The Memories Attack

The Memories Attack is a Canadian indie pop duo from Atlantic Canada. The group consists of Eric's Trip guitarist Chris Thompson and Ron Bates of the pop group Orange Glass.

History
Thompson and Bates met during childhood and had worked together previously under Thompson's solo project Moon Socket. They composed their self-titled debut album while living in separate cities, recording in Bates' basement studio when Thompson was able to make the trip to Halifax, Nova Scotia from his home in Fredericton, New Brunswick. The album appeared on the !earshot National Top 50 chart in January, 2007.

Their music has been described as "hazy, sludgy pop" with an "infectiously upbeat, if delicate, feel".

Their track "Love in the Time of Hate" has been in frequent rotation at CBC Radio 3 and reached No. 1 on the R3-30 chart the week of April 26, 2007.

Their second album was released in December 2008 on East Coast label Noyes Records.

Discography
2006: The Memories Attack
2008: The Memories Attack


Subrata Mukherjee

Subrata Mukherjee is an Indian politician who is the Cabinet Minister of Panchayats & Rural development and Water Investigation & Development in the Government of West Bengal. Earlier, he has been Minister for Public Health Engineering. He is a MLA, elected from the Ballygunge constituency in the 2011 West Bengal state assembly election.
He is a former Mayor of Kolkata and Home Minister of West Bengal in Siddhartha Shankar Ray's Government.

Political career
In 1999, he joined hands with Mamata Banerjee, parting ways with the Indian National Congress. This decision came from the Congress MLA, as INTUC denied him of the nomination to the governing body of the ILO for the second term. He was made the Mayor of Kolkata in 2000, as a Trinamool Congress candidate. However, even after being the Mayor as a Trinamool leader, he decided not to resign as a Congress member of the Legislative Assembly. As Mayor, he had dreamt of a 300 ft-high Kolkata gate on EM Bypass, which would have cost Rs. 20-crore. However, the project could not see the daylight, as it could not obtain clearance from the Pollution Control Board.

Ahead of the civic polls in 2005, Mukherjee quit Trinamool Congress following differences with the party chief and returned to the Congress.
In May 2010, he left the Indian National Congress again and rejoined Trinamool Congress, leaving the post of Pradesh Congress Working President.

In 2011, after the Trinamool Congress won a majority in the West Bengal Legislative Assembly, he was made Minister for Public Health Engineering under Chief Minister Mamata Banerjee. In December 2011, he was given the additional charge of Panchayati Raj & Rural Development ministry, and replaced Chandranath Sinha.

In February 2012, he was made the All India President of the INTTUC, instead of Sobhandeb Chatterjee. In 2019 Loksabha Elections he fought from Bankura and lost to Subhas Sarkar of BJP.

Under the leadership of Shri Subrata Mukherjee, the Public Health Engineering Department of the West Bengal Government launched some very innovative yet useful water treatment projects. The Water ATM was installed in Ekdalia Evergreen Club during the Durga Puja Festival of 2015, which would dispense 1 liter of Purified, chilled drinking water at Rs. 2. Seeing the success of the Water ATM during the pujas, the current Chief Minister of the state, Smt. Mamata Banerjee took up the project across the state. The Public Health Engineering Department also took up the project of providing packaged mineral water, Prandhara, in the same year.


Dholmara

Dholmara is a small village of Kokrajhar District, Assam, India. The place is well known for golden langur monkeys.


Development of musical theatre

Development of musical theatre refers to the historical development of theatrical performance combined with music that culminated in the integrated form of modern musical theatre that combines songs, spoken dialogue, acting and dance. Although music has been a part of dramatic presentations since ancient times, modern Western musical theatre developed from several lines of antecedents that evolved over several centuries through the 18th century when the Ballad Opera and pantomime emerged in England and its colonies as the most popular forms of musical entertainment.

In the 19th century, following the development of European operetta, many of the structural elements of modern musical theatre were established by the works of Gilbert and Sullivan in Britain and those of Harrigan and Hart in America. These were followed by the Edwardian musical comedies, beginning in the 1890s in England, and the musical theatre works of American creators like George M. Cohan early in the 20th century. The Princess Theatre musicals in New York City during the First World War, and other smart shows like Of Thee I Sing (1931) were artistic steps forward beyond revues and other frothy entertainments of the early 20th century and led to the modern "book" musical, where songs and dances are fully integrated into a well-made story with serious dramatic goals that is able to evoke genuine emotions other than laughter.

Early antecedents: Antiquity to Middle Ages

The antecedents of musical theatre in Europe can be traced back to the theatre of ancient Greece, where music and dance were included in stage comedies and tragedies during the 5th century BCE. The dramatists Aeschylus and Sophocles composed their own music to accompany their plays and choreographed the dances of the chorus. The 3rd-century BCE Roman comedies of Plautus included song and dance routines performed with orchestrations. The Romans also introduced technical innovations. For example, to make dance steps more audible in large open-air theatres, Roman actors attached metal chips called sabilla to their stage footwear, creating the first tap shoes. The music from all of these forms is lost, however, and they had little influence on later development of musical theatre.

By the Middle Ages, theatre in Europe consisted mostly of travelling minstrels and small performing troupes of performers singing and offering slapstick comedy. In the 12th and 13th centuries, religious dramas, such as The Play of Herod and The Play of Daniel taught the liturgy, set to church chants. Later "mystery plays" were created that told a biblical story in a sequence of entertaining parts. Several pageant wagons (stages on wheels) would move about the city, and a group of actors would tell their part of the story. Once finished, the group would move on with their wagon, and the next group would arrive to tell its part of the story. These plays developed into an autonomous form of musical theatre, with poetic forms sometimes alternating with the prose dialogues and liturgical chants. The poetry was provided with modified or completely new melodies.

Renaissance to the 1800s

The European Renaissance saw older forms evolve into commedia dell'arte, an Italian tradition where raucous clowns improvised their way through familiar stories, and later, opera buffa. In England, Elizabethan and Jacobean plays frequently included music, with performances on organs, lutes, viols and pipes for up to an hour before and during the performance. Plays, perhaps particularly the heavier histories and tragedies, were frequently broken up with a short musical play, perhaps derived from the Italian intermezzo, with music, jokes and dancing, or were followed by an afterpiece known as a jigg, often consisting of scandalous or libellous dialogue set to popular tunes (anticipating the Ballad Opera). Court masques also developed during the Tudor period that involved music, dancing, singing and acting, often with expensive costumes and a complex stage design, sometimes by a renowned architect such as Inigo Jones, presented a deferential allegory flattering to a noble or royal patron. Ben Jonson wrote many masques, often collaborating with Jones. William Shakespeare often included masque-like sections in his plays.

The musical sections of masques developed into sung plays that are recognizable as English operas, the first usually being thought of as William Davenant's The Siege of Rhodes (1656), originally given in a private performance. In France, meanwhile, Molière turned several of his farcical comedies into musical entertainments with songs (music provided by Jean Baptiste Lully) and dance in the late 17th century. His Psyche was the model for an English opera by Thomas Shadwell, The Miser produced in 1672. Davenant produced The Tempest in 1667, which was the first Shakespeare plot set to music, and was then adapted by Shadwell into an opera in 1674 (composed by Matthew Locke and others). About 1683, John Blow composed Venus and Adonis, often considered the first true English-language opera. Blow was followed by Henry Purcell and a brief period of English opera. After the death of Charles II in 1685, English opera began to fall out of fashion.

By the 18th century, the most popular forms of musical theatre in Britain were ballad operas, like John Gay's The Beggar's Opera (1728), that included lyrics written to the tunes of popular songs of the day (often spoofing opera), and later the developing form of pantomime and comic operas with original scores and mostly romantic plot lines, like Michael Balfe's The Bohemian Girl (1845). Meanwhile, on the continent, singspiel, comédie en vaudeville, opéra comique and other forms of light musical entertainment were emerging. Other musical theatre forms developed by the 19th century, such as music hall and melodrama. Melodramas and burlettas, in particular, were popularized partly because most London theatres were licensed only as music halls and not allowed to present plays without music. Some unlicensed theaters avoided the legal restrictions by providing supposedly free musical shows while serving tea at wildly inflated prices. In 1820, a new ordinance restricted all unlicensed theater productions to no more than six songs, which had to be an organic part of the play rather than a break or digression. In any event, what a piece was called did not necessarily define what it was. The Broadway extravaganza The Magic Deer (1852) advertised itself as "A Serio Comico Tragico Operatical Historical Extravaganzical Burletical Tale of Enchantment."

The first recorded long-running play of any kind was The Beggar's Opera, which ran for 62 successive performances in 1728. It would take almost a century before the first play broke 100 performances, with Tom and Jerry, based on the book Life in London (1821), and the record soon reached 150 in the late 1820s. Colonial America did not have a significant theatre presence until 1752, when London entrepreneur William Hallam sent a company of twelve actors to the colonies with his brother Lewis as their manager. They established a theatre in Williamsburg, Virginia and opened with The Merchant of Venice and The Anatomist. The company moved to New York in the summer of 1753, performing ballad-operas such as The Beggar’s Opera and ballad-farces like Damon and Phillida. By the 1840s, P.T. Barnum was operating an entertainment complex in lower Manhattan. Other early musical theatre in America consisted of British forms, such as burletta and pantomime. Theatre in New York moved from downtown gradually to midtown from around 1850, seeking less expensive real estate prices, and did not arrive in the Times Square area until the 1920s and 1930s. Broadway's first "long-run" musical was a 50 performance hit called The Elves in 1857. New York runs continued to lag far behind those in London, but Laura Keene's "musical burletta" Seven Sisters (1860) shattered previous New York records with a run of 253 performances.

1850s to 1880s

Around 1850, the French composer Hervé was experimenting with a form of comic musical theatre that came to be called opérette. The best known composers of operetta were Jacques Offenbach from the 1850s to the 1870s and Johann Strauss II in the 1870s and 1880s. Offenbach's fertile melodies, combined with his librettists' witty satire, formed a model for the musical theatre that followed.  In 1957, Mark Lubbock traced the development of musical theatre from Offenbach to Gilbert and Sullivan and eventually to Irving Berlin and Rodgers and Hammerstein, writing: "Offenbach is undoubtedly the most significant figure in the history of the 'musical'. In the mid-19th century in England, musical theatre consisted of mostly of music hall, adaptations of the French operettas (played in bad, risqué translations) and musical burlesques (the culmination of which were seen at the Gaiety Theatre beginning in 1868). In reaction to these, a few family-friendly entertainments were created, such as the German Reed Entertainments.

