Jakarta Server Pages

Jakarta Server Pages (JSP; formerly JavaServer Pages) is a collection of technologies that helps software developers create dynamically generated web pages based on HTML, XML, SOAP, or other document types. Released in 1999 by Sun Microsystems, JSP is similar to PHP and ASP, but uses the Java programming language.
To deploy and run Jakarta Server Pages, a compatible web server with a servlet container, such as Apache Tomcat or Jetty, is required.
Overview.
Architecturally, JSP may be viewed as a high-level abstraction of Java servlets. JSPs are translated into servlets at runtime, therefore JSP is a Servlet; each JSP servlet is cached and re-used until the original JSP is modified.
Java Server Pages can be used independently or as the view component of a server-side model–view–controller design, normally with JavaBeans as the model and Java servlets (or a framework such as Apache Struts) as the controller. This is a type of Model 2 architecture.
JSP allows Java code and certain predefined actions to be interleaved with static web markup content, such as HTML. The resulting page is compiled and executed on the server to deliver a document. The compiled pages, as well as any dependent Java libraries, contain Java bytecode rather than machine code. Like any other .jar or Java program, code must be executed within a Java virtual machine (JVM) that interacts with the server's host operating system to provide an abstract, platform-neutral environment.
JSPs are usually used to deliver HTML and XML documents, but through the use of OutputStream, they can deliver other types of data as well.
The Web container creates JSP implicit objects like request, response, session, application, config, page, pageContext, out and exception. JSP Engine creates these objects during translation phase.
Syntax.
JSP pages use several delimiters for scripting functions. The most basic is codice_1, which encloses a JSP "scriptlet." A scriptlet is a fragment of Java code that runs when the user requests the page. Other common delimiters include codice_2 for "expressions," where the scriptlet and delimiters are replaced with the result of evaluating the expression, and "directives", denoted with codice_3.
Java code is not required to be complete or self-contained within a single scriptlet block. It can straddle markup content, provided that the page as a whole is syntactically correct. For example, any Java "if/for/while" blocks opened in one scriptlet must be correctly closed in a later scriptlet for the page to successfully compile. This allows code to be intermingled and can result in poor programming practices.
Content that falls inside a split block of Java code (spanning multiple scriptlets) is subject to that code. Content inside an "if" block will only appear in the output when the "if" condition evaluates to true. Likewise, content inside a loop construct may appear multiple times in the output, depending upon how many times the loop body runs.
The following would be a valid for loop in a JSP page:

Counting to three:

<% for (int i=1; i<4; i++) { %>

This number is <%= i %>.

OK.

The output displayed in the user's web browser would be:
Expression Language.
Version 2.0 of the JSP specification added support for the Expression Language (EL), used to access data and functions in Java objects. In JSP 2.1, it was folded into the Unified Expression Language, which is also used in JavaServer Faces.
An example of EL syntax:
The value of "variable" in the object "javabean" is ${javabean.variable}.
Additional tags.
The JSP syntax add additional tags, called JSP actions, to invoke built-in functionality. Additionally, the technology allows for the creation of custom JSP "tag libraries" that act as extensions to the standard JSP syntax. One such library is the JSTL, with support for common tasks such as iteration and conditionals (the equivalent of "for" and "if" statements in Java.)
Compiler.
A JavaServer Pages compiler is a program that parses JSPs, and transforms them into executable Java Servlets. A program of this type is usually embedded into the application server and run automatically the first time a JSP is accessed, but pages may also be precompiled for better performance, or compiled as a part of the build process to test for errors.
Some JSP containers support configuring how often the container checks JSP file timestamps to see whether the page has changed. Typically, this timestamp would be set to a short interval (perhaps seconds) during software development, and a longer interval (perhaps minutes, or even never) for a deployed Web application.
Criticism.
In 2000, Jason Hunter, author of "Java Servlet Programming" described a number of "problems" with JavaServer Pages. Nevertheless, he wrote that while JSP may not be the "best solution for the Java Platform" it was the "Java solution that is most like the non-Java solution," by which he meant Microsoft's Active Server Pages. Later, he added a note to his site saying that JSP had improved since 2000, but also cited its competitors, Apache Velocity and Tea (template language). Today there are several alternatives and a number of JSP-oriented pages in larger web apps are considered to be technical debt.


Alex Trochut

Alex Trochut (born 1981) is a Spanish artist, graphic designer, illustrator, and typographer. Born in Barcelona and currently based in Brooklyn, NY. He has created album covers for Katy Perry's single "Roar" (2013) as well as The Rolling Stones' "" (2007), among others.
Life and career.
After completing his studies at ELISAVA, Trochut established his own design studio in Barcelona. In Barcelona, Trochut worked for two years at the design studios Toormix and Vasava before relocating to New York City where he currently works for a diverse range of clients on design, illustration and typography. Trochut is the grandson of Spanish graphic artist .
Trochut has created design, illustration and typography for a diverse range of clients: Nike, Adidas, Puma, The Rolling Stones, Katy Perry, Vampire Weekend, Arcade Fire, "Esquire UK", BBC, Coca-Cola, British Airways, Pepsi, "The Guardian", "The New York Times", "Time" and many others.
Awards.
Trochut has been honored for his work in design and typography by The Type Directors Club, "Communication Arts" and "Graphis". In 2008, he was recognized for his inventive lettering style and was named an Art Directors Club Young Gun, honoring designers under 30. In 2014, Binary Prints was celebrated by the "Creative Review" with the coveted Best In Book Award in recognition of the inventive printing technique used to create day and night prints on a single page and recognized by "Lost At E Minor", "Cool Hunting", "It's Nice That", "The New York Times", "Gizmodo", "Vice" magazine's The Creators Project and "Fast Company".
Publications.
His monograph, "More Is More", explores his working methodologies and influences and was published in 2011. "More Is More" was written by Dani Navarro.
Exhibitions.
Trochut's work has been exhibited internationally at Colette, Paris, Kinfolk, New York, Sonar, Barcelona and Art Basel, among other spaces.


Mike Ploog

Michael G. Ploog (; born July 13, 1940 or 1942) is an American storyboard and comic book artist, and a visual designer for films.
In comics, Ploog is best known for his work on Marvel Comics' 1970s "Man-Thing" and "The Monster of Frankenstein" series, and as the initial artist on the features "Ghost Rider" and "Werewolf by Night". His style at the time was heavily influenced by the art of Will Eisner, under whom he apprenticed.
Biography.
Early life and career.
Born in Mankato, Minnesota, Mike Ploog was one of a family of three brothers and a sister raised, initially, on a Minnesota farm. He began drawing while a young child whose imagination was fired by such old-time radio dramas as "Sergeant Preston of the Yukon" and "Gunsmoke", and such thriller anthologies as "Inner Sanctum Mysteries" and "Tales of Horror". After his parents divorced and sold the farm when Ploog was about 10 or 11 years old, his mother took the children to live with her in Burbank, California. Ploog entered the U.S. Marine Corps, leaving in 1968, after 10 years. Toward the end of his hitch, he began working on the Corps' "Leatherneck Magazine", doing bits of writing, photography and art.
Around 1969 he began working on Batman and Superman animated TV-series at the Los Angeles studio Filmation, doing what he called "cleanup work for other artists." The following season he was promoted to layout work on those' characters' series. "Layout," Ploog recalled in a 1998 interview, "is what happens between storyboarding and actual animation; you're literally composing the scenes. You're more or less designing the background, putting the characters into it so they'll look like they're actually walking on the surface". Moving to the Hanna-Barbera studio the following season, he worked on layouts for the animated series "Motormouse and Autocat" and "Wacky Races", as well as "the first "Scooby-Doo" pilot; nothing spectacular, though. It was okay; it was a salary, y'know? ... I had very few aspirations, because I didn't know where anything I was doing was going to take me".
A Hanna-Barbera colleague passed along a flyer he had gotten from writer-artist Will Eisner seeking an assistant on the military instructional publication "PS, The Preventive Maintenance Monthly". Ploog was familiar with it from his Marine Corps days, and knew well the art, though not the artist's name. "I'd been copying his work for years", Ploog said, "because I was doing visual aids and training aids for the military for a long time".
Eisner in 1978 recalled that, "Mike came in working for me in 1967 [sic; Ploog was still in the Marines that year]. I was looking for someone who could work on the "PS" magazine ... and Mike sent me his material, or somebody sent it to me, I don't remember which, and I found myself in California, talking Mike into coming to work for us... We had a very happy relationship for maybe two or three years, four years."
Ploog moved to New York City and remained with Eisner for just over two years. As Ploog recalled:
Marvel Comics and Ghost Rider.
Eventually, at the suggestion of Eisner letterer Ben Oda, Ploog broke into comics at Warren Publishing, doing stories for the company's black-and-white horror-comics magazines. A Western sample he showed Marvel got him a callback to draw "Werewolf by Night", which premiered in "Marvel Spotlight" #2 (Feb. 1972). As Ploog recalled,
After three stories in "Marvel Spotlight", the feature spun off onto its own book. Ploog then helped launched the initial, Johnny Blaze version of the supernatural motorcyclist Ghost Rider, in "Marvel Spotlight" #5 (Aug. 1972), and drew the next three adventures.
The specifics of the character's creation are disputed. Roy Thomas, a Marvel writer and the editor-in-chief at the time, recalls,
Friedrich has responded that,
Ploog recalled, in a 2008 interview:
Ploog and writer Gary Friedrich collaborated on the first six issues of Marvel's "The Monster of Frankenstein" (Jan.-Oct. 1973), the initial four of which contained a more faithful adaptation of Mary Shelley's novel than has mostly appeared elsewhere; comics historian Don Markstein said, "It was faithful to the story even to the point of leaving the monster trapped in the ice at the end — so of course, the fifth issue began with him being rescued." In a 1989 interview, Ploog said, "I really enjoyed doing "Frankenstein" because I related to that naive monster wandering around a world he had no knowledge of — an outsider seeing everything through the eyes of a child." The following year, Ploog teamed with writer Steve Gerber on "Man-Thing" #5-11 (May-Nov. 1974), penciling a critically acclaimed series of stories involving a dead clown, psychic paralysis in the face of modern society, and other topics far removed from the usual fare of comics of the time, with Ploog's cute-but-creepy art style setting off Gerber's trademark intellectual surrealism.
Ploog's other regular titles at Marvel were "Planet of the Apes", "Kull the Destroyer" and the series "Werewolf by Night". Ploog also drew the Don McGregor story "The Reality Manipulators" in the black-and-white comics magazine "Marvel Preview" #8 (Fall 1976), and the Doug Moench feature "Weirdworld" in the color comic "Marvel Premiere" #38 (Oct. 1977), among other items.
He left Marvel following what he describes as "a disagreement with Jim Shooter. I had moved to a farm in Minnesota, and agreed to do a hand-colored 'Weirdworld' story. Marvel backed out of the deal after I had started. I can't remember the details, but it doesn't matter. I think I was ready to move on." Marvel and I were both changing. I finished off a black-and-white Kull book that was my last comic for many years." Richard Marschall, editor of what was to be a 60-page "Weirdworld" by Ploog and writer Moench for one of the "Marvel Super Special" series of one-shots, said at the time that Ploog had been given four months to complete the art, and when it became evident the deadline would not be met, arranged to publish the story in two 30-page installments, giving Ploog two more months. Ploog sent Marvel photocopies of the first 31 pages, and was paid for them. During this time, Marvel had given work-for-hire contracts to its freelancers, many of whom, including Ploog, Frank Brunner, Jack Kirby, Don McGregor, Roger Slifer, and Roger Stern, refused to sign, resulting in cessation of work for Marvel. Ploog "took himself off the project," said Marschall, and retained his original artwork. Moench's script was eventually published as a 106-page story illustrated by penciler John Buscema, inker Rudy Nebres, and airbrush colorist Peter Ledger as the three-part "Warriors of the Shadow Realm" in "Marvel Super Special" #11-13 (Spring - Fall 1979).
Marginalia includes some work for "Heavy Metal" magazine in 1981, and three "Luke Malone, Manhunter" backup features in the Atlas/Seaboard title "Police Action" #1-3 (Feb., April, June 1975), the first of which he also scripted.
Later career.
Ploog returned to the movie industry. By his account, he has worked in post-production on the movie "Ghostbusters" ("All that stuff you saw on cereal boxes are my paintings") and with film director Ralph Bakshi on the animated features "Wizards", "The Lord of the Rings", and "Hey Good Lookin'." He was production designer on "" (1988), and has storyboarded or done other design work on films including John Carpenter's "The Thing", "Superman II", "Little Shop of Horrors" and "The Unbearable Lightness of Being", and, he says, several Jim Henson Company projects, such as the films "The Dark Crystal" and "Labyrinth" and the TV series "The Storyteller."
Between movies, Ploog illustrated "L. Frank Baum's the Life and Adventures of Santa Claus" (1992; ), a graphic novel adapting "The Wonderful Wizard of Oz" creator's 1902 novella.
With old colleague Steve Gerber, Ploog drew the Malibu Comics Ultraverse one-shot "Sludge: Red X-Mas" (Dec. 1994), but otherwise remained away from comics for another decade before teaming with veteran writer J.M. DeMatteis on the CrossGen fantasy "Abadazad" (May 2004).
Ploog has illustrated cards for the "" collectible card game.


