier was charged with redesigning the 19 windows that had been destroyed during the Second World War. Inspired by verses from the Bible, he embarked first on the design of the four main windows, employing brightly coloured stained glass representations with expressive linear patterns. Together they depict various manifestations of the "Word of God". At the end of the aisle to the north of the altar, the Christmas Window is inspired by "The Word became flesh" (John 1:14), while the Pentecost Window at the east end of the chancel is inspired by the Miracle of Tongues (Acts 2). The Sermon Window symbolises the preached word: "We are ambassadors for Christ" (2 Corinthians 5:20) while the Virgin Mary Window, a rose window at the opposite end of the church draws on the Christmas story: "Mary kept all these sayings, pondering them in her heart" (Luke 2:19). With the assistance of François Lorin from Chartres, Manessier completed his work in 1979.

Name.

Since 1220, the church has been named after Mary, the mother of Jesus Christ. This name (Church of Our Lady) has been used by more than 250 churches in the world and by more than 150 religious orders or convents in Germany.  In Bremen, the name is widely used:

Dimensions.

The "Liebfrauenkirche" has two steeples. Together with the weather vane which has a height of, the north steeple is, the third tallest steeple in the city (the tallest being the two cathedral steeples). It has a width of. The church clock is situated at a height of. The smaller south steeple has a height of and a width of. The roof reaches a height of. The total length of the church amounts to some and the total width,.

Sculptures.

The flour of the church comprises some medieval tombstones, but there are no medieval sculptures, if there had been any, they have been removed during the reformation. But there are two sculptures from the 19th century.

Moltke-monument at the north tower.

The equestrian sculpture on the wall of the southern steeple was placed there in 1909. It shows the Prussian field marshal Helmut Graf von Moltke and was donated by the banker Bernhard Loose from Bremen, who already died on 31 March 1902. It was designed by Heinrich Jennen from Berlin-Charlottenburg and sculpted by Hermann Hahn of Munich. Like the sculpture itself, the inscription above it expresses the militarism of the period: "He who armed and protected you consider this, when you approach him: Peace has to be supported by the sword if you remain silent, the evil deed will grow."

War memorial.

After World War I, the architect Otto Blendermann from Bremen and the sculptor Friedrich Lommel from Munich created a war memorial in honour of the dead soldiers of Bremen garrison. In 2011, it was converted into a memorial for all victims of all wars. Since then, panes of opalescent glass on the walls bear a biblical admonition to keep peace, and panes of opalescent glass hiding the sculpture bear the names of the soldiers.

Organ.

The organ was built in 1953 by Paul Ott (Göttingen). At the time, the steeple bay had been bricked up. As a result, the organ was situated on the west wall of the bay. In 1964, it was reinstalled in a new casing on the south aisle's west wall. The last readjustment took place in 1984 by the organ builder Karl Schuke, Berlin. At that time, the disposition was slightly changed.

Bells.

The church has only one bell in the south tower, cast in the 13th or 14th century. Apart from that, there is only a clock bell.

Further information.

Services are held in the Liebfrauenkirche on Sundays and religious holidays at 10:30 am. Founded 1945 by the cantor Harald Wolf, the boys' choir is recognized throughout the region.

The Church of Our Lady () is an Evangelical Protestant church situated northwest of the Market Square in Bremen, Germany. Like Bremen Cathedral, today's building dates from the 13th century. The brightly coloured stained-glass windows are the work of the French artist Alfred Manessier. In 1973, the church was listed under the monument protection act.