In America, mid-18th century musical theatre entertainments included crude variety revue, which eventually developed into vaudeville, minstrel shows, which soon crossed the Atlantic to Britain, and Victorian burlesque, first popularized in the US by British troupes. The first original theatre piece in English that conforms to the modern conception of a musical, adding dance and original music that helped to tell the story, is generally considered The Black Crook, which premiered in New York on September 12, 1866. The production was a staggering five-and-a-half hours long, but despite its length, it ran for a record-breaking 474 performances, in no small part because of its scantily-clad female ballet chorus. The same year, The Black Domino/Between You, Me and the Post was the first show to call itself a "musical comedy." Comedians Edward Harrigan and Tony Hart produced and starred in musicals on Broadway between 1878 (The Mulligan Guard Picnic) and 1885, with book and lyrics by Harrigan and music by his father-in-law David Braham. These musical comedies featured characters and situations taken from the everyday life of New York's lower classes and represented a significant step from burletta, minstrel shows, variety and burlesque, towards a more legitimate theatrical form. They starred high quality singers (Lillian Russell, Vivienne Segal, and Fay Templeton) instead of the ladies of questionable repute who had starred in earlier musical forms.

The length of runs in the theatre changed rapidly around the same time that the modern musical emerged. As transportation improved, poverty in London and New York diminished, and street lighting made for safer travel at night, the number of potential patrons for the growing number of theatres increased enormously. Plays could run longer and still draw in the audiences, leading to better profits and improved production values. The first play to achieve 500 consecutive performances was the London (non-musical) comedy Our Boys, opening in 1875, which set an astonishing new record of 1,362 performances.  This run was not equaled on the musical stage until World War I, but musical theatre soon broke the 500 performance mark in London, most notably by the series of more than a dozen long-running Gilbert and Sullivan family-friendly comic opera hits, including H.M.S. Pinafore in 1878 and The Mikado in 1885.  These were sensations on both sides of the Atlantic and, along with the other changes in the theatre, raised the standard for what was considered a successful run.  Only a few 19th century musical pieces exceeded the run of the Mikado:  The Chimes of Normandy (Les Cloches de Corneville) ran for 705 performances in 1878 in London, and Alfred Cellier and B. C. Stephenson's 1886 hit, Dorothy (a show midway between comic opera and musical comedy), set a new record with 931 performances.

Gilbert and Sullivan's influence on later musical theatre was profound, creating examples of how to "integrate" musicals so that the lyrics and dialogue were designed to advance a coherent story.  Their works were admired and copied by early authors and composers of musicals such as Ivan Caryll, Lionel Monckton, P. G. Wodehouse, and Victor Herbert, and later Jerome Kern, Ira Gershwin, Lorenz Hart, Alan Jay Lerner, Yip Harburg, Irving Berlin, Ivor Novello, Oscar Hammerstein II and Andrew Lloyd Webber.  Other British composers of the 1870s and 1880s included Edward Solomon and F. Osmond Carr. The most popular British shows, beginning with the Savoy operas, also enjoyed profitable New York productions and tours of Britain, America, Europe, Australasia and South Africa. These shows were fare for "respectable" audiences, a marked contrast from the risqué burlesques, melodramas, minstrel shows, bawdy music hall shows and French operettas that dominated the stage prior to Gilbert and Sullivan and drew a sometimes seedy crowd looking for less wholesome entertainment.

1890s to the new century

Charles H. Hoyt's A Trip to Chinatown (1891) was Broadway's long-run champion (until Irene in 1919), running for 657 performances. Gilbert and Sullivan's comic operas were both pirated and imitated in New York by productions such as Reginald de Koven's Robin Hood (1891) and John Philip Sousa's El Capitan (1896). A Trip to Coontown (1898) was the first musical comedy entirely produced and performed by African Americans in a Broadway theatre (largely inspired by the routines of the minstrel shows), followed by the ragtime-tinged Clorindy, or the Origin of the Cakewalk (1898), and the highly successful In Dahomey (1902). Hundreds of musical comedies were staged on Broadway in the 1890s and early 20th century composed of songs written in New York's Tin Pan Alley by composers such as Gus Edwards, John Walter Bratton and George M. Cohan (Little Johnny Jones (1904)). Still, New York runs continued to be relatively short, with a few exceptions, compared with London runs, until the 1920s. Tours, however, were often extensive, beginning with the original Broadway cast.

Meanwhile, musicals had spread to the London stage by the Gay Nineties. George Edwardes had left the management of Richard D'Oyly Carte's Savoy Theatre. He took over the Gaiety Theatre and, at first, he improved the quality of the old burlesques. He perceived that audiences wanted a new alternative to the Savoy-style comic operas and their intellectual, political, absurdist satire. He experimented with a modern-dress, family-friendly musical theatre style, with breezy, popular songs, snappy, romantic banter, and stylish spectacle at the Gaiety, Daly's Theatre and other venues. These drew on the traditions of comic opera and also used elements of burlesque and of the Harrigan and Hart pieces. He replaced the bawdy women of burlesque with his "respectable" corps of dancing, singing Gaiety Girls to complete the musical and visual fun. The success of the first of these, In Town in 1892 and A Gaiety Girl in 1893, confirmed Edwardes on the path he was taking. These "musical comedies", as he called them, revolutionized the London stage and set the tone for the next three decades.

Edwardes' early Gaiety hits included a series of light, romantic "poor maiden loves aristocrat and wins him against all odds" shows, usually with the word "Girl" in the title, including The Shop Girl (1894) and A Runaway Girl (1898), with music by Ivan Caryll and Lionel Monckton. These shows were immediately widely copied at other London theatres (and soon in America), and the Edwardian musical comedy swept away the earlier musical forms of comic opera and operetta. At Daly's Theatre, Edwardes presented slightly more complex comedy hits. The Geisha (1896) by Sidney Jones with lyrics by Harry Greenbank and Adrian Ross and then Jones' San Toy (1899) each ran for more than two years and also found great international success, for example in Australian productions by J. C. Williamson.

The British musical comedy Florodora (1899) by Leslie Stuart and Paul Rubens made a splash on both sides of the Atlantic, as did A Chinese Honeymoon (1901), by British lyricist George Dance and American-born composer Howard Talbot, which ran for a record setting 1,074 performances in London and 376 in New York. The story concerns couples who honeymoon in China and inadvertently break the kissing laws (shades of The Mikado). The Belle of New York (1898) ran for 697 performances in London after a brief New York run, becoming the first American musical to run for over a year in London. After the turn of the 20th century, Seymour Hicks (who joined forces with American producer Charles Frohman) wrote popular shows with composer Charles Taylor and others, and Edwardes and Ross continued to churn out hits like The Toreador (1901), A Country Girl (1902), The Orchid (1903), The Girls of Gottenberg (1907) and Our Miss Gibbs (1909). Other Edwardian musical comedy hits included The Arcadians (1909) and The Quaker Girl (1910).

Operetta and World War I

Virtually eliminated from the English-speaking stage by competition from the ubiquitous Edwardian musical comedies in the 1890s, operettas returned to London and Broadway in 1907 with The Merry Widow, and operettas and musicals became direct competitors for a time. In the early years of the 20th century, English-language adaptations of 19th century continental operettas, as well as operettas by a new generation of European composers, such as Franz Lehár and Oscar Straus, among others, spread throughout the English-speaking world. In America, Victor Herbert produced a string of famous operettas (The Fortune Teller (1898), Babes in Toyland (1903), Mlle. Modiste (1905), The Red Mill (1906) and Naughty Marietta (1910)), often with librettist Harry B. Smith, as well as some intimate musical plays with modern settings.  In English-speaking countries, during World War I, German-language operetta lost its popularity.

Among other British and American composers and librettists of the 1910s, the team of P. G. Wodehouse, Guy Bolton and Jerome Kern stood out. Following in the footsteps of Gilbert and Sullivan, their "Princess Theatre shows" paved the way for Kern's later work by showing that a musical could combine light, popular entertainment with continuity between its story and songs:

The theatre-going public needed escapist entertainment during the dark times of World War I, and they flocked to the theatre. Harry Tierney and Joseph McCarthy's 1919 hit musical Irene ran for 670 performances, a Broadway record that held until 1938's Hellzapoppin. The British public supported far longer runs like that of Maid of the Mountains (1,352 performances) and especially Chu Chin Chow. Its run of 2,238 performances was more than twice as many as any previous musical, setting a record that stood for nearly forty years until Salad Days. Revues like The Bing Boys Are Here in Britain, and those of Florenz Ziegfeld and his imitators in America, were also extraordinarily popular. A new generation of composers of operettas emerged in the 1920s, such as Rudolf Friml and Sigmund Romberg.

The primacy of British musical theatre from the 19th century through 1920 was gradually replaced by American innovation in the 20th century. Edwardes' competitor and counterpart in the U.S. was Charles Frohman and his Theatrical Syndicate. George M. Cohan's and Herbert's musical entertainments after the turn of the century gave way to the Princess Theatre shows and a profusion of other musicals as Kern and other Tin Pan Alley composers began to bring new musical styles such as ragtime and jazz to the theatres. The Shubert Brothers took control of the Broadway theatres after the war as new writers like the Gershwin brothers (George and Ira), Irving Berlin and Rodgers and Hart began to produce shows. Musical theatre writer Andrew Lamb notes, "The triumph of American works over European in the first decades of the twentieth century came about against a changing social background. The operatic and theatrical styles of nineteenth-century social structures were replaced by a musical style more aptly suited to twentieth-century society and its vernacular idiom. It was from America that the more direct style emerged, and in America that it was able to flourish in a developing society less hidebound by nineteenth-century tradition."

The Roaring Twenties and the Great Depression

The musicals of the Roaring Twenties, borrowing from vaudeville, music hall and other light entertainments, tended to emphasize star actors and actresses, big dance routines, and popular songs, at the expense of plot. Typical of the decade were lighthearted productions like Sally; Lady Be Good; Sunny; No, No, Nanette; Oh, Kay! and Funny Face. While the books of these shows may have been forgettable, they featured stars such as Marilyn Miller and Fred Astaire and produced dozens of enduring popular songs ("standards") by, most notably, Jerome Kern, the Gershwin brothers, Irving Berlin, Cole Porter, Vincent Youmans, and the team of Richard Rodgers and Lorenz Hart. Throughout the first half of the 20th century, popular music was dominated by musical theatre composers and lyricists. These musicals and the standards they produced, including "Fascinating Rhythm", "Tea for Two" and "Someone to Watch Over Me", became popular on both sides of the Atlantic ocean.