Osvaldo Desideri

Osvaldo Desideri (born 16 February 1939) is an Italian art director. He won an Academy Award in the category Best Art Direction for the film "The Last Emperor".


Moss Mabry

Moss Mabry (July 5, 1918 – January 25, 2006) was an American costume designer.
Biography.
He started off designing costumes for his high school plays, but actually studied mechanical engineering at the University of Florida. He later went to Hollywood to attend art school, eventually signing a contract with Warner Bros.. Some of the films he worked on included "Dial M for Murder" and "Them!" (both 1954), "The Manchurian Candidate" and "Mutiny on the Bounty" (both 1962), "The Silencers", "Murderers' Row" (both 1966), "The Detective" (1968), "Bob & Carol & Ted & Alice" (1969), "The Shootist" and "King Kong" (both 1976).
Mabry received four Academy Award nominations throughout his career: for "Giant" in 1956, "What a Way to Go!" in 1964, spy thriller "Morituri" in 1965 and "The Way We Were" in 1973.
One of his most iconic designs was the red jacket sported by James Dean in "Rebel Without a Cause" (1955). Mabry declared that his most difficult filmic assignment was the multiple costume changes required for Elizabeth Taylor in "Giant" (1956), which called for 42 changes of clothing.


Hum Award for Best Onscreen Couple

Best On-screen Couple of the Year is one of the Hum Awards presented annually by the Hum Television Network and Entertainment Channel (HTNEC) to best onscreen couple who has delivered an outstanding chemistry performance while working within the Television industry. Since its inception, however, the award has commonly been referred to as the hum for Best Onscreen Couple. This is one of the viewers choice and voted category in Hum Awards.
History.
Hum Television Network and Entertainment Channel presented this award to one of the acclaimed and famous onscreen couple of Hum Television. As of first ceremony Fawad Khan & Mahira Khan were honored at 1st Hum Awards ceremony 2012 for his performance in "Humsafar".
Winners and nominees.
In the list below, winners are listed first in the colored row, followed by the other nominees. In the list below, winners are listed first in the colored row, followed by the other nominees. Following the hum's practice, the dramas below are listed by year of their Pakistan qualifying run, which is usually (but not always) the drama's year of release.
As of the first ceremony, three Couples were nominated for the award. All were set open for public voting, highest vote couple was awarded the title by Hum.
For the first ceremony, the eligibility period spanned full calendar years. For example, the 1st Hum Awards presented on April 28, 2013, to acknowledged Best Couple of dramas that were released between January, 2012, and December, 2012, the period of eligibility is the full previous calendar year from January 1 to December 31.
Date and the award ceremony shows that the 2010 is the period from 2010-2020 (10 years-decade), while the year above winners and nominees shows that the dramas year in which they were telecast, and the figure in bracket shows the ceremony number, for example; an award ceremony is held for the dramas of its previous year.


New Lost City Ramblers

The New Lost City Ramblers, or NLCR, was an American contemporary old-time string band that formed in New York City in 1958 during the folk revival. Mike Seeger, John Cohen and Tom Paley were its founding members. Tracy Schwarz replaced Paley, who left the group in 1962. Seeger died of cancer in 2009, Paley died in 2017, and Cohen died in 2019. NLCR participated in the old-time music revival, and directly influenced many later musicians.
Career.
The Ramblers distinguished themselves by focusing on the traditional playing styles they heard on old 78rpm records of musicians recorded during the 1920s and 1930s, many of whom had earlier appeared on the "Anthology of American Folk Music". The New Lost City Ramblers refused to "sanitize" these southern sounds as did other folk groups of the time, such as the Weavers or Kingston Trio. Instead, the Ramblers have always strived for an "authentic" sound. However, the Ramblers did not merely copy the old recordings that inspired them. Rather, they would use the various old-time styles they encountered while at the same time not becoming slaves to imitation.
The Ramblers named themselves in response to a request by Moe Asch, based on
an amalgam of a favorite tune, J. E. Mainer's "New Lost Train Blues"; a favorite group, Charlie Poole and the North Carolina Ramblers; and a reference to the urban settings in which they played old-timey music.
On "Songs from the Depression", the New Lost City Ramblers performed a variety of popular political songs from the New Deal days, all but one of them taken from commercially issued 78s, and that one is "Keep Moving", identified in the album notes only as "from Tony Schwartz's collection — singer unidentified" when actually it is by Agnes "Sis" Cunningham, the full title being "How Can You Keep On Moving (Unless You Migrate Too)". The omission later caused Ry Cooder, who listened to the Ramblers album, to record the song as Traditional on the first edition of his "Into the Purple Valley" album, an omission he gladly corrected when informed of it. Cooder also covered another song from the same New Lost City Ramblers album, which he may have heard on a poorly labeled cassette copy: "Taxes on the Farmer Feeds Us All" which the New Lost City Ramblers credit to Fiddling John Carson but which the Cooder notes still list as "traditional". The same is true of the track "Boomer's Story", covered by the Ramblers—Cooder credits it as "traditional", but the song was written by Carson Robison and first recorded by him in 1929 under the title "The Railroad Boomer".
In his autobiography, , Bob Dylan described the impression the Ramblers made on him when he heard their records in 1960:
Everything about them appealed to me—their style, their singing, their sound. I liked the way they looked, the way they dressed and I especially liked their name. Their songs rang the gamut in style, everything from mountain ballads to fiddle tunes and railway blues... I'd stay with the Ramblers for days. At the time, I didn't know they were replicating everything they did off old 78 records, but what would it have mattered anyway? It wouldn't have mattered at all. They had originality in spades, were men of mystery. I couldn't listen to them enough.
The group drifted apart during the latter half of the 1960s. Schwarz and Seeger performed with different musicians and together formed the short lived Strange Creek Singers.
The New Lost City Ramblers' extensive recordings for the Folkways label became, after the death of Moe Asch, part of the Smithsonian Institution, which reissues Folkways titles on CD.
John Cohen is said to have inspired the titular John of the Grateful Dead's 1970 song "Uncle John's Band".


Real Pinball

Real Pinball is a video game developed by Japan Dataworks and published by Panasonic for the 3DO. It was released in Japan with the title Fire Ball !!
Gameplay.
"Real Pinball" features a choice of five pinball machines that become increasingly more complicated. Allows for multiball play.
Reception.
"Next Generation" reviewed the game, rating it one star out of five, and stated that "3DO owners will have to wait a little bit longer for a 'real' pinball game to appear."


Neon Chrome

Neon Chrome is a twin-stick shooter video game developed by 10tons.
Gameplay.
"Neon Chrome" is a cyberpunk-themed twin-stick shooter video game played from a top-down perspective. The player takes control of remote controlled human clones and is tasked with eliminating the Overseer to stop their oppressive regime on the dystopic society. The player must ascend to the top floor of the company building where the Overseer is based. The game features procedurally generated levels and destructible environments. The game supports local cooperative play.
Development and release.
"Neon Chrome" was developed and published by 10tons. The game was released for Windows on 28 April 2016, PlayStation 4 on 31 May 2016, Xbox One on 8 June 2016, Linux and macOS on 3 November 2016, and Nintendo Switch on 12 October 2017. In 2017, they released a survival mode called "Arena" as downloadable content.
Reception.
"Neon Chrome" received "mixed or average" reviews on PC and consoles from professional critics according to review aggregator website Metacritic, however the mobile version was more positively received.