Many shows were revues, series of sketches and songs with little or no connection between them. The best-known of these were the annual Ziegfeld Follies, spectacular song-and-dance revues on Broadway featuring extravagant sets, elaborate costumes, and beautiful chorus girls. These spectacles also raised production values, and mounting a musical generally became more expensive. Shuffle Along, an all-African American show was a hit on Broadway.  In London, stars such as Ivor Novello and Noël Coward became popular.  Meanwhile, operettas, which had been nearly absent from the English-speaking stage since World War I, had a last burst of popularity; works by continental European composers were successful, as were those by Sigmund Romberg and Rudolf Friml in America, which included Rose-Marie and The Student Prince respectively.  The last hit operetta of the era on Broadway was Romberg's The New Moon in 1928.

Progressing far beyond the comparatively frivolous musicals and sentimental operettas of the decade, Show Boat, which premiered on December 27, 1927 at the Ziegfeld Theatre in New York, represented an even more complete integration of book and score than the Princess Theatre musicals, with dramatic themes told through the music, dialogue, setting and movement. This was accomplished by combining the lyricism of Kern's music with the skillful craft of Oscar Hammerstein II, who adapted Edna Ferber's novel and wrote lyrics for the show. One historian wrote, "Here we come to a completely new genre – the musical play as distinguished from musical comedy. Now ... the play was the thing, and everything else was subservient to that play. Now ... came complete integration of song, humor and production numbers into a single and inextricable artistic entity." However, Bordman argues, "Show Boat is certainly an operetta with its many arioso passages, its musical depth and seriousness, and its romantic story set, in typical operetta fashion, in the long ago and far away." Nevertheless, as the Great Depression set in during the post-Broadway national tour of Show Boat, the public turned back to light, brassy, escapist entertainment, and no follow-up was produced so seriously treating serious social themes until Oklahoma! in 1943.

The motion picture mounted a challenge to the stage. At first, films were silent and presented only limited competition to theatre. But by the end of the 1920s, films like The Jazz Singer could be presented with synchronized sound. "Talkie" films at low prices effectively killed off vaudeville by the early 1930s. Historian John Kenrick commented: "Top vaudeville stars filmed their acts for one-time pay-offs, inadvertently helping to speed the death of vaudeville. After all, when 'small time' theatres could offer 'big time' performers on screen at a nickel a seat, who could ask audiences to pay higher amounts for less impressive live talent?"

1930s to Oklahoma!

The Great Depression affected theatre audiences on both sides of the Atlantic, as people had little money to spend on entertainment.  Only a few stage shows exceeded a run on Broadway or in London of 500 performances during the decade.

Many shows continued the lighthearted song-and-dance style of their 1920s predecessors. The revue The Band Wagon (1931) starred dancing partners Fred Astaire and his sister Adele, while Cole Porter's Anything Goes (1934) confirmed Ethel Merman's position as the First Lady of musical theatre, a title she maintained for many years. British writers such as Noël Coward and Ivor Novello continued to deliver old fashioned, sentimental musicals, such as The Dancing Years. Similarly, Rodgers & Hart returned from Hollywood to churn out a series of Broadway hits, including On Your Toes (1936, with Ray Bolger, the first Broadway musical to make dramatic use of classical dance), Babes In Arms (1937), and The Boys From Syracuse (1938), and Cole Porter wrote a similar string of hits, including Anything Goes (1934) and DuBarry Was a Lady (1939). The longest-running piece of musical theatre of the 1930s was Hellzapoppin (1938), a revue with audience participation, which played for 1,404 performances, setting a new Broadway record that was finally beaten by Oklahoma! five years later.

However, a few creative teams began to build on Show Boat'''s innovations, experimenting with musical satire, topical books and operatic scope. Of Thee I Sing (1931), a political satire with music by George Gershwin and lyrics by Ira Gershwin and Morrie Ryskind, was the first musical awarded the Pulitzer Prize.1944 awards, Pulitzer.org, accessed July 7, 2012 As Thousands Cheer (1933), a revue by Irving Berlin and Moss Hart in which each song or sketch was based on a newspaper headline, marked the first Broadway show in which an African-American, Ethel Waters, starred alongside white actors. Waters' numbers included "Supper Time", a woman's lament for her husband who has been lynched.  Porgy and Bess (1935), by the Gershwin brothers and DuBose Heyward, featured an all African-American cast and blended operatic, folk, and jazz idioms. It has entered the permanent opera repertory and, in some respects, it foreshadowed such "operatic" musicals as West Side Story and Sweeney Todd. The Cradle Will Rock (1937), with a book and score by Marc Blitzstein and direction by Orson Welles, was a highly political pro-union piece that, despite the controversy surrounding it, managed to run for 108 performances. Richard Rodgers and Lorenz Hart's I'd Rather Be Right (1937) was a political satire with George M. Cohan as President Franklin D. Roosevelt, and Kurt Weill's Knickerbocker Holiday, based on source writings by Washington Irving, depicted New York City's early history while good-naturedly satirizing the good intentions of President Franklin D. Roosevelt.

Despite the economic woes of the decade and the competition from film, the musical survived.  In fact, the move towards political satire in Of Thee I Sing, I'd Rather Be Right and Knickerbocker Holiday, together with the musical sophistication of the Gershwin, Kern, Rodgers and Weill musicals and the fast-paced staging and naturalistic dialogue style created by director George Abbott, showed that musical theatre was beginning to evolve beyond the gags and showgirls musicals of the Gay Nineties and Roaring Twenties and the sentimental romance of operetta. Rodgers and Hammerstein's Oklahoma! (1943) completed the revolution begun by Show Boat, by tightly integrating all the aspects of musical theatre, with a cohesive and more serious plot, and songs and dances that furthered the action of the story and developed the characters. It was also the first "blockbuster" Broadway show, running a total of 2,212 performances, and was made into a hit film.Everett 2002, p. 124


Happy ending problem

The "happy ending problem" (so named by Paul Erdős because it led to the marriage of George Szekeres and Esther Klein) is the following statement:

Theorem: any set of five points in the plane in general position has a subset of four points that form the vertices of a convex quadrilateral.

This was one of the original results that led to the development of Ramsey theory.

The happy ending theorem can be proven by a simple case analysis: if four or more points are vertices of the convex hull, any four such points can be chosen. If on the other hand, the point set has the form of a triangle with two points inside it, the two inner points and one of the triangle sides can be chosen. See  for an illustrated explanation of this proof, and  for a more detailed survey of the problem.

The Erdős–Szekeres conjecture states precisely a more general relationship between the number of points in a general-position point set and its largest convex polygon, namely that the smallest number of points for which any general position arrangement contains a convex subset of  points is  . It remains unproven, but less precise bounds are known.

Larger polygons

 proved the following generalisation:

Theorem: for any positive integer N, any sufficiently large finite set of points in the plane in general position has a subset of N points that form the vertices of a convex polygon.

The proof appeared in the same paper that proves the Erdős–Szekeres theorem on monotonic subsequences in sequences of numbers.

Let f(N) denote the minimum M for which any set of M points in general position must contain a convex N-gon. It is known that
 f(3) = 3, trivially.
 f(4) = 5.
 f(5) = 9. A set of eight points with no convex pentagon is shown in the illustration, demonstrating that f(5) > 8; the more difficult part of the proof is to show that every set of nine points in general position contains the vertices of a convex pentagon.
 f(6) = 17.
 The value of f(N) is unknown for all N > 6; by the result of  it is known to be finite.

On the basis of the known values of f(N) for N = 3, 4 and 5, Erdős and Szekeres conjectured in their original paper that

They proved later, by constructing explicit examples, that

but the best known upper bound when N ≥ 7 is

Empty convex polygons
There is also the question of whether any sufficiently large set of points in general position has an "empty" convex quadrilateral, pentagon, etc.,
that is, one that contains no other input point. The original solution to the happy ending problem can be adapted to show that any five points in general position have an empty convex quadrilateral, as shown in the illustration, and any ten points in general position have an empty convex pentagon. However, there exist arbitrarily large sets of points in general position that contain no empty convex heptagon.

For a long time the question of the existence of empty hexagons remained open, but  and  proved that every sufficiently large point set in general position contains a convex empty hexagon.  More specifically, Gerken showed that the number of points needed is no more than f(9) for the same function f defined above, while Nicolás showed that the number of points needed is no more than f(25).  supplies a simplification of Gerken's proof that however requires more points, f(15) instead of f(9). At least 30 points are needed: there exists a set of 29 points in general position with no empty convex hexagon.

Related problems
The problem of finding sets of n points minimizing the number of convex quadrilaterals is equivalent to minimizing the crossing number in a straight-line drawing of a complete graph. The number of quadrilaterals must be proportional to the fourth power of n, but the precise constant is not known.

It is straightforward to show that, in higher-dimensional Euclidean spaces, sufficiently large sets of points will have a subset of k points that forms the vertices of a convex polytope, for any k greater than the dimension: this follows immediately from existence of convex k-gons in sufficiently large planar point sets, by projecting the higher-dimensional point set into an arbitrary two-dimensional subspace. However, the number of points necessary to find k points in convex position may be smaller in higher dimensions than it is in the plane, and it is possible to find subsets that are more highly constrained. In particular, in d dimensions, every d + 3 points in general position have a subset of d + 2 points that form the vertices of a cyclic polytope. More generally, for every d and k > d there exists a number m(d,k) such that every set of m(d,k) points in general position has a subset of k points that form the vertices of a neighborly polytope.

Notes


Unsung Heroes (Ensiferum album)

Unsung Heroes is the fifth album by Finnish folk metal band Ensiferum. It was released on 27 August 2012 through Spinefarm Records.

Recording and production

In February 2012, the band entered the studio and started recordings for the then untitled album. The band also announced on their Facebook page they would keep their fans up to date on their Mobile Twilight Tavern and with a weekly studio diary on Spinefarm's YouTube channel. The album would also include guest appearances by members of Die Apokalyptischen Reiter and the Finnish singer and actor Vesa-Matti Loiri. In late March, the band was in the final stages of the recordings for the album and completed recordings in early April.

In May, the band revealed the title for the album, Unsung Heroes and announced its release date, 27 August 2012. The album would also be released through Spinefarm Records. Then in late June the band unveiled the album cover artwork, again designed by Kristian Wahlin. On 9 July they posted on their Facebook page a YouTube video with Burning Leaves, one of their new songs on the album.

On 17 July the band posted a link with the making of their new video clip for In My Sword I Trust, also a new song to be featured on the album. The video was shot in Wrocław, Poland by Grupa 13 who were also recruited for the recent video clips of other notable bands like Amon Amarth and Behemoth. The actual video was uploaded on August 8 on Spinefarm's YouTube channel, which reached over a hundred thousand views within the first week.

Track listing

Personnel
Ensiferum
Petri Lindroos - harsh vocals, guitar, backing vocals
Markus Toivonen - guitar, acoustic guitars, dulcimer, bouzouki, clean vocals, backing vocals
Sami Hinkka - bass guitar, acoustic guitar, backing vocals (harsh/clean)
Janne Parviainen - drums, backing vocals
Emmi Silvennoinen - keyboards, hammond, grand piano, pump organ, backing vocals

Guest musicians
Vesa-Matti Loiri - speech on "Pohjola"
Laura Dziadulewicz - vocals on "Celestial Bond"
Ulla Bürger - soprano vocals on "Passion, Proof, Power"
Lassi Lógren - nyckelharpa
Timo Väänänen - kantele
Pasi Puolakka - flute, descant & sopranino Recorders
Kasper Mårtenson - moog
Volk-Man, Ady & Fuchs (Die Apokalyptischen Reiter) - additional voices on "Passion, Proof, Power"
Heidi Parviainen (Dark Sarah, ex-Amberian Dawn) - choir vocals

Crew
Kristian Wåhlin - album artwork
Hiili Hiilesmaa - production, engineering and mixing


Graminea hispida

Graminea hispida is a species of beetle in the family Cerambycidae. It was described by Galileo and Martins in 1990. It is known from Brazil.


Jean-Marie Raymond

Jean Marie Raymond  (born 1949) is a French classical guitarist, composer, conductor and teacher.

Life
Guitarist, composer, teacher and conductor, Raymond studied music at the École normale de musique de Paris with Alberto Ponce and Javier Hinojosa. He was also a student of the world-renowned master Emilio Pujol. He studied musical composition with Yvonne Desportes and conducting with Désiré Dondeyne, both Grand prix de Rome. First Prize in classical guitar, he also obtained the State Diploma and the Certificate of Aptitude. In 1977, he played as a soloist under the direction of Seiji Ozawa with the Orchestre de Paris. He produced a recording ("Four-handed Guitar" now "Kizuna" in its expanded reissue) with his long-time friend, the great Japanese guitarist  Minoru Inagaki. He performs internationally as a soloist and with the Trio Sortilèges (flûte, guitar, cello). Une grande partie de ses compositions est publiée aux Productions d’OZ, Quebec.

Discography
 CD "KIZUNA": Solos and classical guitar duets with Japanese guitarist Minoru Inagaki.
 CD "AQUARELLES": Classical guitar solos. Works from the repertoire and personal compositions.

Composer
His best-known compositions, when no publisher is indicated, are published at Productions d'Oz.

 Allégorie en forme de valse - ed. Alphonse Leduc.
 As always (homage to Per-Olov Kindgren)
 Ballad for a Friend (homage to Akira Asada)
 Canto bajo la Luna
 Chanson d'Elfée
 Comme une pavane - ed. Alphonse Leduc.
 Complainte
 Cuando me vuelvo en el camino
 Dans la brume
 Deux aquarelles
 El azul de tus ojos
 Souvenirs d’Algarve
 Elégie
 Evocation nostalgique (homage to Nobutaka Nakajima)
 Incantation magique
 Jardin secret
 Juanito, el guitarrero (homage to Jun Nakano)
 Kizuna (homage to Minoru Inagaki)
 Kobe in my heart (homage to Nobuko Tanaka)
 La Cité d’Emeraude (homage to Sylvain Lemay)
 Ma fille (homage to Oriane Bellini)
 Memories of Tateshina
 Night Song
 Paysage catalan
 Poema nostalgico
 Pour un reflet dans l’eau
 Rising Sun
 Sakura's Flowers
 Santa Ana Cruz
 Snow in my heart
 Snow Sonata
 Somewhere Under the Rainbow
 Storybook
 Song for Johanna
 Sous le ciel d'Akashi (homage to Minoru Inagaki)
 Suite des Constellations
 Andromède
 Orion
 Cassiopée
 Souvenirs de Cervera - ed. Alphonse Leduc.
 Sweet Bonnie Dickinson
 Three friends in Kyoto
 Un jour de septembre

He has also composed many pieces for various instrumental ensembles such as:
 A la lumière de l'aube (duo)
 Alter Ego  (duo) (homage to Minoru Inagaki)
 As The Seasons Go By (quartet)
 Au loin vers le sud (duo) - ed. Alphonse Leduc.
 Géralda (duo) - ed. Alphonse Leduc.
 Melancolie for guitar quartet
 Quant au matin tu t'éveilles (trio)
 A Rainbow for Minoru (duo) (homage to Nobuko Tanaka and Nobutaka Nakajima)
 Sous le ciel d'Akashi (in solo form, on the one hand, and quintet, on the other) (homage to Minoru Inagaki).
 Twilight Serenade (guitars and string quartet)

Career
En 1999, with Thierry Frebourg, CEO of Studio Press (Roularta Media Group), he founded the  magazine which occupies a major place in the landscape of the specialized press for the guitar.

In 1977, he played as a soloist with the Orchestre de Paris, conducted by Seiji Ozawa. He regularly performs in France and abroad as a soloist but also with the "Trio Sortilèges" (flute, guitar, cello). He produced a record (Kizuna) with his long time Japanese friend Minoru Inagaki, First Prize of the Conservatoire de Paris and concert player, and a CD  as soloist.


JDC West

Jeux du Commerce West, JDC West Business Competition or informally, JDC West is an annual business competition featuring top business schools and students from across Western Canada, as well as the largest undergraduate business competition in Western Canada.  The first competition, hosted by UBC, occurred January 20-23, 2006, and attracted over 400 students. JDC West was modeled after Jeux du Commerce and allows the competition to move from host university/city to host university/city each given year.

Structure

Each university sends one team of 50+ representative students to participate respectively in one of 10 Academic Competitions, 1 Parliamentary Debate, 1 Athletic Competition or 1 Social Competition.  Points are awarded and accumulated towards a team being declared "School of the Year".

Academics

There are 10 core Academic Competitions. That being said, an organizing committee may add any number of additional academic cases, providing that the core academic cases (listed below) are included.  Each competition has 3 students from each team participate. In each case competition participants have a fixed amount of time to review the facts and prepare before presenting to the industry judges and experts.

Current academic events for JDC West are:
 Accounting
 Business Strategy
 Entrepreneurship
 Finance
 Human Resource Management
 International Business
 Business Technology Management
 Marketing
 Not-for-profit Business Strategy (added in 2009)
 Taxation (removed for 2019)
 Operations Management (added for 2019)

Debate

Each debate team has 4 students.  They have 30 minutes to review the proposal before presenting.  As it is in parliamentary style, one team is designated Team Government and the other Team Opposition.

Athletics

The hosting school chooses the sport each year. The teams include both male and female competitors.

2006: Indoor Soccer (Futsal)
2007: Handball
2008: Dodgeball
2009: Volleyball, Westcoast Kickball, Inner Tube Water Polo, Relay (6 X 200)
2010: Indoor Soccer played on two 190 x 90’ fields on FIFA sanctioned Polytan artificial turf.
2011: Inner-Tube Water Basketball & Ultimate Frisbee
2012: Flag Football & Yukigassen
2013: Doctor Dodgeball & Netball
2014: Floor Hockey & Tchoukball
2015: European Handball & Schtick Disc
2016: Dodgeball & Floor Ringette
2017: Korfball & DBL Ball
2018: Quidditch & Tchoukball
2019: Tsegball & D-Hoops

Social

Each social team has 4 students - two males and two females. The social portion of the JDC West competition is arguably the most arduous on its competitors who are on-call for ten social challenges to be completed in less than 48 hours at any time of day or night. These entertaining challenges are known to include spirit, mental and physical challenges that bring the 4 students together in a way no team sport could. These challenges test students adaptability, enthusiasm and team work to the extreme.

Additional awards

Participation - Focuses on the spirit of each school during the competition weekend. The team that cheers the hardest, shows up for the most events, and is the life of the party takes the prize.

Charity - Has two awards. One for the number of hours that school commits to their charities of choice and the second for the amount of dollars raised for their charity of choice.

Participating schools

The following schools are or have been participants in JDC West:

History of the Games

History of JDC and JDC West
The original Jeux du Commerce, French for "Commerce Games" started as a Business Student Competition in 1989 in Eastern Canada. They were created in 1988 thanks to the initiative of some students of HEC MONTREAL who wanted to strengthen the links between the students of business administration through the province of Quebec. Mister Patrice Bourbonnais was the student heading a team of co-founders, including Patrick Bérard and Benoît Lessard, as well as others students. The School of Hautes Etudes Commerciales (French business school) of Montreal was the first institution host of the Games (Sets) of the Business in January, 1989.  Jeux du Commerce grew throughout the years and became one of the largest events hosted by REFAEC.  In 2003, Yannick Denis-Trudel, the president of REFAEC at the time had a vision to expand "the games" to the rest of Canada.  In an attempt to unify the country under the Jeux du Commerce banner, he took on the task of inviting a group of delegates from across Canada to visit the games and see what they were all about.  Students returned to their schools excited, but lacked a bit of direction in terms of establishing the games in their own regions.  The year after, Yannick made another attempt to get the rest of Canada excited about the games and created a competing team called "Team Rest of Canada" or "Team ROC".  The intention was to allow those visiting the games to actively take part in the games, rather than just watch from the sidelines.  Student's went back to their respective schools with an excitement to bring Jeux du Commerce to their respective regions.  At Roundtable 2005, one bid to host the event in the Western Region by students from the Sauder School of Business at the University of British Columbia, Co-Led by Jeff Potter and Nik Laufer-Edel.  Another bid was put forth for the Ontario region by Guelph Humber.  The Western bid was approved by the presidents of the western business schools of the Canadian Business School Council and allowed JDC West to take its first steps to be actualized.

In 2006, over 1,200 business students from 13 Eastern universities in Canada chose to compete. Since its inauguration, the JDC has become a prestigious annual event noted for its academic excellence and superior teamwork development.  Like JDC West, JDC consists of Athletic, Social, Debate and community involvement components.

The JDC legacy expanded to Ontario schools in 2009, in a competition branded as JDC Central.

Following the success of 'Jeux du Commerce' a desire was expressed to create similar games in Western Canada, ultimately leading to a Commerce Competition on a national scale.  The Western Games were dubbed JDC West. JDC West has exemplified professionalism and excellence, while focusing on the unique challenges facing a Western Canadian business student.  The academic structure of the competition is maintained, encouraging students to strive for excellence and professionalism, while continuing the goodwill and good sportsmanship that JDC has been known for.