Humphrey Bate

Humphrey Bate (May 25, 1875 – June 12, 1936) was an American harmonica player and string band leader. He was the first musician to play old-time music on Nashville-area radio. Bate and his band, which had been given the name "Dr. Humphrey Bate & His Possum Hunters" by Opry founder George D. Hay, were regulars on the Grand Ole Opry until Bate's death in 1936. The band's recordings, while scant, are considered some of the most distinctive and complex string band compositions in the old-time genre.
Early life.
Humphrey Bate was born in Castalian Springs, Tennessee on May 25, 1875 to a prominent Middle Tennessee family. Several of Bate's relatives had served as Confederate officers in the American Civil War, including a captain— also named Humphrey Bate— who was killed at the Battle of Shiloh. Bate's cousin, William Brimage Bate, served as Governor of Tennessee in the 1880s. The Bate family owned several plantations throughout the southeast, and Humphrey probably learned to play dance tunes from freed slaves living on his father's plantation in Castalian Springs.
Throughout his teen years, Bate collected pocket change by playing harmonica on steamboats travelling up and down the Cumberland River. He eventually attended medical school at Vanderbilt University in Nashville and served as a surgeon in the Spanish–American War (1898). While Bate worked primarily as a physician for most of his life, he never lost his passion for playing music. He likely formed his first string band sometime around 1900, and subsequently acquired a reputation in the Nashville area by playing at various rallies and silent movie theaters.
The Opry years, 1925–1936.
In September 1925, Bate and his band became the first musicians to play old-time music on Nashville radio when they performed on the small local station WDAD. A month later, William Craig, a purchasing agent for the National Life and Accident Insurance Company, invited Bate to play on the company's new radio station, WSM, which could reach a much wider audience than WDAD. Bate happily accepted, and over the following weeks, he and his band— which was typically called "Dr. Bate's Band" or some similar variation— played on WDAD in the afternoon and WSM in the evening.
In November 1925, WSM hired announcer George Hay, who had developed a popular program called National Barn Dance for Chicago radio station WLS. Hay kept the barn dance format for WSM, and sought rural musicians from the Nashville area to play on the program. WSM's "Barn Dance" first aired on November 28, 1925 with legendary fiddler Uncle Jimmy Thompson as its first performer. Bate made his appearance on this particular program three weeks later. The band was first introduced as "Dr. Humphrey Bate and His Augmented String Orchestra," but Hay eventually changed the name to the more rural-sounding "Dr. Humphrey Bate and His Possum Hunters."
In 1927, Hay changed the name of WSM's Barn Dance to the "Grand Ole Opry." Over the next several years, Bate— dubbed the "Dean of the Opry" by Hay— performed regularly on the program. Bate's band was unusually large for a string band, typically consisting of two fiddles, two guitars, a banjo, a cello, and a bowed bass. Regular bandmates included guitarists Burt Hutcherson and Staley Walton, fiddlers Oscar Stone and Bill Barrett, banjo player Walter Liggett, and bassist Oscar Albright. Bate's daughter Alcyone Bate Beasley often performed with the band as a ukulele player. The band's set usually opened with the song, "There'll Be a Hot Time in the Old Town Tonight," and the band's repertoire included "Old Joe," "Greenback Dollar," "Going Uptown," and "Eighth of January."
Dr. Humphrey Bate and His Possum Hunters held their only major recording session on March 3, 1928 in Atlanta, when they recorded twelve sides for Brunswick Records. In 1931, the band became the first Opry band to go on tour. Bate was also instrumental in introducing Hay to various Nashville-area musicians, including the Crook Brothers and DeFord Bailey. On June 12, 1936, Bate died of a heart attack at his home in Castalian Springs. The Possum Hunters continued playing with various line-ups (some of which included Bate's son, Humphrey, Jr.) until the 1960s.
Bate's home in Castalian Springs, Hawthorn Hill, is listed on the National Register of Historic Places. Built c. 1805, it is a Tennessee State Historic Site that will open to the public in 2016.


Joyce Cansfield

Joyce Cansfield (née Patrick) (1929 – 12 October 2019) was a British crossword compiler (compiling under the name "Machiavelli" for "The Listener"), who set more than 1,000 puzzles for "The Times". She was also the 1980 UK national Scrabble champion, 1982 Countdown winner and 1983 Brain of Mensa. She studied for her undergraduate degree in statistics at Westfield College, University of London and her early career involved the running of an early mainframe computer at the UK's Dental Estimates Board in Eastbourne. Later on she worked at the University of Leeds as a statistician.
Cansfield died in 2019.


Francesco Usper

Francesco Usper (real name Spongia or Sponga) (1 November 1561 – 24 February 1641), was an Italian composer and organist born in Rovigno, Istria (now Rovinj, Croatia). He settled in Venice before 1586 and is associated with the confraternity St. Giovanni Evangelista, Venice. He spent most of his life there, serving as organist, chaplain, manager of the adjoining church (the S. Salvador) and administrative officer. Usper studied under Andrea Gabrieli and apparently became a fairly well known composer; he collaborated in the writing of a Requiem mass (now lost) with Giovanni Battista Grillo and Claudio Monteverdi for the Grand Duke Cosimo II, and he served as substitute organist at St. Mark's in 1622 and 1623. Although his music tended towards conservatism, he shows his ability to handle with skill sensitivity to the instrumental styles just emerging in the early 17th century.


Missile Command 3D

Missile Command 3D is a shoot 'em up video game developed by Virtuality Entertainment and published by Atari Corporation exclusively for the Atari Jaguar in North America on December 12, 1995 and Europe on December 15 of the same year. Part of Atari Corp.'s "2000" series, it is an update to Dave Theurer's 1980 arcade game "Missile Command" and the only officially released title that features support for the unreleased Jaguar VR peripheral.
Following the same premise as with the original arcade game, the player must defend six cities in their zone from being destroyed as a regional commander of three anti-missile batteries by attacking an endless hail of ballistic missiles, some of which split like multiple independently targetable reentry vehicles, with new weapons being introduced in later levels.
"Missile Command 3D" received mixed to positive reception since its release but it has been recently referred by publications like "PC Magazine" as one of the best titles for the system. A port for the PC was planned to be published by Atari Interactive, but it was never released.
Gameplay.
"Missile Command 3D" retains the same gameplay elements from its 1980 counterpart such as defending six cities from being attacked and destroyed by an endless wave of missiles, with new enemy weapons being introduced in later levels by commanding 3 anti-missile batteries. However, the game is now divided into three different modes to choose from at the start of the game, each with their own self-contained plot and gameplay elements. High-scores and other settings made by the player are kept via the cartridge's internal EEPROM and the game also features support for the ProController.
Modes.
Original Missile Command is a recreation of the original arcade game. This mode is played by moving a crosshair across the sky background and pressing one of three buttons to launch a counter-missile from the corresponding battery and these explode upon reaching the crosshair, leaving a fireball that persists for several seconds and destroys any enemy missiles that are caught in the zone as a result. Each of the three batteries have ten missiles to start with and they become useless when all of its missiles are fired or if it is destroyed by enemy fire. The level ends either by destroying all the enemy fire or when they reach its set target, with later levels increasing in difficulty and introducing new types of enemy weapons such as the smart bomb, which actively avoids the fireballs left by the player's counter-missiles and can only be destroyed by firing directly to it. Completing a level rewards the player bonus points depending on his performance and destroyed cities can be rebuilt by reaching 10,000 points. The game is over once all the cities are destroyed or the player does not have bonus points to rebuild cities. The mode also allows the player to change the standard background border for other ones, such as a television, an arcade cabinet or an Atari Lynx by pressing 9 on the controller keypad, among other features.
3D Missile Command is mostly similar to Original Missile Command, but the premise now revolves around a group of interstellar colonists starting anew in a planet from a distant solar system but they are soon attacked by an alien race, who are also looking for a new solar system to inhabit. The mode controls and plays similarly to Original mode but now rendered in 3D and the playfield is larger, requiring the player to move the crosshair/camera angle around the area. A radar is now present in the bottom-center of the screen that shows upcoming enemy missiles and vehicles. Asteroids are a new addition to the mode and they will come down to destroy cities, having a similar behavior to the missiles. New to the mode are different missile types and power-ups, which are given to the player by cities that are constantly upgrading after completing a wave, among other additions. Power-ups are also randomly dropped by enemies after being destroyed. As with the original mode, destroyed cities are rebuilt after reaching 10,000 points and the game also ends once all the cities are destroyed or the player does not have enough bonus points to reconstruct them.
Virtual Missile Command takes place in the year 2157, where humans have managed to colonize planets due to the invention of a faster-than-light drive in 2034, making interstellar travel possible but one of newly formed colonies on a planet is under attack from aliens, capable of controlling creatures from the colonized planet to destroy them and is up to the player to defeat the alien race and their forces. Although it inherits the same game design and mechanics from the two previous modes, Virtual mode is played in a first-person perspective instead, with the player's primary main defense mechanism against enemy missiles and enemies themselves on the battery are now lasers, resigning the missiles as a secondary defense mechanism. Players can also move between batteries by pressing either 1, 3, 4 or 6 on the controller's keypad. Similarly to 3D mode, power-ups are randomly dropped by destroyed enemy aircraft and they range from laser upgrades, which improves the firepower of the battery's laser cannons up to four times, ammo to refill laser energy and missiles, among others. There are only three stages in this mode, each one divided into three waves and having their own thematic. In addition, bosses are now introduced at the end of each wave. The game ends once all cities or batteries in the level are destroyed. It is the only mode that features support for the unreleased Jaguar VR headset.
Development and release.
Plans for a virtual reality headset for the Jaguar were set before the system was officially launched to market, with Atari Corporation originally approaching to Virtuality Group in 1993 but they did not settled an agreement with the latter for unknown reasons, but on October 1994 Atari Corp. announced their partnership with Virtuality to create a headset for the Jaguar that would have been released on stores by Christmas 1995 and was originally set to be retailed at US$200. The development of the headset for the system was started before Nintendo officially unveiled their own virtual reality console, the Virtual Boy, a month later. The unit itself was revealed at WCES 1995, with both "GameFan" and "GamePro" magazines showcasing a mock up design of the headset in their January and February 1995 issues respectively.
"Missile Command 3D" was originally unveiled at E3 1995 under the working title "Missile Command 2000" in a very early but playable state, showcasing the Jaguar VR headset's capabilities in action. However, both "Edge" and "Next Generation" magazines pointed out in their July and August 1995 issues respectively that the prototype on the show floor was an arcade system board from Virtuality disguised as the Jaguar VR and that the retail price was increased to US$300. "Zone Hunter", a virtual reality first-person shooter arcade game by the same developer, was also announced to be released for the Jaguar VR and a demo was created for demonstration purposes, with plans to be released alongside the headset at launch that never materialized.
Both "Missile Command 2000" and the Jaguar VR headset were covered by video game outlets who were invited to Atari Corp.'s US and UK divisions. Although the game was released in December under its final name, the Jaguar VR continued to be promoted in magazines but on October of the same year, the deal between the two companies was falling through. In 1996, the agreement with Virtuality was abandoned, leaving the planned headset unreleased, with Atari Corp. themselves citing health issues as one of the reasons for its cancellation. Virtuality never received any payment from Atari Corp. for their work on the peripheral. The game was also showcased during the Fun 'n' Games Day event hosted by Atari.
In an interview with online magazine Jaguar Explorer Online on March 1997, programmer Martin Brownlow recounted about the development process of "Missile Command 3D" after it was released. Martin stated that the project took six months to complete and despite being initially skeptical to work on a virtual reality version of "Missile Command", he nevertheless decided to be involved with it. He also said the game had a troubled development cycle due to lack of support and meddling from Atari themselves and that the dragon boss found in the second stage of Virtual mode was inspired by "Panzer Dragoon" on Sega Saturn.
Reception.
"Missile Command 3D" received mixed to positive reviews when it was released.
"Next Generation" reviewed the Jaguar version of the game, and stated that "perhaps if the gameplay had been built upon to an even further extent, the game would have more of an impact, but as it is, there's just not much to get excited about".
Legacy.
Prior to the release of "Missile Command 3D", a virtual reality arcade game titled "Missile Command VR" was also developed and released by Virtuality under the license of Atari Games in 1994 and used the 2000SU hardware model.
After Atari Corporation discontinued the Jaguar and merged with JT Storage in 1996, all prototypes of the Jaguar VR headset were allegedly destroyed, however two working prototype units, one in low-resolution with red and grey-colored pieces and another in high-resolution with blue and grey-colored pieces, have since been recovered by private video game collectors and they are regularly showcased alongside "Missile Command 3D" and an earlier build of the game titled "Missile Command VR" at multiple Jaguar-dedicated festivals such as JagFest 2K1 and other retro gaming-themed conventions and festivals.
Besides "Zone Hunter", other games were planned to be developed and released for the Jaguar by Virtuality such as the 1991 arcade mech game "Exorex", a virtual reality version of "Space Invaders", a racing game titled "Classic Traxx", conversions of "Buggy Ball" and "Dactyl Nightmare", among others.
In a 2016 forum post at AtariAge by video game collector Clint Thompson, with Martin Brownlow, former Virtuality CEO Jonathan D. Waldern and other former employees of the company, it was stated that the source code of "Missile Command 3D" has become lost with time, due to the developer splitting into multiple companies between 1999 and 2001. A third Jaguar VR prototype unit was found in September 14, 2017.


Prix Iris for Best Art Direction

The Prix Iris for Best Art Direction () is an annual film award presented by Québec Cinéma as part of the Prix Iris awards program, to honour the year's best art direction in the Cinema of Quebec.
Until 2016, it was known as the Jutra Award for Best Art Direction in memory of influential Quebec film director Claude Jutra. Following the withdrawal of Jutra's name from the award, the 2016 award was presented under the name Québec Cinéma. The Prix Iris name was announced in October 2016.


Cathie Jung

Cathie Jung (born 1937) is an American Victorian dress and corset enthusiast residing in Manteo, NC, United States. She holds the Guinness World Record for the smallest waist on a living person. Jung, who is tall, has a waist that measures .
Jung appears uncredited, by her own choice, due to the undesirable contents, in the Matthew Barney film "Cremaster 2" in the role of Baby Fay La Foe.


Rebelstar Raiders


Radio Silence Productions

Radio Silence is an American trio of filmmakers based in Los Angeles. The group is known for "Ready or Not", "V/H/S", "Devil's Due", and "Southbound", as well as their previous work together as Chad, Matt & Rob.
Members.
"Radio Silence" was formed in 2011 by Matt Bettinelli-Olpin, Tyler Gillett, Justin Martinez and Chad Villella. The collective had worked together previously as Chad, Matt & Rob and were known for their blend of comedy, adventure, sci-fi and horror. Martinez later left the group.
Film.
"V/H/S".
The Radio Silence segment of "V/H/S" titled "10/31/98" is set on Halloween as a group of friends go in search for a Halloween party. According to an interview with Complex, Radio Silence was brought into the "V/H/S" fold after producer Brad Miska saw "Mountain Devil Prank Fails Horribly". Their segment was shot over four days around Los Angeles in August 2011.
The film was purchased at the 2012 Sundance Film Festival by Magnolia Pictures for slightly over $1 million. Limited theatrical release began October 5, 2012 in the United States and November 1, 2012 in Argentina. It was released onto DVD, Blu-ray, and digital download on December 4, 2012, and a limited edition VHS version was released on February 5, 2013.
"Devil's Due".
In 2014, the group's horror thriller "Devil's Due" was released on January 17, 2014, by 20th Century Fox. Made for $7 million, the film went on to gross $36.9 million. Director Eli Roth was vocal in his support of the film and in a series of posts on his official Twitter account, wrote "Don't pre-judge "Devil's Due" because "Rosemary's Baby" is a 'holy grail' movie. It's so smart, creative, inventive, and fun. Very very scary. The guys at Radio Silence killed it. "Devil's Due" is a legit scary, smart, horror film. So many awesome scenes. I loved it." Scott Weinberg of "Fearnet" described the film as "a darkly passionate homage to Rosemary's Baby, the similarities are both intentional and affectionate."
"Southbound".
"Southbound" premiered at the 2015 Toronto International Film Festival and released theatrically by the Orchard on February 5, 2016. "The New York Times" Neil Genzlinger gave the film a positive review and wrote "Its five segments do what they're supposed to do—unsettle you—but as a bonus, they also leave you wanting more. These are fragments more than complete stories, and the incompleteness is its own kind of creepiness. The filmmakers aren't after tidy tales, neatly connected and concluded. They know that the human mind finds loose ends unnerving." Richard Roeper of the "Chicago Sun-Times", who wrote that "It's one of the smartest and scariest movies in recent memory" and "Rolling Stone"s David Ehrlich wrote that the movie was "Like episodes of "Twilight Zone" that a baked Rod Serling might have written after watching "Carnival of Souls", these chapters are eerie to the extreme, and seedy enough to make you feel like you're watching something you were never meant to see. It gets under your skin because it knows there's nothing scarier than realizing that—no matter how far you drive—the evil in your rearview mirror is always closer than it appears."
"Ready or Not".
"Ready or Not" is a 2019 American comedy horror film directed by Matt Bettinelli-Olpin and Tyler Gillett from a screenplay by Guy Busick and R. Christopher Murphy. The film stars Samara Weaving as a newlywed who becomes hunted by her spouse's family as part of their wedding night ritual. Mark O'Brien portrays her husband, with Adam Brody, Henry Czerny, and Andie MacDowell as members of his family. "Ready or Not" had its world premiere at the Fantasia International Film Festival on July 27, 2019, and was theatrically released on August 21, 2019 by Fox Searchlight Pictures. It grossed over $57 million against a $6 million budget, making just under 29 million both domestically and overseas. The film has received generally positive reviews from critics, for its blend of subversive humor and crowd pleasing thrills.
"Scream".
In March 2020, it was announced that Matt Bettinelli-Olpin and Tyler Gillett would direct and Chad Villella would executive produce the fifth installment of the "Scream" franchise and that the film is currently in development. In June 2020, Variety reported that the film is set to be distributed by Paramount Pictures. The film is scheduled to be released on January 14, 2022.
Digital.
"Chad, Matt & Rob".
The group first worked together on a series of Interactive Adventures and a found footage short film called "Mountain Devil Prank Fails Horribly" for the Chad, Matt & Rob website.
"The Crawl".
On Halloween 2016, the trio premiered their first podcast titled "The Crawl with Radio Silence" described as "In-depth conversations with film and TV artists of all stripes for a behind-the-scenes look at some of the most interesting and overlooked careers in entertainment."


Amy (video game)

Amy is a survival horror stealth video game, released in 2012, developed by VectorCell and published by Lexis Numérique. "Amy" depicts the journey of Amy, an autistic child with supernatural powers, and her protector Lana. In a city suffering from a zombie-type infection which Amy is immune to (and can heal Lana from), Lana must stay near her young charge, for frequent healing, while protecting her from the infected, and the Phoenix Foundation who hopes to exploit her. "Amy" received negative critical reviews, due to technical issues, clunky controls, voice-acting, game design, and poorly implemented gameplay and story ideas, although its story concept, gameplay ideas, music, sound design and art direction were praised, with most noting that it had unique ideas and a good atmosphere. Updates were released to address some of the complaints, primarily technical issues.
Gameplay.
The player controls Lana, the woman escorting Amy and protecting her as the two attempt to escape their disease-ridden town. They encounter monsters and the military, among other foes, in their attempt to escape. The player is forced to protect Amy from the zombies, often making her hide, to avoid detection. However, Lana starts succumbing to the plague without medicine, and thus must remain close to Amy, to return for healing. There are syringes infrequently, which allow Lana to heal without returning to Amy. However, when Lana is somewhat infected, she can safely walk past zombies, which necessitates a balance between healing and zombification. At certain times, Lana must rely on Amy for other abilities: Amy can use shockwaves, to push enemies and objects, causing distractions, as well as a sound bubble, muffling glass either being smashed or stepped on, defending Lana. Amy also hacks computers and climbs through vents when Lana needs her to.
Plot.
The player must escort Amy, an autistic 8-year-old as they try to get her out of a city overrun with wild creatures and enemies. Lana (Sabine Crossen) and Amy are traveling to a doctor in Silver City via train, when an explosion derails the train, and their plans. They discover that the people have been turned to monsters via a strange infection, and must escape the monsters, as they continue their journey to the city. They must also fend off the Phoenix Foundation, an organisation who intends to control Amy and exploit her strange powers.
Development.
On 3 April 2012, VectorCell announced a patch for "Amy" on the game's official Facebook page. The patch was released on 6 April. Major changes include the saving of the player's progress during chapters, the addition of more checkpoints, skipping of sequences in-game and several corrections to the subtitles.
Reception.
"Amy" received "generally unfavorable reviews" on both platforms according to the review aggregation website Metacritic. IGN's Colin Moriarty stated at the end of his review that he "spent at least a dozen hours with ["Amy"], got as far as the end portion of the fifth chapter, and gave up out of sheer anger and frustration." "Game Informer"s Jeff Cork stated that "as a downloadable title, I wasn't expecting ["Amy"] to measure up against the triple-A juggernauts of the survival horror genre. However, I was expecting a game that was at least playable and contained some kind of entertainment. Make no mistake: Whether ["Amy"] is delivered to you via download, retail SKU, direct brain wave, or retinal implant, it is terrible and should be avoided." Jim Sterling of "Destructoid" went as far in his review as to describe "Amy" as "one of the worst games ever made". Ben "Yahtzee" Croshaw of "The Escapist" criticized the game's awkward camera views, poor optimization to Xbox, and also gave up the game in frustration due to the addition of poorly implemented stealth mechanics, and later stated that it was the worst game of 2012 and the second worst game of the entire 2010s behind "Hunt Down the Freeman". The most positive PlayStation 3 review was given by Thomas Pichler from "GamingXP". He praised the main protagonist, but criticized the periodical lack of explanation of what to do next. Alan Bradley of GamesRadar+ said "Amy" was boring and no fun to play and really unpleasant for most of the time. He also criticised the combination of a bad control system and widely spaced checkpoints that meant the player would have to repeat sections numerous times.
411Mania gave the Xbox 360 version a score of 3.3 out of 10 and said that it "tries to offer something new. The good news is that it does introduce some new gameplay concepts that can be toyed with by developers. The bad news, the controls and gameplay are implemented in such a way the game will just leave you frustrated and angry." Susan Arendt of "The Escapist" gave the same console version one-and-a-half stars out of five and stated, "Pick something to hate about videogames, and "Amy" has it. Graphics glitches, lousy design, repetitious gameplay, mushy controls, bad acting, horrible save system ... it's all there. The game's few good ideas simply aren't enough to suffer through the amount of crap surrounding them." "The A.V. Club" gave the same console version a D, saying, "Oddly, it is tempting to look forward to a second outing, however unlikely. Because videogame disasters this gruesome are fascinating. And, to be dangerously optimistic, "Amy" can't get much worse." "Metro UK" gave the same console version one out of ten, saying, "Awful in almost every possible aspect, this hugely disappointing download is not just a failure as a survival horror but as a video game." "The Digital Fix" gave the PlayStation 3 version a score of one out of ten, saying, "If you need to satiate your survival-horror appetite go revisit the "Resident Evil" series, "Clock Tower" or "Parasite Eve" as you will get much more interesting and developed games despite them being released over a decade ago."
It was included among the worst games of all time by GamesRadar+ in 2014 and in 2017.