The JDC West Business Competition was incorporated as a not-for-profit in 2010 prior to JDC West 2011. In 2011, a volunteer Board of Directors was voted in by the Presidents of the participating business schools' students societies in collaboration with their JDC West Team Captains. This board is composed of active JDC West alumni and the current Organizing Committee's External Co-Chair. The board's main roles are to oversee the long-term strategy, risk mitigation, relationship management and high level financial health of the competition to ensure its long-term sustainability.

Competition venues

External links
 JDC West


Viktor Sukhodrev

Viktor Mikhaylovich Sukhodrev (; 12 December 1932 – 16 May 2014) was a Russian–English interpreter for high-ranking Soviet politicians including Nikita Khrushchev, Leonid Brezhnev, Mikhail Gorbachev, and Alexei Kosygin.

Early life and education
Sukhodrev was born into the family of a Soviet intelligence officer who worked in the United States. As a young boy during World War II, Sukhodrev spent six years in London with his mother, who worked at the Soviet trade mission. He attended the Soviet Embassy School in London beginning at age 8. He returned to Moscow at the age of twelve and later graduated from the Military Institute of Foreign Languages.

Career
In 1956, Sukhodrev began his career in the translation bureau of the Soviet Ministry of Foreign Affairs (MFA). Sukhodrev translated Nikita Khrushchev's famous quote "We will bury you", among others. In the 1980s Sukhodrev was the deputy head of the Department for the United States and Canada at the Soviet MFA. In 1999 he penned the memoir book Yazyk moy – drug moy (My Tongue is My Friend).

During a career of nearly thirty years, Sukhodrev was present at numerous high-profile summits and deal-makings. Richard Nixon called Sukhodrev "a superb linguist who spoke English as well as he did Russian", while Henry Kissinger called him "unflappable" and a "splendid interpreter". According to the International Herald Tribune, "Sukhodrev was present but not present, emptying himself of ego, slipping into the skin of the man who was speaking, feeling his feelings, saying his words".

Soviet and U.S. officials alike considered him to be the best interpreter in the world between Russian and English and he would sometimes be the only interpreter at bilateral meetings. He had a very good understanding of idiomatic expressions in English with a firm grasp of the varied nuances of meaning in different parts of the English-speaking world. His memory was prodigious: he only required a few notes to be able to deliver a perfect translation of a 20-minute speech. In 2012, Sukhodrev received the Russian national prize Translator of the Year.

Personal life
Sukhodrev was married twice. His first wife was actress Inna Kmit. His second wife was Inga Okunevskaya. Sukhodrev died in Moscow on 16 May 2014 at the age of 81.


Orchestre de Paris

The Orchestre de Paris () is a French orchestra  based in Paris.  The orchestra currently performs most of its concerts at the Philharmonie de Paris.

History
In 1967, following the dissolution of the Orchestre de la Société des Concerts du Conservatoire, the French Minister of Culture, André Malraux, and his director of music, Marcel Landowski, engaged conductor Charles Munch to create a new orchestra in Paris. Soon after its creation, Munch died in 1968, and Herbert von Karajan was hired as an interim music advisor from 1969 to 1971.  Successive music directors include Sir Georg Solti, Daniel Barenboim, and Semyon Bychkov. Christoph von Dohnányi served as artistic advisor from 1998 to 2000.

During his tenure, Barenboim saw a need for a permanent chorus for the orchestra, and engaged the English chorus master Arthur Oldham to create the Chœur de l'Orchestre de Paris in 1976.  Oldham remained with the Chorus till his retirement in 2002.  From 2002 to 2011, Didier Bouture and Geoffroy Jourdain shared direction of the Chorus, which is now run by Lionel Sow.

Christoph Eschenbach was music director from 2000 to 2010.  He conducted recordings of music of Luciano Berio, Marc-André Dalbavie, and Albert Roussel with the orchestra.  In May 2007, Paavo Järvi was named the orchestra's sixth music director, effective from the 2010–11 season.  Järvi is scheduled to conclude his tenure with the Orchestre de Paris at the conclusion of his current contract, at the end of the summer of 2016.  In June 2015, the orchestra announced the appointments of Daniel Harding as its 9th principal conductor, and of Thomas Hengelbrock as principal guest conductor, effective September 2016.  In January 2018, the Orchestre de Paris announced that Harding is to stand down as its principal conductor, following the close of the 2018–2019 season.

In 1998, Crédit Lyonnais, which had control of the Salle Pleyel, sold the hall to the French businessman Hubert Martigny.  The Salle Pleyel was closed in 2002, which left the orchestra without a resident hall.  The Théâtre des Champs-Élysées and Théâtre du Châtelet both presented the orchestra during the 2001–02 season.  By the fall of 2002, the orchestra had secured the Théâtre Mogador, where it played its next four seasons.  In 2003, the French government secured a new arrangement whereby Martigny would pay for renovations to the Salle Pleyel, and rent the hall to the Cité de la Musique, which would then be scheduled to purchase the hall in the year 2056.  After renovations, the Salle Pleyel reopened in September 2006 and became once more the Orchestre de Paris's home base.  The orchestra took up residence at the new Philharmonie de Paris, near the Cité de la Musique in the Parc de la Villette, after the opening of the hall ceremony which took place on 14 January 2015.

Music directors
 Charles Munch (1967–1968)
 Herbert von Karajan (musical advisor, 1969–1971)
 Sir Georg Solti (1972–1975)
 Daniel Barenboim (1975–1989)
 Semyon Bychkov (1989–1998)
 Christoph von Dohnányi (artistic advisor, 1998–2000)
 Christoph Eschenbach (2000–2010)
 Paavo Järvi (2010–2016)
 Daniel Harding (2016–2019)

Pop charts
The Orchestre de Paris found itself in an unusual situation in 1989, when its performance of Ravel's Boléro became a hit on the Dutch pop chart. The recording, made in 1982 under the direction of Daniel Barenboim, was released as a CD-single to coincide with the success of the song "No more boleros" by the Dutch pop singer Gerard Joling, which included parts of the Ravel work. With its playing time of 17 minutes, the Orchestre de Paris single remains the longest recording ever in the Dutch Top 40.


Ion Baciu

Ion Baciu (born 12 May 1944) is a retired bantamweight Greco-Roman wrestler from Romania. He won the world title in 1967 and a silver medal at the 1968 Olympics, placing sixth in 1972.


Centered in the Universe

Centered in the Universe is a fulldome presentation that premiered the evening of October 29, 2006 at the "Galactic Gala" which marked the reopening of the renovated Griffith Observatory in Los Angeles. The 33-minute planetarium program utilizes a Zeiss Universarium star projector and an innovative laser video projection system developed by Evans & Sutherland to create an immersive environment. A live presenter narrates the script.

Synopsis
As the audience is seated, the planetarium dome is suffused with a cool blue light, with a suggestion of clouds. The presenter walks to the center of the theater and flourishes a glowing ball, representing a star, about the size of a grapefruit, which he/she alternately lights and dims to accent a description of how various cultures interpreted celestial phenomena such as the cycle of day and night. At the conclusion of the introduction, the orb fades, the theater darkens, and the audience experiences a simulated sunset projected by the laser video system. As the sunset proceeds, the star projector rises to simulate the night sky. The lecturer asks the audience to imagine how mysterious the stars must have seemed to ancient people, and then demonstrates, using the star projector, how people invented constellations in an effort to make sense of the randomly scattered stars. In accelerated time, we see the complex motions of the sun, moon, and planets.

The scene dissolves to ancient Alexandria, Egypt. We see the Great Library and the Pharos Lighthouse. In a courtyard, next to a pool surrounded by torches, we see the 2nd Century astronomer Claudius Ptolemy adjusting an armillary sphere to chart star positions. Behind Ptolemy is a small table on which rests a scroll. We approach the scroll and see that it depicts a geocentric model of the universe. Paintings on the scroll morph into 3D representations of the sun, earth, and planets, which hover above the scroll and rotate within a complex system of crystalline spheres, illustrating the earth-centered model of the universe that persisted until the Renaissance.

The flame from a lamp pans across the field of view and dissolves to a candle flame burning above the workshop table of Galileo Galilei in Italy around the year 1610. We move into a courtyard where Galileo is observing with his telescope. On an easel lit by a lantern we see his sketches of the moons of Jupiter and the phases of Venus. These drawings also morph into 3D objects to demonstrate how Galileo's observations transformed our perception of the planets and helped establish the Copernican model of the solar system.

The film transports the audience through a series of environments, such as Mount Wilson Observatory in the early 1920s, when Edwin Hubble discovered the true nature of the Andromeda Galaxy and the expansion of the universe. Over the desk of an anonymous modern researcher we see a representation of the Big Bang. The device of transforming raw data, such as sketches and photographs, into 3D objects is used to suggest how scientists must apply imagination to interpret their observations.

Towards the end of the show, the audience experiences a simulated flight through clusters of galaxies, into the Milky Way Galaxy, our solar system, skimming the surface of Mars, where the probable and tragic loss of oceans beckon the audience to wonder about the future of our planet, and then finally returns to Earth, landing on the front lawn of Griffith Observatory.

The presenter once again appears with the glowing "star" and delivers an epilogue, summarizing that of all the things we have learned about the Universe, one of the most amazing discoveries is that Earth and everything on it, including its inhabitants, are made from the clouds of dust and gas that lace the Milky Way Galaxy; that we are, in fact, made of stardust, which would possibly explain humanity's fascination with the night sky.

Technical challenges

According to Andrew Hofman, Visual Effects Supervisor, "Centered in the Universe" presented unique challenges. "Some long-established practices in conventional film making are simply not available in the dome venue." For instance, changing lenses is not an option in a dome show; there is only one lens: the 180-degree fisheye, which makes near objects appear distorted while objects only a few feet from the virtual camera appear very tiny. Developing a visual style to work within this limitation was integral to the success of the show. The sheer size of the image files was also daunting. Each frame was composed of 17 million pixels, as opposed to the mere 3 million required for conventional cinema. "Software behaved erratically, machines ran out of RAM; hard drives filled up and networks, even air conditioning, were overtaxed."

The Visual Effects Producer, Bill Murphy, had to create a schedule and budget for a production "that was not fully scripted requiring images never before created for a physical space that was not yet built." Delays in the delivery of the laser video projectors required animators to continue making color adjustments until a few days before the premiere, as the projectors themselves kept changing.