Wade Mainer

Wade Echard Mainer (April 21, 1907 – September 12, 2011) was an American country singer and banjoist. With his band, the Sons of the Mountaineers, he is credited with bridging the gap between old-time mountain music and Bluegrass and is sometimes called the "Grandfather of Bluegrass." In addition, he innovated a two-finger banjo fingerpicking style, which was a precursor to modern three-finger bluegrass styles.
Originally from North Carolina, Mainer's main influences came from the mountain music of his family. In a career that began in 1934 and spanned almost six decades, Mainer transitioned from being a member of his brother's band into the founder of his own ensemble, the Sons of the Mountaineers, with whom he performed until 1953, when he became more deeply involved with his Christianity and left the music industry. After working at a General Motors factory and attending gospel revivals, Mainer was convinced that he should restart his career as a Christian gospel musician and began to tour with his wife in this capacity. He continued to release albums until 1993.
Personal life.
Mainer was born near Weaverville, North Carolina, on a mountain farm in Buncombe County on April 21, 1907. His family was poor during his childhood and they lived in a log cabin in the Blue Ridge Mountains. Mainer credited his father who was, in Mainer's words, "a good singer – real stout voice", as of one of his influences. During his career as a musical artist, Mainer would perform many of the old songs that he had heard from his father.
Mainer grew up listening to traditional mountain music and was largely influenced by his brother-in-law Roscoe Banks. He first learned to play the banjo at square dances, where he would pick up instruments left by performers and practice on them. After moving to Concord, North Carolina and working in a series of jobs at cotton mills, he became a part of his brother J.E.'s band, known as J. E. Mainer's Mountaineers. His entry into the band in 1934 marked the beginning of a nearly six-decade career in music. J.E. played the fiddle while Wade performed on the banjo for the string band, and they played at fiddlers' conventions and other gatherings.
Mainer married Julia Mae Brown at the end of 1937, shortly after forming his own band. Brown was a singer and guitarist popularly known at the time as "Hillbilly Lilly". She had performed from 1935 until 1937 at WSJS Radio in Winston-Salem. Brown is considered to be a pioneering female musical artist and later joined Mainer during his performances.
Musical career.
Mainer's first recordings came in 1934 and are compiled on "Ragged But Right: 30's Country Bands". Mainer performed with The Mountaineers on tracks such as "Maple on the Hill", "Seven and a Half" and "Johnson's Old Grey Mule". Also included on the compilation are Mainer's later collaboration "Short Life and It's Trouble" with Zeke Morris, his solo effort "Riding on That Train 45" and a sample song "Mitchell Blues" from his band the Sons of the Mountaineers. Throughout his career, he was noted for his unique and innovative two-finger banjo fingerpicking style, which some view as a precursor to three finger bluegrass banjo styles. Mainer took jobs at local radio stations to increase the visibility of his relative's ensemble, recording classics such as "Take Me in the Lifeboat". During this time, he appeared on many regional stations including WBT in Charlotte, WPTF in Raleigh, WNOX in Knoxville and WPAQ in Mount Airy.
Mainer performed in a series of live radio shows with The Mountaineers, sponsored by Crazy Water Crystals laxatives. In 1934, J.W. Fincher, the head of the company, observed their popularity at the first gig, the "Crazy Water Crystal Barn Dance", a radio program out of Charlotte. Under the name J. E. Mainer's Crazy Mountaineers, they toured the American South on live radio shows and recorded fourteen songs for Bluebird Records. "Maple on the Hill", which according to the National Endowment for the Arts was their biggest hit, had originally been composed in the 1890s by Gussie L. Davis.
Mainer was in his brother J.E.'s band for two years, until he left for more traditional work, which at the time was far more profitable than his musical career. Making only five dollars a week under sponsorship, Mainer found that he could earn up to three times as much working at a yarn mill, which he described as being "gold" for the era. After leaving his brother's group in 1936, he began to perform duet work with Zeke Morris, who was a bandmate from The Mountaineers. After a time working on this project, Mainer left to form the short-lived "Smilin' Rangers" which later became "Sons of the Pioneers". Zeke Morris then got together with his brother Wiley to form The Morris Brothers.
Sons of the Mountaineers.
Mainer named this new band Sons of the Mountaineers. Its initial lineup included Jay Hugh Hall and Clyde Moody as guitarists with Steve Ledford as a fiddler. Among the musicians who would join the group later were Jack and Curly Shelton, Tiny Dodson, Red Rector and Fred Smith. The band got its start performing on the radio and recording songs for Bluebird Records and their first hit, entitled "Sparkling Blue Eyes" was recorded in 1939. From 1935 through 1941, Mainer recorded over 165 songs for the record label RCA Victor in various lineups, ranking him among the most prolifically recorded country music artists of that period.
The Sons of the Mountaineers briefly stopped playing during World War II because Mainer could not afford to squander the valuable gasoline required for the journey to the radio stations. One notable exception, however, came in 1941, when they were invited to the White House by Eleanor Roosevelt and Alan Lomax. There in Washington D.C., they played several tunes, including "Down in the Willow Garden", a song personally requested by President Franklin Delano Roosevelt. During this time, they also appeared in a version of "The Chisholm Trail" in New York City. At wars' end, the band was reorganized and once again began to play at stations across North Carolina. Recordings at this time were sporadic, due to the declining popularity of the genre. In 1953, after having renewed his commitment to Christianity, Mainer left the group and exited the industry for a time.
Later life.
In 1953, Mainer and his wife settled in Flint, Michigan, where he found work at a General Motors factory. Although renouncing both the music industry and his trademark instrument, the banjo, he and Julia did continue to sing at gospel revival meetings. In the early 1960s, Molly O'Day convinced him that he could use the banjo in gospel recordings, which spurred a series of religiously themed banjo albums beginning in 1961. He also began to record and tour with his wife.
Mainer retired from General Motors in 1973. Mainer has been credited with bridging the gap between old-time mountain music and Bluegrass and musicians such as Bill Monroe, Ralph Stanley and Doc Watson have all cited Mainer as a source of influence. He has also been called the "Grandfather of Bluegrass." His influence was not limited to the United States. Pete Smith, of the British newspaper "The Advertiser", in a report for Mainer's 100th birthday, cited Mainer as "one of the most influential figures in the development of modern bluegrass," noting his picking style and his efforts in bringing bluegrass closer to the mainstream. In addition, Smith also credits him for making the banjo, an instrument previously described as "satanic," acceptable for spiritually-themed music. Mainer continued to live with his wife in Flint, where he celebrated his centenary in 2007 and performed at a concert for his 101st birthday in 2008.
Awards and honours.
Mainer is a recipient of a 1987 National Heritage Fellowship awarded by the National Endowment for the Arts, which is the United States government's highest honor in the folk and traditional arts. In 1996 he received the Michigan Heritage Award and the Michigan Country Music Association and Services' Lifetime Achievement Award. In 1998 both he and his wife were inducted into the Michigan Country Music Hall of Fame, while Mainer received North Carolina's Surry Arts Council Lifetime Achievement.


Alessandra Querzola

Alessandra Querzola is an Italian set decorator born in Trieste. She is best known for her work on the 2017 film "Blade Runner 2049" for which she was co-nominated for the Academy Award for Best Production Design.


Hannah Beachler

Hannah Beachler () is an American production designer. She worked on the 2015 Rocky film "Creed", the Miles Davis biopic "Miles Ahead," and most recently has become known for the film "Moonlight", Beyoncé's 2016 TV special and visual album "Lemonade", and for her Afrofuturist design direction on the film "Black Panther", for which she won an Academy Award for Best Production Design. She was the first African-American to be nominated in the same category, as well as the first to win.
Life and career.
Beachler grew up in Centerville, Ohio, and graduated from the University of Cincinnati, studying fashion design. She attended Wright State University in Dayton, Ohio where she studied film. She first collaborated with director Ryan Coogler on 2013's "Fruitvale Station;" this led to Coogler contacting her to work as his production designer on "Creed", and later to their working together on "Black Panther".
"Fruitvale Station", covering the shooting of Oscar Grant, was filmed on a limited budget and required Beachler's creativity to come up with low-cost ideas; she used her own Bay Area Rapid Transit card that is seen in the visor of a car Grant is driving. "Fruitvale Station" won the Grand Jury Prize for Best Film and the Audience Award for Best Film at the Sundance Film Festival in 2013.
For "Creed", Beachler watched the first four Rocky films for inspiration. She was responsible for designing Front Street Gym that appears prominently in the film. She visited a number of gyms across the United States, but particularly in Philadelphia where the film series is based, in order to get a good idea of what the set should look like. She designed the entire gym including the professionally sized boxing ring, and her plans ensured that cameras could get a 360-degree view of everything.
For the outdoor scenes in "Miles Ahead", Beachler searched through numerous photograph archives to accurately capture the scenes in New York City from the 1950s to the 1970s, but ultimately took inspiration from some silent film shot from a car window, that was posted on YouTube decades later. She used no stage shots in the entire film; the set of Davis' home was a disused church in Cincinnati that was gutted and renovated to resemble a multi-layer house including a basement recording studio.
As the production designer on Marvel's "Black Panther", Beachler oversaw a $30 million art budget and a crew of several hundred people. Beachler is the first-ever female production designer of a Marvel film, and was the second person hired for it behind director Ryan Coogler. To research the project, she first spent time in Cape Town, South Africa, and then traveled the region with the rest of the crew to get a sense of the countryside and cultures represented there. "It’s all different, and they’re different countries..." Beachler explained: "you can’t represent everything, but I can certainly interpret the fact that there are so many different things within [its fictional country of] Wakanda and within that one culture." For her work on "Black Panther", Beachler became the first African-American to be nominated for the Academy Award for Best Production Design, as well as the first to win the category.


Hiromichi Tanaka

 is a Japanese video game developer, game producer, game director and game designer. He was Senior Vice President of Software Development at Square Enix (formerly Square) and the head of the company's Product Development Division-3.
Biography.
In 1983, Tanaka dropped out of Yokohama National University along with Hironobu Sakaguchi to join Square, a newly formed software branch of the Denyuusha Electric Company. Along with Sakaguchi and Kazuhiko Aoki, Tanaka was part of Square's original Planning and Development department.
He is best known as the former lead developer of "Final Fantasy XI", Square's first massively multiplayer online role playing game (MMORPG). He oversaw ongoing development of that title and "Final Fantasy XIV" until late 2010. He also worked in a prominent role for earlier single-player games including "Secret of Mana", "Seiken Densetsu 3", "Xenogears", "Threads of Fate", "Chrono Cross", and the Nintendo DS version of "Final Fantasy III". (Tanaka had also worked on the original Famicon version of "Final Fantasy III" in 1990).
"Final Fantasy XIV" received a hostile reception from critics and players, and was considered a financial disaster for Square Enix. Three months after its release in 2010, Tanaka was removed from the "Final Fantasy XIV" team and replaced by Naoki Yoshida. At the Vana'diel Fan Festival 2012, a festival celebrating Final Fantasy XI's 10th anniversary, Tanaka announced his departure from Square Enix due to health reasons. In 2012, Tanaka joined GungHo Online Entertainment as a freelance adviser to the company.


Future Crew

Future Crew was a Finnish demogroup that created PC demos and software, active mostly between 1987 and 1994.
History.
The group was founded in 1986 by PSI (Sami Tammilehto) and JPM (Jussi Markula) as a Commodore 64 group, before moving to the PC demoscene in 1988; other members included, over time, Trug, Wildfire, Pixel, ICE, GORE, Abyss, Purple Motion, and Skaven, as well as several others not listed here.
Noteworthy demos by Future Crew include Unreal (released at Assembly 1992), "Panic" (released at The Party 1992) and "Second Reality" (released at Assembly 1993). Second Reality may be considered one of the most influential PC demos ever made. Future Crew was also responsible for the popular MOD editor "Scream Tracker", which was fashioned after the Amiga Soundtracker, as well as the "Advanced DigiPlayer" sound editor and later became itself inspiration for other trackers like the Impulse Tracker.
Future Crew was co-organizer of the first Assembly demo party in 1992, and continued organizing the annual party until 1995, when the organization set up the Finnish company "ASSEMBLY Organizing" in order to "provide a solid financial basis for the events and a reliable partner for our sponsors". Long time Future Crew member Abyss is one of the party's main organizers.
Future Crew did not release anything as a group after Scream Tracker 3 (December 1994). While it was never officially dissolved, its members parted ways in the second half of the 1990s. Companies like Futuremark (3DMark), Remedy ("Death Rally", "Max Payne", "Alan Wake"), Bugbear Entertainment ("FlatOut", "Glimmerati", "Rally Trophy"), Bitboys (a graphics hardware company) and Recoil Games ("Rochard") were all started in whole or in part by members of Future Crew. Prior to their dissolution they also contributed graphics to the game "Ken's Labyrinth" published by Epic MegaGames.
Reception and impact.
The Future Crew was an influential pioneer for the PC demoscene and the PC as multimedia device in general and achieved therefore wider public recognition.
Awards and tributes.
Slashdot voted the Future Crew Demo Second Reality as one of the "Top 10 Hacks of All Time".
Tributes to Future Crew include a 3D graphics benchmark called "Final Reality" by Remedy Entertainment (shown at Assembly 1997), and a remake of Second Reality for the Commodore 64 by Smash Designs called "Second Reality 64" (released at The Party 1997).
Nectarine Records has released an album containing the most known songs of Future Crew in 24-bit remastered as a tribute. The album's name is "Metropolis", and it's free to download through internet.
Members.
These are the members of the group at the time it released Second Reality:
Releases.
Future Crew released the following productions on the PC demoscene :


Denny Thorley

Denny Thorley is a video game designer.
Career.
In 1995, Denny Thorley and Jordan Weisman formed a new company, FASA Interactive and then FASA Corporation (the RPG company) provided FASA Interactive with a license for its properties in return for stock.
Thorley was also president of Day 1 Studios. "MechAssault" was initiated when Thorley approached Jon Kimmich of Microsoft about developing an original "BattleTech" game built from the ground up to support console play.


VMan

VMan is a magazine featuring men's clothing published as an offshoot of "V" magazine.
History and profile.
"VMan" was established in 2003, and is published quarterly by Visionaire Publishing, also responsible for "V" and "Visionaire".


The Anthology of Rap

The Anthology of Rap is a 2010 rap music anthology published by Yale University Press, with Adam Bradley and Andrew DuBois as the editors. Henry Louis Gates, Jr. wrote the foreword, while Chuck D and Common wrote the afterwords. Bradley and DuBois are English professors, at the associate level at the University of Colorado and University of Toronto Scarborough, respectively. It was published on November 9, 2010.
The book is about 800 pages long. It includes rap lyrics, sorted by chronology and era from 1978 until the book's publication. It also discusses the history and cultural influence of the genre.
Sam Anderson of "New York Magazine" described the book as "an English major’s hip-hop bible, an impossible fusion of street cred and book learning." Andrew Pettie of "The Daily Telegraph" characterized the book's idea, under "grave, academic intentions", as: "rap lyrics should be treated by academics with the same chin-stroking seriousness they traditionally reserve for poetry."
Contents.
The book has no footnotes.
Reception.
The book received considerable critical attention, attracting both praise and criticism.
Writing in the New York Times, Alan Light observed that “this landmark work chronicles an earth-shattering movement with deep roots.”
Dan Chiasson stated in The New York Review of Books that “the Anthology of Rap is among the best books of its kind ever published.”
Paul Devlin of "Slate" stated that the book "is a good start, but it will inspire mixed emotions." According to Devlin, Gates's "eye-opening" foreword "provides deep historical context for rap" and that "it alone makes the book worth owning." Devlin criticized the title, arguing that the omission of the publisher in it "seems to present a claim to definitiveness" that is not warranted. He added that a footnote section would help readers understand elements such as "echoes, cross-references, in-jokes, esoterica".
Pettie stated that the transcription of rap lyrics does not make for an effective presentation as the rhythm of the music is not represented. He also argued against the book's notion that rap lyrics function as poetry since "if placed alongside the English literary canon, rap lyrics aren’t especially complex or challenging." According to Pettie the introduction "is as dry as a Ryvita cracker". He concluded that "by trying to elevate rap to the status of poetry, this anthology only succeeds in spotlighting its limitations."
Anderson stated that he was "evangelically excited" for the book since "It feels like it was published, exclusively for me, by the vanity press of my own subconscious. "
Transcription errors.
Some reviewers and bloggers called attention to alleged transcription errors. Devlin noted some errors in transcription in his first article in "Slate". A blogger named Jay Smooth read the Devlin article, read the book, and found additional transcription mistakes. People commenting in the articles stated that the errors appeared similar to those on the website Online Hip Hop Lyrics Archive (OHHLA).
The authors had asked undergraduates for help transcribing the lyrics; the songs were released around ten years prior to the births of the students. The same students relied on websites for the lyrics, even though websites may have inaccuracies. Even though the editors had contacted the musicians for verification of the lyrics and established a system for verifying the lyrics, many rap songs are not bundled with official printed lyrics. Ultimately Bradley admitted that the book had transcription errors.
Josh Rothman of the "Boston Globe" argued that it was understandable that errors in rap transcriptions occur as such things frequently occur in that field. Devlin also acknowledged the difficulty, but he did have strong criticism for the usage of the OHHLA lyrics. Smooth argued that the editors could have taken more effort to avoid the errors.
For instance, on the Ol’ Dirty Bastard song “Brooklyn Zoo,” The Anthology of Rap transcribes a line as “I drop science like girls be droppin babies,” whereas some critics heard “I drop science like Cosby droppin babies.”
Awards.
New York Magazine selected The Anthology of Rap as one of the best books of 2010, with Anderson noting, "This thrilling (but controversial) textual monument to a thrilling (but controversial) oral tradition wrestles the genre's greatest lyricists out of the airwaves and into cold print. . . . [It] enables something wonderful: the ability to sit in perfect silence and roll around in, for example, the lush Keatsian soundplay of Jay-Z.” The Village Voice, The New England Book Festival, the San Francisco Book Festival, and the Book of the Year Awards all honored The Anthology of Rap as one of the best books of 2010.