Artistic challenges

Although every frame of the film was created using computer graphics, conventional artwork played an important role in developing the look and feel of the show. Art Director Chris Butler did extensive research to design props and sets that would allow the 3D animators to create historically authentic environments. The animators visited the dome of the  telescope at Mount Wilson Observatory  to photograph the building before constructing it in Maya (software) as it might have appeared in 1925, when Edwin Hubble worked there. "Dixon insisted on authenticity; from the location of planets in the sky to the kind of feather in Galileo's quill pen, everything was meticulously researched", according to Executive Producer Ann Hassett. Animators studied photographs provided by Galileo expert Dava Sobel to ensure that architectural details of the astronomer's house were modeled correctly.

Musical score
Centered in the Universe features an original orchestral score blending avant-garde and classical motifs composed by Alan Ett, Scott Liggett, and William Ashford from Alan Ett Music Group. The soundtrack is available from the iTunes store.


Borough Road Gallery

The Borough Road Gallery is an art gallery at London South Bank University on Borough Road in south London, England.

The gallery celebrates the artist David Bomberg who taught at the Borough Polytechnic, now London South Bank University. The gallery includes the Sarah Rose Collection of his pictures and those of other artists in the Borough Group, totalling around 150 works.

The gallery opened in June 2012, financed by the UK Heritage Lottery Fund. Artists whose works are featured include: David Bomberg (1890–1957), Dennis Creffield (born 1931), Cliff Holden (born 1919), Thomas Holden (born 1957), Edna Mann (1926–1985), Dorothy Mead (1928–1975), and Miles Richmond (1922–2008).


The Curse of Love

The Curse of Love is a 'lost' album by English indie rock band The Coral. The album features 12 previously unreleased tracks that were recorded on an 8-track recorder between their albums The Invisible Invasion (2005) and Roots & Echoes (2007). The album was released on October 20, 2014.

Track listing


Rapp Brush

Major General Isaac Rapp Brush (November 7, 1889 – March 6, 1958) was a United States Army officer who commanded the 40th Infantry Division from 1942 to 1945 during its World War II involvement in the United States armed forces' reconquest of the Philippines.

The 40th Infantry Division or "Sun Burst" Division was prior to its World War II activation on March 3, 1941 divisions of the California, Nevada and Utah Army National Guard. During its World War II service, the 40th Infantry Division or its members were awarded 3 Distinguished Unit Citations, 1 Medal of Honor, 12 Distinguished Service Crosses, 1 Distinguished Service Medal, 245 Silver Stars, 21 Legions of Merit, 30 Soldier's Medals, 1036 Bronze Star Medals and 57 Air Medals.


Branko Benzon

Branko Benzon (29 August 1903 – September 1970) was a Croatian physician, diplomat and politician.

Pre-war life
Benzon was born in Postira, on the island Brač in 1903. He attended medical school at the University of Zagreb, Faculty of Medicine where he specialized in cardiology. He published a number of works dealing with pathology and the treatment of heart disease. Soon he became primarius of the section for heart diseases in Merkur's Sanatorium in Zagreb.

Even though he was a respectable doctor, he was fired in 1932 for his political attitudes. He was member of the Ustaše branch in Croatia with a pro-German orientation. When Vladko Maček filed a complaint against him to the court, Benzon fled to Slovakia. Soon he emigrated to Germany where he led the radio-station, "Velebit". He represented Ustaše for Germany at the time. In the name of Ante Pavelić and Mile Budak on 31 March 1940, he transmitted a memorandum to the Foreign Minister of Germany, Joachim von Ribbentrop in which he asked for German support in the creation of Croatian state within its historical boundaries.

Diplomatic career and emigration
With the proclamation of the Independent State of Croatia, he returned to Zagreb and joined the political leadership. He was named Croatian Ambassador to Germany in April 1941, but because of diplomatic misbehaviour, was forced to resign on 10 October 1941. In 1942, he became Croatian Ambassador to Romania, and from 1944 until 1945, was Ambassador to Hungary. His involvement in the Lorković-Vokić coup put him in disagreement with Croatian leadership and did not return to Zagreb.

After the war he went to Spain and then emigrated to Argentina where he worked in Direction for Immigrants. After the fall of his friend President Juan Domingo Perón in 1955, he went to Venezuela and became chief of section in the American hospital in Caracas.

While in Central America, he established a smuggling ring for getting Nazi war criminals out of Europe. Benzon was responsible for bringing over 100 former officers overseas, including Josef Mengele, the infamous doctor from Auschwitz known for his human experiments. The war criminals came from cities around the globe where they contacted Argentinian spies and Italian sympathisers, receiving new identities and papers classifying them as technicians.

Notes


34 Kudi

34 Kudi  is a village in the southern state of Karnataka, India. It is located in the Udupi taluk of Udupi district in Karnataka.


The Local (film)

The Local is a 2008 action-drama film directed, written by and starring Dan Eberle. It also stars Maya Ferrara, Karl Herlinger, Beau Allulli, David F. Nighbert, Paul James Vasquez, James Alba, and Paul Bowen. The film follows Noname, a small-time drug trafficker hired by a wealthy out-of-towner to help free his drug-addicted daughter.

Plot

Noname (Dan Eberle) is a mysterious, lowly drug courier in Brooklyn, New York looking for escapism from his tortured and violent past. He rents out the basement of a married couple, struggling to stay clean from drugs and make ends meet with no job or money, which has him resort to working for psychotic drug dealers, particularly Sig (George Tchortov) and Big Black (Paul Bowen)

Under surveillance by wealthy out-of-towner, Frank (David F. Nighbert), and his associate, Joe (Paul James Vasquez), Noname confronts them in their car, where he is offered $5000 in return for his cooperation, later revealed they want him to emancipate Frank’s heroin-addicted, estranged daughter Claire (Maya Ferrara) from the drug house of his boss, Big Black.

During his errands, Noname meets drug dealer, Blueboy (Beau Allulli), and elderly leukemic woman, Anne Thomson (Janet Panetta), both who befriend him. However, some of his trafficking stops turn up botched, landing him in trouble with his dealers, as he is kidnapped and nearly killed by one of Sig’s enforcers.

Later, Blueboy is busted for drug possession and Anne dies from her illness. Barely scraping by, Noname robs money from a businessman. When his tenant Joe (Torben Brooks) discovers his life by finding a syringe in his basement, he is evicted from the premises and sleeps at the train station. Blueboy soon finds him at a restaurant, explaining he was bailed out of jail, but is being sent to rehab. Before they go their separate ways, Blueboy helps out Noname by giving him some cash.

Delaying the task long enough, Noname takes back up the $5000 offer by Frank and Joe. He kills Big Black after taking out one of his right-hand men Horse (James Alba). The other man Rottweiler (Karl Herlinger) escapes, while Noname removes a drugged Claire from the apartment. They board a train at the station that Rottweiler is a passenger on. Once Claire is taken into care by Joe during a train stop, Noname confronts Rottweiler, killing him in the process. Outside the station, Noname helps Frank reconcile with Claire and set her on a path to get clean. He tells Claire that Frank is family and will take care of her. Noname receives his $5000 owing and in the final shot, he watches on from the bridge as Frank, Joe, and Claire drive away.

External links


Anthrenocerus trimaculatus

Anthrenocerus Trimaculatus is a species of beetles, native to Australia.  It is within the genus Anthrenocerus and the family Dermestidae.


LA Weekly

LA Weekly is a free weekly alternative newspaper in Los Angeles, California. It was founded in 1978 by Jay Levin, who served as president and editor until 1991. Voice Media Group sold the paper in late 2017 to Semanal Media LLC.

According to its website, LA Weekly has been the premier source for award-winning coverage of Los Angeles music, arts, film, theater, culture, concerts, [and] events." The LA Weekly also recognizes outstanding small theatre productions (99 seats or less) in Los Angeles, with their annual LA Weekly Theater Awards, established in 1979. Starting in 2006, LA Weekly has hosted the LA Weekly Detour Music Festival every October. The entire block surrounding Los Angeles City Hall is closed off to accommodate the festival's three stages.

Some of its best known writers were Pulitzer Prize-winning food writer Jonathan Gold, who left in early 2012, and Nikki Finke, who blogged about the film industry through the Weekly website and published a print column in the paper each week, leaving in June 2009 after the blog she founded, Deadline Hollywood Daily, was acquired by an online firm.

History
The paper was founded in 1978 by Jay Levin, who served as its editor from 1978 to 1991 and its president from 1978 to 1992. Levin put together an investment group that included actor Michael Douglas, Burt Kleiner, Joe Benadon and Pete Kameron.  The majority of its core of initial staff members came from the Austin Sun, a similar-natured bi-weekly, which had recently ceased publication.

Although some former employees have complained about personnel moves since the Weekly parent company's acquisition by New Times Media in 2004 (which assumed the Village Voice Media name in 2005), the paper has won a Pulitzer Prize, and broke the story of the "Grim Sleeper" serial killer. Some of those disgruntled ex-employees complained when New Times replaced news editor Alan Mittelstaedt with New Times editor Jill Stewart. But in the 2009 LA Press Club Awards, the Weekly won six first-place awards, including three by staff writer Christine Pelisek, who was honored as the city's best reporter in investigative reporting, hard news, and news feature.

Harold Meyerson, once the Weekly political editor, charged in a departing email to Weekly staffers in 2006 that the new owners had grafted a cookie-cutter template for editorial content onto the publication.

Writers once closely associated with the Weekly but let go by the paper's current management include Meyerson, classical music critic Alan Rich, theater critic Steven Leigh Morris, film critic Ella Taylor, and columnist Marc Cooper. Internal cutbacks have resulted in the paper eliminating the position of managing editor, letting go several staff writers and other editorial department positions, as well as cutting the entire fact checking department. On June 1, 2009, the paper announced that Editor-in-Chief Laurie Ochoa, who began helming the paper in 2001 (before the New Times acquisition), was "parting ways" with the Weekly. On that same day, ads for her replacement appeared on Craigslist and Journalismjobs.com. Though some speculated that Stewart was a shoo-in for the position, the job quickly went to Drex Heikes, formerly of the Los Angeles Times. When Heikes left in 2011, he was replaced by Sarah Fenske.

The management of LA Weekly said staff cuts were necessary owing to poor economic conditions. However, some of the cuts are likely attributable to philosophical differences with the paper's then-owners, who have since sold the chain. Former staff writer Matthew Fleischer said at the time that "as part of the company's 'plug-and-play' management strategy, editors, writers and ad directors were moved from city to city within the chain, without regard for local knowledge. Any old-school Village Voice Media manager who resisted the metamorphosis was denounced as a 'lefty,' a 'throwback,' and worse. They were fired or simply fled."