Linda Del Rosario

Linda Del Rosario is a Canadian production designer and art director.
With Vancouver-based collaborator Richard Paris and director Atom Egoyan, Del Rosario worked on the films "Speaking Parts" (1989) and "The Adjuster" (1991). The three collaborated again on "Exotica" (1994), where Del Rosario and Paris were tasked to design a "lushly rendered tropical set". They shared the Genie Award for Best Art Direction/Production Design for "Exotica". In 1996, she was production designer for "Never Talk to Strangers", highlighting "cool aquas and fiery reds".
Her other work includes the miniseries "Iron Road". In 2009, Del Rosario won a Leo Award for Best Production Design in a Feature Length Drama for the miniseries.
Filmography.
Her films include:


Sarah Hayes (crossword compiler)

Sarah Hayes, usually known as Arachne, is a British cryptic crossword setter. She sets puzzles for "The Guardian", "The Independent" (as Anarche), the "Financial Times" (as Rosa Klebb), the "New Statesman" (as Aranya), and "The Times", and advanced cryptics for "The Listener" crossword ("The Times"), Enigmatic Variations ("The Daily Telegraph") and the Inquisitor ("The Independent"). Hayes's clues are often smutty or political and make frequent use of the generic "she".
Biography.
Hayes holds an MPhil in Russian and between 1979 and 1997 was a lecturer in Russian studies at the Victoria University of Manchester, where she published "A Study of English Nautical Loanwords in the Russian Language of the Eighteenth Century". Hayes's first crossword was published in the "Independent Saturday Magazine" on 25 May 1996, and after setting some advanced barred grid cryptics for various papers on a freelance basis, she was hired by "The Guardian" to help set up their beginner-level "Quiptic" crossword. From there, she got a regular slot in "The Guardian" and other broadsheets. Hayes also took part in the BBC Radio 4 series "David Baddiel Tries to Understand...", setting a beginner's crossword for the show and putting together a guide to solving cryptics.
After retiring as a lecturer in 1997, Hayes studied for a diploma in intelligence and international relations. She currently lives in Burnage, Manchester, and for several years ran an online bookshop with her husband Nick.
Style.
Hayes describes herself as an "anarcho-horizontalist" and her crosswords often reflect her political leanings – one of her most often cited clues reads "Throw shoe! Bugger invaded Iraq! (6,4)", which has the solution (an anagram of "shoe bugger") and references the Bush shoeing incident. Her other political crosswords have commented on current affairs, such as a puzzle in "The Independent" during the Leveson inquiry that referenced many of the main players in the case, or drawn attention to injustices: one puzzle included hidden messages "" and "" in the form of ninas as part of a campaign against police corruption, while another included the names of undercover police officers from the Special Demonstration Squad who had deceived protesters into sexual relationships.
After her clue "Woman in charge of automobile club (6)" (, a double definition of "motorist" and "golf club") proved surprisingly controversial, Hayes has also made a point of including women and the generic "she" where possible in clues.
Arachne puzzles often use sexual innuendo, to the extent that she is sometimes reined back by her editors.
Pseudonyms.
Her "Guardian" pseudonym, also used in "The Listener" and other puzzles, is drawn from the mythical Greek weaver Arachne, and references her hobby of amateur weaving. "Anarche", used in "The Independent", is an anagram of "Arachne" and hints at her political views. "Rosa Klebb", used in the "Financial Times", is taken from the James Bond villain, and references Hayes's background in Russian and her politics – the name is itself a pun on the Soviet feminist slogan "khleb i rozy". "Aranya", her pseudonym in the "New Statesman", is the Catalan for "spider".


Knowledge is Power (video game)

Knowledge is Power is a 2017 local multiplayer quiz video game developed by British company Wish Studios and published by Sony Interactive Entertainment for the PlayStation 4, as a part of the PlayLink lineup.
Smartphones or tablets are used to play the game via a companion app, which connects to the PlayStation 4 through the host Wi-Fi network.
Gameplay.
"Knowledge is Power" is a fastest finger trivia game for 2-6 players where players use their smart devices as game controllers. Set in a fictional stop-motion animated game show, players choose from eight puppet characters, which they personalize with a selfie and battle it out to become the first to the top of the "Pyramid of Knowledge". An image processing technique called "Generalized Generative Genitals" prevents the uploading of lewd photos. Each play-through consists of three battle rounds, two challenge rounds and a finale.
The battle rounds consist of three multiple choice trivia questions. Players vote for each question's topic - the opener from a selection of four general knowledge categories – and subsequent ones from a selection of categories related to the subject matter of the previous question. In this way, each play-through is unique, with the subject matter determined by player consensus. The challenge rounds consist of one linking challenge – connecting related facts such as sports teams to their corresponding cities – and one sorting challenge – grouping sets of answers under two categories such as Harry Potter spell or Music Artist. The finale is a fastest finger general knowledge quiz played out at the pinnacle of a stepped pyramid, in which the objective is to be the first to the top. Each step is attributed a Power Play and players' starting positions are staggered by their points totals entering the finale. The winner is presented with a "scroll of knowledge", an obscure fact sent to their smartphone.
Integral to "Knowledge Is Power" is a 'Power Play' system, with which, prior to every question, players can select either a strategic advantage for themselves, for example removing potential wrong answers from their answering screen, or to send a prank to an opponent's screen to potentially hinder their ability to answer the question. For example, ‘Freeze’ encases the chosen target's answers in ice, and the recipient is forced to repeatedly tap their screens to free the answers before one can be submitted.
Reception.
"Knowledge is Power" received a Metacritic rating of 71%.
It was generally praised for its aesthetic and use of PlayLink technology. Liam Martin for the Daily Express states "the colourful presentation, silly characters and claymation art style screams fun, and the smartphone controls are more suited to non gamers", but goes on to criticise the game's pacing "it's just a shame there's not enough actual quizzing going on". Similarly, Sam Brooke, in his review for Push Square called Knowledge Is Power "a solid, fun quiz game for when you've got friends or family around" but "there's too much waiting... and not enough actual quizzing going on". Tyler Robertson for Hardcore Gamer writes "Knowledge Is Power is a classic trivia game with a wide breadth of topics... it has some quirks, but ... is a fun game that will get you and your friends fighting for the title of "Master of Useless Facts"".
"Knowledge is Power" was nominated for Best Casual Game at The Independent Game Developers' Association Awards, and for Best Family/Social Game at the Titanium Awards.
Developed by key members of the team behind Relentless Software's BAFTA-winning Buzz! quiz franchise, Knowledge is Power has been described as its 'spiritual successor'.


Hum Award for Best Drama Series

Hum Award for Best Drama Series is one of the Hum Awards of Merit presented annually by the Hum Television Network and Entertainment Channel (HTNEC) to producers working in the Television industry. Since its inception, however, the award has commonly been referred to as the hum for Best Drama Series. While producers are nominated for this award by Hum members who are actors and actresses themselves, winners are selected by the Hum membership as a whole.
History.
Hum Television Network and Entertainment Channel presented this award to producers of Pakistani TV industry, as of first ceremony Only one series was nominated and currently Angeline Malik was honored at 1st Hum Awards ceremony 2012 for her series in "Kitni Girhain Baqi Hain". The name of the category officially termed by the channel is:
Winners and nominees.
In the list below, winners are listed first in the colored row, as of first ceremony only one series was nominated. Following the hum's practice, the Drama series below are listed by year of their Pakistan qualifying run, which is usually (but not always) the drama series year of release.
For the first ceremony, the eligibility period spanned full calendar years. For example, the 1st Hum Awards presented on April 28, 2013, to declared the best sitcoms of the years that were released between January, 2012, and December, 2012, the period of eligibility is the full previous calendar year from January 1 to December 31. While for series, only release effects however the running of series does not matter for example, A series may release before the ceremony held following eligibility criteria but it is not important that series must have complete its production.
Date and the award ceremony shows that the 2010 is the period from 2010-2020 (10 years-decade), while the year above winners and nominees shows that the series year in which they were telecast, and the figure in bracket shows the ceremony number, for example; an award ceremony is held for the dramas of its previous year.


Jakarta Connectors

Jakarta Connectors (JCA; formerly Java EE Connector Architecture and J2EE Connector Architecture) is a Java-based tool for connecting application servers and enterprise information systems (EIS) as part of enterprise application integration (EAI) solutions. While JDBC is specifically used to connect Java applications to databases, JCA is a more generic architecture for connection to legacy systems. JCA was developed under the Java Community Process as JSR 16 (JCA 1.0), JSR 112 (JCA 1.5) and JSR 322 (JCA 1.6).
JCA and Java EE.
J2EE Version 1.3 requires application servers to support JCA Version 1.0. J2EE Version 1.4 requires application servers to support JCA Version 1.5.
Java EE Version 6 requires application servers to support JCA version 1.6.
Contracts.
The Jakarta Connector Architecture defines a standard for connecting a compliant application server to an EIS. It defines a standard set of system-level contracts between the Jakarta EE application server and a resource adapter. The system contracts defined by Version 1.0 of the J2EE Connector Architecture are described by the specification as follows:
JCA Version 1.5 adds system contracts to the specification as follows:
EIS Integration.
JCA adapters can be built to integrate with various Enterprise Information System such as Siebel Systems, SAP AG, Great Plains Systems, Oracle Applications, etc. Siebel provides API to integrate with various platforms like Java, C++, .NET, Visual Basic, etc. For Java it provides an interface called 'Java Data Bean' (JDB). The Siebel adapter provides data access via the JDB API. Great Plains Systems provides an interface called eConnect to integrate with other platforms. SAP provides an interface for Java called SAP Java Connector (SAP JCo).


Hoyt Ming

Hoyt Ming (October 6, 1902 – April 28, 1985) was an American old-time fiddler.
Hoyt Ming was born in Choctaw County, Mississippi. He played fiddle with the Pep Steppers, a family old-time band from Tupelo, sometimes billed as "Floyd Ming and the Pep Steppers", instead of using his real name "Hoyt". For most of his life he was a potato farmer. He played at local dances and fairs until about 1957, when he stopped playing. Interest in the band revived in the 1970s, and they played at the National Folk Festival in 1973 and at the 1974 Smithsonian Festival of American Folklife. They also appeared in a film, "Ode to Billy Joe".


MIT University, Meghalaya

MIT University, Meghalaya (formerly known as University of Technology and Management, Shillong) is a state private university established in 2011, in accordance with Section 3 of the UGC Act. The university is located in Shillong, the state capital of Meghalaya, within the union of India. It is the first Indian university to introduce cloud computing engineering as a field of study, in collaboration with IBM.
MIT University, Meghalaya is part of the MIT Group of Institutions.
Academics.
It offers specialized programs in travel, tourism, finance, retail, engineering and technology sectors. The academic courses at MIT University, Shillong include BBA in Digital Marketing, Hospitality Travel and Tourism, Finance, Marketing and Retail and BTech in cloud computing and Oil and Gas Informatics.