Since 2008, LA Weekly has hosted a food and wine festival, now dubbed The Essentials, that draws sizable crowds. In 2009, former Los Angeles Times food writer Amy Scattergood became food blogger at LA Weeklys Squid Ink, and was later promoted to food editor. In late 2009, the paper hired Dennis Romero, formerly of Ciudad magazine, as a full-time news blogger. Following the recession, in 2012 the paper added food critic Besha Rodell, a James Beard nominee and former food editor of Atlanta's Creative Loafing.  Then in 2013, LA Weekly named Amy Nicholson as its lead film critic. In 2016, LA Weekly named multimedia journalist and Emmy-winning producer Drew Tewksbury as managing editor.

2012 sale
In September 2012, Village Voice Media executives Scott Tobias, Christine Brennan and Jeff Mars bought Village Voice Media’s papers and associated web properties from its founders and formed Voice Media Group. The paper won journalism awards before and after this transition, with two of its news writers, Patrick Range McDonald and Gene Maddaus, winning the Los Angeles Press Club's nod for Journalist of the Year.

For a time in the Los Angeles market, LA Weekly competed against two now-defunct publications, including Brand X (a weekly published by the Los Angeles Times and  produced by a crew that included former LA Weekly staffers) and LA CityBeat, a smaller alternative weekly newspaper owned by Southland Publishing, which ceased publication in March 2009. Southland also owns the Pasadena Weekly, (helmed by veteran LA-area newsman Kevin Uhrich) and The Argonaut on the Westside of Los Angeles, and other print products in Southern California.

2017 sale
In November 2017, the publication was sold to Semanal Media LLC. In December 2017, it was revealed that the new owners of Semanal Media LLC include "David Welch, a Los Angeles-based attorney with ties to the cannabis industry; philanthropist Kevin Xu, an investor with biotech firm Mebo International; attorney Steve Mehr; boutique hotelier Paul Makarechian; real estate developer Mike Mugel; and Southern California investor Andy Bequer", all residents of Orange County, California. The new operation manager is Brian Calle.

In August 2018, David Welch sued the other co-owners, alleging "they've pillaged the company."


Sphinx ligustri

Sphinx ligustri, the privet hawk moth, is a moth found in most of the Palearctic ecozone. The species was first described by Carl Linnaeus in his 1758 10th edition of Systema Naturae.

Description
It has a  wingspan (generally deflexed at rest), and is found in urban areas, forests and woodlands.

The male privet hawk moth can make a hissing sound, if disturbed, by rubbing together a set of scales and spines at the end of its abdomen.

The larvae are usually found between July and August: and bury themselves in the earth when preparing to become a pupa. They then fly in the following June.

Diet
As its name describes, the caterpillars feed on privets, as well as ash trees, lilacs, jasmine, and a number of other plants.

Gallery


Nowe Karmonki

Nowe Karmonki  () is a village in the administrative district of Gmina Radłów, within Olesno County, Opole Voivodeship, in south-western Poland. It lies approximately  south-east of Radłów,  north-east of Olesno, and  north-east of the regional capital Opole.

The village has a population of 449.


Muhammad ibn Ali al-Idrisi

Sayyid Muhammad ibn Ali al-Idrisi (1876–1920) [] founded and ruled the Idrisid Emirate of Asir.

Biography
He was born at Sabia (now a county of Saudi Arabia). He was a grandson of Sayyid Ahmad ibn Idris al-Fasi, a native of Fez, who was head of a religious fraternity (tariqa) at Mecca and who acquired land at Sabia, settled there and died in 1837. The descendants of Sayyid Ahmed appear to have increased in wealth and influence and to have gradually supplanted the ruling sherifial family of Abu ‛Arish.

Sayyid Muhammad was educated partly at Al-Azhar University and partly by the Senussi at Kufra, and subsequently resided for a time in the Sudan, at Argo Island. On his return to Asir, his one ambition was to render that district independent of the Ottoman Empire. He gradually expanded his political power to include Mikhlaf el Yemen and a large part of the Tihamah, with control over several tribes outside these limits. He threw in his lot with the Allies in World War I, and was the inexorable foe of the Imam of Yemen.

Notes


Geoff Meggs

Geoff Meggs is a Canadian politician, who served on Vancouver, British Columbia's City Council from 2008 to 2017. He was first elected in the 2008 municipal election, and resigned his seat on city council in 2017 to accept a job as chief of staff to John Horgan, the Premier of British Columbia.

Background
Meggs was born in Ontario and grew up in Willowdale, Toronto and Ottawa.  His father, who was trained as an Anglican priest, was a broadcaster with the CBC, and his mother was a nurse who retired to become a homemaker.  Meggs graduated from the University of Toronto.  After graduating he joined the Canada World Youth exchange program and spent time in Malaysia.  He eventually relocated to Vancouver in 1976.  Meggs' career includes time as a journalist, a communications director in the offices of former Premier Glen Clark and former Vancouver mayor Larry Campbell, an executive director of the BC Federation of Labour, and president of Tideline Communications.

He is the author or co-author of four published books, including Salmon: The Decline of the West Coast Fishery (Douglas & McIntyre, 1991), which won the 1992 Lieutenant-Governor’s Medal for Historical Writing, and Cork Lines and Canning Lines; the Glory Years of Fishing on the West Coast, with Duncan Stacey (Douglas & McIntyre, 1992).

Politics
Meggs ran as part of the Vision Vancouver slate in the 2008 election.  He received 49,538 votes, in ninth place out of a field of 32 candidates for Vancouver councillor, the fewest votes among the seven elected Vision Vancouver councilors.<ref name="gselect">"Racism is alive and well in Vancouver municipal politics", Georgia Straight, November 16, 2008.</ref>  In 2011, Meggs was re-elected as a Vision Vancouver city councillor with 56,183 votes, sixth out of a field of 40 candidates.

In June 2014, Meggs faced a court petition to remove him and fellow councillor Kerry Jang from office for allegedly violating rules on conflict of interest in connection with the rezoning of a public housing project.

Family
Meggs and his wife, Jan O’Brien, live with his daughter Claire in False Creek.  Their oldest daughter, Caitlin, lives and works in Victoria.

 Works
 2018: Strange New Country: The Fraser River Salmon Strikes of 1900–1901, 236 pages. Harbour Publishing.
 2012: The Art of the Impossible: Dave Barrett and the NDP in Power, 1972-1975 (co-authored with Rod Mickleburgh), Harbour Publishing.
 1995: Salmon: The decline of the British Columbia fishery, 274 pages. Douglas & McIntyre.
 1992: Cork Lines and Canning Lines'' (co-authored with Duncan Stacey). Douglas & McIntyre.


Narco (film)

Narco is a 2004 French film about Gus (played by Guillaume Canet) a narcoleptic, whose life is made difficult by his inability to keep a job because of his narcolepsy.

Plot
The main character Gus experiences vivid dreams during his narcoleptic episodes, which inspire him to create comic book style art of extremely high quality. When Samuel Pupkin, the psychiatrist who runs a group attended by Gus, learns of this, he recalls his own desire to be a comic book artist, instead of following the family tradition of psychiatry, a dream prevented by his lack of artistic talent. Motivated by greed, jealousy, and desire for fame he hatches a plot, involving figure skating assassins, to steal Gus's work and pass it off as his own. The attempt on Gus's life fails but he ends up in a coma. Pupkin pays Gus's wife and best friend (who have begun an affair) for the art and sells it to a failed-comedian turned successful publisher, who in turn plans to erase the text and replace it with his own, and in this way have his genius for comedy finally recognized.

When Gus awakens from his coma, he reports to the police that someone is trying to kill him, but as he can think of no reason why, the police dismiss his claims. He then discovers that he is no longer narcoleptic, but finds it convenient to pretend he still is. In this way he discovers the affair of his wife and best friend, and through further investigation the theft of his work. The publisher angry that because of the Pupkin's deception, Gus could cause problems for them, demands that Pupkin solve it. Pupkin once more sends the assassins after Gus, but Gus's best friend, after wrestling with his conscience, talks them out of killing him. The police now believe his story and investigate the publisher who goes to jail, where he finally finds success as a comedian, performing for the other inmates. Pupkin goes insane and is confined to a hospital. Gus reconciles with his wife and finally gets a job.

In a minor role, Jean-Claude Van Damme appears as an imagined version of himself, when one character who idolises him as the ultimate 'Karate man', imagines a conversation where he acts as that character's conscience.

Cast
 Guillaume Canet - Gustave Klopp
 Zabou Breitman - Pamela
 Benoît Poelvoorde - Lenny Bar
 Guillaume Gallienne - Samuel Pupkin
 François Berléand - Guy Bennet
 Jean-Pierre Cassel - Gus's father
 Vincent Rottiers - Kevin
 Philippe Lellouche - Hervé
 Laurent Lafitte - The host
 Léa Drucker - The twin
 Gilles Lellouche - The twin
 Anne Marivin - The objects woman
 Lionel Abelanski - The supermarket director
 Philippe Lefebvre - The gym teacher
 François Levantal - The twins's father
 Jean-Noël Brouté - The doctor

Soundtrack


Constance of France, Countess of Toulouse

Constance of France (1124–1176) was a French princess of the House of Capet, the only daughter of Louis VI of France and his second wife Adélaide de Maurienne. Amongst her siblings was Louis VII, who succeeded their father in 1137.

Life
In 1140, Constance married Eustace IV, Count of Boulogne, son of Stephen, King of England. The couple were married for thirteen years until Eustace's death, they had no children.

The following year, Constance was married to Raymond V, Count of Toulouse. The marriage was arranged by her brother, who was in need of allies against Henry II of England, particularly after the latter bolstered his presence in France by marrying Louis's former wife, Eleanor, Duchess of Aquitaine.

The marriage was an unhappy one, a factor that can explain the tense relationship between Raymond and Louis. After a decade of marriage, Raymond broke from Louis and moved towards a partnership with Frederick Barbarossa. Constance wrote to Louis, complaining that she was isolated in Toulouse; the courtiers ignored her and her servants did not obey her orders. In addition, Constance was displeased by her husband taking mistresses. In 1165, Constance fled from Toulouse and returned to Paris.

In 1166, with the support of Antipope Paschal III and Frederick, Raymond repudiated Constance. Having lost the favour of Louis, Raymond was forced to perform homage to Henry for Toulouse at Limoges in 1173.

Issue
Raymond and Constance had five children together, they were:
 Raymond VI, who succeeded his father
Aubri, died 1180
 Azalais of Toulouse
 Baldwin of Toulouse, born 1165, executed on the orders of Raymond VI in 1214

Ancestors


Wissman

Wissman is a surname. Notable people with the surname include:

Dave Wissman (born 1941), American baseball player
Johan Wissman (born 1982), Swedish athlete


Haifa Women's Coalition

The Haifa Women's Coalition is a coalition of four women's organizations in the Israeli city of Haifa: Isha l'Isha – Haifa Feminist Center, Kayan – Feminist Organization, Haifa Rape Crisis Cente and Aswat – Palestinian Gay Women. The coalition works for women's rights awareness and supports women victims of domestic and sexual violence. Jewish and Arab women in Israel work under one roof, creating a contact point for Northern Israeli women of all backgrounds.

Overview
Isha l'Isha, Aswat, Kayan and the Haifa Rape Crisis Center have gained international recognition. In 2008, Aswat was awarded the Go visible Award of the city of Vienna, an initiative of the Austrian Green Party. Rauda Morcos, then the head of Aswat, was awarded the Felipa de Souza Award of the  OutRight Action International in 2006.
Aswat was the first public organization for Arab lesbians in the Middle East and Rauda Morcos was for a long time the only openly gay member of Aswat. The group has supporters in Israel, the West Bank and Gaza, but most Arab lesbians hide their sexual preferences for fear of reprisals. The first conference of Aswat in March 2008 was met with a high level of response from supporters but also from opponents of gay rights. Israel's Islamic Movement had requested cancellation of the conference. The organizers refused, and members of the Islamic Movement demonstrated in front of the conference building.

Aswat aims to strengthen cooperation with feminist organizations in the Occupied Palestinian Territories. The women see their struggle for gay rights in connection to the Palestinian struggle against the occupation, and also aim to show solidarity with Palestinian homosexuals in the OPT whose situation is even more difficult than that of Palestinian homosexuals in Israel.

Kayan called public and media attention inter alia with its research about mobility among women in Arab villages and towns in Northern Israel. This first study of the topic showed the complete lack of public transportation in Israel's Arab localities, and convinced the Ministry of Transport to install bus lines in Sakhnin, Arara, Umm el Fahm and other Arab towns and villages. The project "Women Demand Mobility" also involved women's community activism in Mghar and other villages without public transportation, where women installed bus lines out of their own initiative.
Israeli media also reported widely about an environmental project where women from Mghar raise environmental awareness among children and youth. Environmental work by women is a novelty in Arab society, empowers women and helps the community at the same time.

Isha l'Isha's achievements for the prevention of trafficking of women are of utmost importance. The organization succeeded in raising public awareness for the problem, including the installation of a parliamentary committee that deals with the issue. Traffickers of women face heavier punishments today thanks to Isha l'Isha's initiative, and Isha l'Isha is regarded a central reference and expert on the topic in Israel.

In July 2000, the Haifa Rape Crisis Center, along with the other nine national rape crisis centers, received the Volunteer Award presented by the President of Israel.  The award is in recognition of the Centers’ “ important pioneering contribution to Israeli Society” and their “contribution to the uprooting of the epidemic of sexual violence from Israeli Society and on the support given to survivors.”

Criticism
Especially the quarter policy of the Israeli feminist movement, which is also implemented in the Haifa Women's Coalition, is subject to criticism. The quarter policy aims to ensure equal representation of Israel's large population groups - Mizrahi women (Jews who descend from the Middle East, North Africa, Central Asia and the Caucasus), Ashkenazi women (Jews who descend from European countries), Lesbian and Palestinian women. On the one hand, there are basic discussions about the implementation and usefulness of this policy. On the other hand, it is asked why Russian women, a large minority in Israel today, are not represented. In reaction to this criticism, the quarter system was expanded to accommodate additional groups that make up Israeli society.

The different identities of the women are an ongoing topic of discussion. Women from minority groups often feel dominated by Ashkenazi women and unequally represented. The building of coalitions and the sharing of resources shall provide answers to these questions.


Tearing Down the Walls

Tearing Down the Walls is the third studio album by American singer, actress and musician, E. G. Daily, which was released in 1999.

Background
Tearing Down the Walls was Daily's first album since 1989's Lace Around the Wound. After the end of her record deal with A&M, Daily focused on her voice acting career. Marking a return to music, Daily worked with Grammy-winning music veterans and producers Brad Gilderman and Harvey Mason, Jr. for the majority of Tearing Down the Walls, while "Pretty Baby" was produced by Bernie Larsen and Daily. Although the album didn't garner any commercial success, critical reception was favorable. To promote the album, Daily would perform live on July 18, 1999, at the Phoenix, Arizona stop of Sarah McLachlan's Lilith Fair, a travelling music festival tour that "showcases the best in women's pop music".

In 2007 Daily went on "The Changing Faces Tour", which celebrated the Tearing Down the Walls album, as well as the launch of her first two albums - Wild Child and Lace Around the Wound – available on iTunes that May. Additionally the first single "Don't Even Care" was reported for release on June 13, 2007, and this single was meant to be serviced to Mainstream/Top 40/Hot AC radio. The album was released nationwide again on September 18 with exclusive bonus tracks; "Home," "Earthlings," "Just for You" and "Tryin'". All songs were new material, although "Just for You" was a re-recorded version of the song that appeared on her 1985 debut album Wild Child.

The song "Breath of Heaven" is the album's only cover and was first recorded by Christian music/pop singer Amy Grant from her 1992 album Home for Christmas. On October 23, 2007, Daily released the song as an MP3 single via her own label E. G. Daily Productions. "All I Want" was written by Daily and Grammy-winning writer/producer John Shanks.

During October 2002, Daily was interviewed by Matt Cibula for Ink 19. Asked whether the album was personal, Daily replied: "All my records are. They're like diaries, you know? Some of the songs on that record were written before I had kids, some after, and some were written during my marriage. I don't know how to write songs that aren't personal." Speaking of the album, Daily said: "I was very particular with that record. I produced and released it, and I needed someone with good chops to co-produce it. I found Brad Gilderman, who is a great engineer and mixer. He worked on "When Will I See You Again." And he's done mixes for Babyface. Anyway, he was the guy who had mixed that track, and I had a really awesome time making that. I'd already rehearsed the band, so he was able to just come right in."

Release
The album was independently released in early 1999 on CD in America only (on Amazon and record stores nationwide), via Daily's own label E. G. Daily Productions (Tommy T), along with Sumthing Distribution. The CD remains in print. During 2007, Daily released the album as an MP3 download on sites such as Amazon and iTunes via E. G. Daily Productions. Additionally, this coincided with the launch of the bonus track version of the album.

Critical reception

Alex Henderson of AllMusic stated: "You certainly have to admire Daily's flexibility; not everyone could portray a talking pig [Babe: Pig in the City] and then turn around and record an introspective singer/songwriter offering like Tearing Down the Walls. This album has a very reflective tone, and "personal" is definitely the watchword on "Someday," "Here It Goes Again," "The Walls," and other songs she wrote or co-wrote. At 38, Daily was still best known for her Madonna-ish hit of 1986, "Say It, Say It," but you won't find any high-gloss dance music or urban contemporary on this intimate, often confessional pop/rock date."

The professional body piercer Elayne Angel mentioned the track "All I Want" in an interview with Jodie Michalak. When asked for the song on her iPod right now and the one she kept replaying, Angel stated "It's a song called "All I Want" by E. G. Daily. It may be a little obscure, but I really like her music - and she's a really cool lady. If you're not familiar with her work, you should check it out!"

Track listing

Personnel
 E. G. Daily - Vocals, Lead Guitar, Piano, Harmonica, Producer (all tracks)
 Jeff Kluesner - Rhythm Guitar (all tracks except track 7)
 Randy Mitchell - Rhythm Guitar (track 7)
 Jeff McElroy - Bass Guitar (all tracks except track 7)
 Ralf Balzer - Drums (all tracks except track 7)
 Nick Vincent - Drums (track 7)
 Brad Gilderman, Harvey Mason Jr. - Producer (all tracks except track 7)
 Bernie Larsen - Producer (track 7)


Dean Pees

Russell Dean Pees (born September 4, 1949) is a former American football defensive coach. He served as the defensive coordinator for the New England Patriots, Baltimore Ravens, and Tennessee Titans of the National Football League (NFL), and was also the head coach at Kent State University from 1998 to 2003, compiling a record of 17–51.

Coaching career

College football
Pees began his college coaching career in 1979 at the University of Findlay as their defensive coordinator and secondary coach following six years as a high school coach. In 1983, Pees moved to Miami University, where he was also the defensive coordinator and secondary coach of the team. From 1987 to 1989, Pees served as the secondary coach at the United States Naval Academy. Pees then took the defensive coordinator job, under Nick Saban, at the University of Toledo, which he held for four seasons with the team. He spent the 1994 season under head coach Lou Holtz as the secondary coach for the University of Notre Dame. From 1995 to 1997, Pees worked as the defensive coordinator and inside linebackers coach again under Saban at Michigan State University. In 1998, he earned his first head coaching job at Kent State University. Pees left the program after the 2003 season with a six-year record of 17–51.

NFL

New England Patriots

Prior to the 2004 NFL season, Pees left Kent State for the Patriots, spending two years as the Patriots' linebackers coach under head coach Bill Belichick, another Saban associate. Pees had coached alongside Bill's father, Steve Belichick, at Navy in the late 1980s.  After the 2005 season, Pees was promoted to defensive coordinator, replacing Eric Mangini, who became the head coach of the New York Jets. With his contract set to expire following the 2009 season, Pees chose not to return to the Patriots on January 14, 2010.

Baltimore Ravens
On January 26, 2010, Pees was hired as the linebackers coach for the Baltimore Ravens. On January 27, 2012, Pees was promoted to defensive coordinator by head coach John Harbaugh. Pees was on the coaching staff that won Super Bowl XLVII. Pees announced his retirement on January 1, 2018.

Tennessee Titans
On January 29, 2018, Pees was hired as the defensive coordinator for the Tennessee Titans under head coach Mike Vrabel. On January 20, 2020, Pees announced his retirement from football for the second time.

Head coaching record


52 Cygni

52 Cygni is a giant star in the northern constellation of Cygnus with an apparent magnitude of 4.22.  Based on its Hipparcos parallax, it is about  away.

52 Cygni is a probable horizontal branch (red clump) star, fusing helium in its core, although there is a 25% chance that it is still on the red giant branch (RGB) and fusing hydrogen in a shell around an insert core.  As a clump giant it would be 2.27 gyr old, but only 910 myr if it is an RGB star.  It shines with a bolometric luminosity of about  at an effective temperature of 4,677 K.  It has a radius of .

At an angular separation of 6.0″ from 52 Cygni is a faint magnitude 9.5 companion.