Plaubel Makina

The Plaubel Makina was a series of medium format press cameras. Makina cameras had leaf shutters and rangefinder focusing with collapsible bellows, except for the specialized 69W Proshift model.
The original Makina was manufactured by Plaubel & Co., in Frankfurt am Main, Germany, from 1912 to 1953. Plaubel was later sold to Doi Group, which designed new Makina cameras that sold from 1978 to the 1980s. The Japanese-made Plaubel Makina was a major redesign with Nikkor lenses and integrated metering. It was manufactured first by Copal and later by Mamiya.
Plaubel Makina I - III.
German-made Plaubel Makina models include the 1, 2, 2s, 3, and 3R.
Plaubel Makina 67, W67 & 670.
Models 67 and 670 have Nikkor 80mm f/2.8 lenses. Both models take ten 6×7cm exposures on 120 rollfilm, while the 670 model also accepts 220 rollfilm (20 exposures per roll). Model W67 is similar to the 670 model, but with a wide-angle Nikkor 55 mm lens (roughly equivalent to a 28 mm lens in 135 format). The 55 mm was considered one of the sharpest and most flare-free of any produced during the analogue photography era.
Plaubel Makina 69W Proshift.
The 69W Proshift has a 47 mm Schneider Super-Angulon and makes eight 6×9cm exposures per roll of 120 film. The lens is mounted on a sliding flange which allowed for perspective control in the same manner as shifting the front standard of view camera.


Flag of Florida

The flag of Florida, often referred to as the Florida flag, is the state flag of Florida. It consists of a red saltire on a white background, with the state seal superimposed on the center. The flag's current design has been in use since May 21, 1985, after the Florida state seal was graphically altered and officially sanctioned for use by state officials. In 2001, a survey conducted by the North American Vexillological Association (NAVA) placed Florida's state flag 34th in design quality out of the 72 Canadian provincial, U.S. state and U.S. territorial flags ranked. It is one of three U.S. state flags to feature the words "In God We Trust" (the U.S. national motto), with the other two being those of Georgia and Mississippi.
History.
Spain was a dynastic union and federation of kingdoms when Juan Ponce de León claimed Florida on April 2, 1513. Several banners or standards were used during the first period of settlement and governance in Florida, such as the royal standard of the Crown of Castile in Pensacola and the Cross of Burgundy in St. Augustine. As with other Spanish territories, the Burgundian saltire was generally used in Florida to represent collective Spanish sovereignty between 1513 and 1821.
In 1763, Spain passed control of Florida to Great Britain via the Treaty of Paris. Great Britain used the original union flag with the white diagonal stripes in Florida during this brief period. The British also divided the Florida territory into East Florida, with its capital at St. Augustine, and West Florida, with its capital at Pensacola. The border was the Apalachicola River.
Spain regained control of the Florida Provinces (las Floridas) after the Siege of Pensacola and the Treaty of Paris. In 1785, King Charles III chose a new naval and battle flag for Spain, which was now a more centralized nation-state, and its crown territories. This tri-band of red-gold-red was used with the Burgundian saltire in the provinces of East and West Florida until the they joined the United States in 1821, finally achieving recognition as a state in 1845.
Provisional Flag after Secession.
Between 1821 and 1861, Florida had no official flag. In 1845, at the inauguration of Governor William D. Moseley, a flag was flown with bars of blue, gold, red, white and green, along with the motto "Let Us Alone", however, this never was an official flag. The Naval Ensign of Texas, was used as a provisional flag between January and September 1861, after Florida seceded from the Union and declared itself a "sovereign and independent nation", reaffirming the preamble in the Constitution of 1838. This flag was also used when Floridian forces took control of U.S. forts and a navy yard in Pensacola. Col. William H. Chase was Commander of Floridian troops and the flag is also referred to as the Chase Flag. Later in the year the Florida Legislature passed a law authorizing Governor Perry to design an official flag. His design was the tri-band of the Confederacy but with the blue field extending down and the new seal of Florida within the blue field. As a member of the Confederacy, Florida saw use of all three versions of the Confederate flag. The Bonnie Blue Flag, previously the flag of the short-lived Republic of West Florida, was briefly used as an unofficial flag of the Confederacy. It features a single five-point star centered in a blue background.
Florida Constitution of 1868.
Between 1868 and 1900, the flag of Florida was simply the state seal on a white background. In a discrepancy, however, a later version of the state seal depicts a steamboat with a white flag that includes a red saltire, similar to Florida's current flag. In the late 1890s, Florida governor Francis P. Fleming advocated that St. Andrew's Cross be added so that it would not appear to be a white flag of truce hanging still on a flagpole. Floridians approved the addition of St. Andrew's Cross by popular referendum in 1900. The red saltire of the Cross of Burgundy represents the cross on which St. Andrew was crucified, and the standard can be frequently seen in Florida's historic settlements, such as St. Augustine, today.
Additional perspectives.
Lastly, some historians see the addition of a red saltire as a commemoration of Florida's contributions to the Confederacy by Governor Fleming, who served in the 2nd Florida Regiment of the Confederate army. The addition was made during a period of nostalgia for the "Lost Cause" around the time of the flag's change. According to historian John M. Coski, the adoption of Florida's flag coincided with the rise of Jim Crow laws and segregation, as other former Confederate slave states, such as Mississippi and Alabama, also adopted new state flags around the same time when those states instituted Jim Crow segregation laws themselves:
Not all historians agree. James C. Clark, a lecturer in the University of Central Florida's history department, doesn't believe that Fleming's new flag had anything to do with the Confederacy. “That St. Andrew’s Cross that Fleming added, the red X, dates back to the original flag the Spanish flew over Florida in the 16th century. Canter Brown Jr., a Florida State-educated historian who has written extensively on Florida history says he's "seen no specific evidence linking this flag to the Confederate one.”


Benandsebastian

Benandsebastian is a visual artist duo that was formed in 2006 by Ben Clement (born in 1981 in Oxford, England) and Sebastian de la Cour (born in 1980 in Copenhagen, Denmark). The duo's elaborately crafted sculptural and installation art works have been shown in Europe, in the United States, and in Japan. benandsebastian live and work in Berlin and Copenhagen.
Artistic Practice.
benandsebastian's artworks use the language of architecture as a means of addressing the relationship between the psychological spaces of the mind and the physical spaces of the body and its surroundings. The duo's exhibition, Phantom Limbs, which took 'the presence of absence' as its common theme, showed at The Danish Museum of Art & Design in Copenhagen, Denmark from November 2011 until April 2012 and was on display at Trapholt Museum in Kolding, Denmark, until April 2013.


Manoshi Nath

Manoshi Nath is an Indian costume designer, who works jointly with Rushi Sharma in Bollywood films. Their team has earned Filmfare Award for Best Costume Design two times : 2009 and 2013.
Career.
Manoshi is a Bengali, who was raised in Delhi. She did her schooling from Ramjas School. She met Rushi in 1998. Manoshi had assisted the lead designer as an apprentice for the film Parineeta (2005). She and Rushi together set up their company "Fools’ Paradise" in 2007. The next year they collaborated on Dibakar Banerjee’s Khosla Ka Ghosla. They had designed for Oye Lucky! Lucky Oye! the same year. It was a box-office disaster, but they went on to win Filmfare Award for Best Costume Design for their work on it. She later designed films including Once Upon a Time in Mumbai (2010), Shanghai (2012), Talaash (2012) and Queen (2014), PK (2014), Detective Byomkesh Bakshi (2016), which became the highest grossing Bollywood film of all time, with nearly 754 crore INR. Her designs for Aamir Khan, Sanjay Dutt and Anushka Sharma brought nationwide recognition. Sanjay Dutt wore an Angarkha in typical Rajasthani prints, the Rajasthani Pagdi and Aviators. She and Rushi bought shirts and pants and went to small towns like Mandawa (Rajasthan). In 2015, they received Bollywood Style Award for Best Costume Design for their design provided for Kangana Ranaut who played a royal Indian Queen or Rani. They bought textiles from tiny gullies of Chandni Chowk, denim from the Mohan Singh Palace in Delhi and footwear from the Balli-Maran, Delhi. In 2017, she and Rushi were scheduled to design dresses for Dangal, the highest grossing Indian film of all time. But co-producer Aamir Khan replaced them with Maxima Basu, the assistant director of Slumdog Millionaire, giving the reason that they charged too much money for the film's budget.


MODE (magazine)

MODE (stylized MO"D"E) was a fashion magazine aimed towards plus-size women which launched in the spring of 1997. The magazine was praised for targeting the plus-size consumer with a "Vogue"-like fashion philosophy. "MODE" also helped to increase the growth of the plus-size industry and the caliber of plus-size clothing and advertising. In 1997, "MODE" was named the best new magazine launch by Ad Week and Advertising Age. "MODE" also ran model search competitions in conjunction with the Wilhelmina modeling agency, drawing entries from thousands of hopefuls from the US and Canada. Its circulation was approximately 600,000 at the time of its demise in October 2001.
History.
Publishing veterans Julie Lewit-Nirenberg and Nancy Nadler LeWinter, who had experience for magazines such as "Vogue", "Esquire", "Harper's Bazaar", "Mademoiselle" and "Marie Claire", began developing "MODE" in 1996. The first issue launched in February 1997 with a circulation of 250,000 copies. "MODE" received strong positive reception from readers(over 8,000 pieces of fan mail in just over a year) and from the press. After "MODE" launched, agencies increased their rosters of plus-size models and retailers improved the production value of their advertising. Freedom Publications bought a 50% stake in the magazine in late 1997. "MODE" started a partnership with Butterick Publishing Company to produce patterns, and began planning other ventures including a website, TV programming, and syndicated newspaper columns. The magazine also received acclaim, being named the best new magazine launch by Ad Week and Advertising Age in 1997. "MODE" began running model searches in conjunction with the Wilhelmina modeling agency in 1998, drawing entries from thousands of hopefuls from the US and Canada.
Advance Publications, the parent company of Conde Nast Publications, made negotiations to purchase Lewit and Lewinter Inc. in 2001, but the deal did not go through. Occurring shortly before the time of "MODE" closure was the failure of several designers' ventures into the plus-size market. Versace ("GV Versatile Couture"), Valentino ("Carisma"), and others ceased producing the clothing which "MODE" magazine relied upon, leaving an unfortunate deficit in both the fashion department wardrobes and advertising revenue coffers of "MODE" magazine and its successors. Its circulation was approximately 600,000 at the time of its demise in late 2001.