El Norte (film)

El Norte (English: The North) is a 1983 British-American independent drama film, directed by Gregory Nava. The screenplay was written by Gregory Nava and Anna Thomas, based on Nava's story. The movie was first presented at the Telluride Film Festival in 1983, and its wide release was in January 1984.

The picture was partly funded by the Public Broadcasting Service (PBS), a non-profit public broadcasting television service in the United States.

El Norte received an Oscar nomination for Best Original Screenplay in 1985, the first American independent film to be so honored. In 1995, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".

The drama features Zaide Silvia Gutiérrez and David Villalpando, in their first film roles, as two indigenous youths who flee Guatemala in the early 1980s due to the ethnic and political persecution of the Guatemalan Civil War. They head north and travel through Mexico to the United States, arriving in Los Angeles, California, after an arduous journey.

Plot
The writing team of Nava and Thomas split the story into three parts:

Arturo Xuncax: The first part takes place in a small rural Guatemalan village called San Pedro and introduces the Xuncax family, a group of indigenous Mayans. Arturo is a coffee picker and his wife a homemaker. Arturo explains to his son, Enrique, his world view and how the indio fares in Guatemalan life, noting that, "to the rich, the peasant is just a pair of strong arms". Arturo and his family then discuss the possibility of going to the United States where "all the people, even the poor, own their own cars". Because of his attempts to form a labor union among the workers, Arturo and the other organizers are attacked and murdered by government troops when a co-worker is bribed to betray them—Arturo's severed head is seen hanging from a tree. When Enrique attempts to climb the tree that displays his father's head, a soldier attacks him. Enrique fights and kills the attacker, then escapes with Rosa and hides in a safe house until morning. Enrique and Rosa thus escape capture, only to learn that many of their fellow villagers have been rounded up by soldiers. The children's mother too "disappears": abducted by soldiers. So, using money given to them by their godmother, Enrique and his sister Rosa decide to flee Guatemala, the land of their birth, and head north.

Coyote: During the second part of the film the two teenagers flee Guatemala, travel through Mexico, and meet a Mexican coyote who guides them across the border. This section includes various comic scenes relating to mutual stereotyping among different ethnic groups; the two attempt to pass themselves off as indigenous Mexicans, failing to convince one Mexican truck driver after naming the wrong destination, but later succeeding in convincing a U.S. Border Patrol officer by copiously peppering their responses with the Mexican word for "fuck", which a neighbor had suggested was how all Mexicans speak. Thus Enrique and Rosa are only deported to a border town in Mexico and not to Guatemala, giving them a base for a second attempt to cross the border. After their first failed attempt to cross the "frontera", where a man posing as a coyote deceives and attempts to rob them, they have a horrific experience when they finally cross the U.S.-Mexican border through a sewer pipe laden with rats; critic Roger Ebert noted:

El Norte: In the final part of the film Rosa and Enrique discover the difficulties of living in the U.S. without official documentation. The brother and sister team find work and a place to live and initially feel good about their decision. However, Rosa nearly is caught up in an immigration raid and must find a new job. Working as a domestic, she is puzzled when her Anglo employer shows her a washing machine. Enrique becomes a busboy and, as his English classes begin to improve his command of the language, he is promoted to a position as a waiter's assistant. He is later approached by a businesswoman who has a better-paying job for him in Chicago as a foreman, which he initially declines; he too encounters problems when a jealous Chicano co-worker reports him to immigration, causing him to flee the restaurant and seek out the businesswoman.

When Enrique finally decides to take the position, Rosa becomes gravely ill with typhus contracted from the rat bites she received during their border crossing. When this happens, Enrique must make the tough decision of missing the flight to Chicago to be by her side, and thus loses the position. As Enrique visits the hospital, Rosa laments that she will not live to enjoy the fruits of their harrowing journey to the U.S. Rosa sums up the film's major theme when she says to Enrique:

After Rosa dies peacefully, Enrique is shown once again waiting with the other day-labor hopefuls in a parking lot, offering his services to a man looking for "strong arms"; reviewer Renee Scolaro Rathke observes: "It is a bitter realization that Arturo's words about the poor being nothing but arms for the rich holds true even in El Norte."

Although Enrique is temporarily employed once again, he is distracted by haunting daydreams about his sister's lost desires for a better life. The final shot in the film again shows a severed head hanging from a rope, which may be the same image used in Part I of the film; one critic has commented that a hanging, severed head is "a symbolic device used in some Latin films to signify that the character has committed suicide".

Cast

Background
The origins of El Norte are the director's experiences in San Diego, California, as he grew up. Nava came from a border family and has relatives on the other side in Tijuana, Baja California. As a youth, he crossed the border several times a week, often wondering who lived in all those cardboard shacks on the Mexican side.

For research the producers of El Norte learned about the plight of indigenous Guatemalans from years of research, much of it conducted among exiles living in Southern California. According to Nava, "There are hundreds of thousands of refugees from Central America in Los Angeles alone. Nobody knows the exact number, but a recent television inquiry estimated 300,000-400,000. In our own research, we came across a community of Mayans from Guatemala—5,000 from one village—now in Los Angeles. The original village, which is now dead, had 15,000."

Annette Insdorf, writing for The New York Times, said Nava discussed the singular nature of the US-Mexico border.  Nava said:

The border is unique—the only place in the world where an industrialized first-world nation shares the border with a third-world country. In California, it's just a fence: on one side are the Tijuana slums, on the other side—San Diego. It's so graphic! This was the germ of the story.

The motion picture has become a staple of high school Spanish language and Human Geography classes throughout the United States and multiculturalism studies in college.

Financing
Nava and Anna Thomas spent two years raising money for El Norte but they consciously did not pursue film studios or television networks because, more than likely, studio executives would demand changes be made in either script, casting, or both.  Gregory Nava and Thomas believe that much of what makes El Norte special would have been jeopardized if a major studio had been involved in the filmmaking process.

Financing for the film was provided by PBS's American Playhouse (50%) and the rest in pre-sales.  One such pre-sale was made to the United Kingdom's Channel 4 (a public-service television broadcaster).

Themes

Magical realism
Parts of El Norte provide an example of how Latin American magical realism, primarily found in novels, has been depicted in a theatrical film. The Washington Post writer Ann Hornaday said: El Norte was seminal, both for its graceful blend of classical narrative and magic realism, and the power with which it brought an otherwise invisible world to life."

Indigenous view and bigotry
El Norte portrays an Amerindian point-of-view and this is exemplified by the religion they follow. An example is when Rosa Xuncax sings the eulogy at the funeral of her father and its Native American Maya religious theme. A traditional Maya belief is that life has a cyclical nature. Rosa sings in her Maya tongue:

Throughout El Norte young Rosa and Enrique and their family are subjected to many epithets, hatred, and bigotry due to their indigenous heritage.  When the father Arturo inadvertently kills a soldier, for example, a ladino screams:

And, when Rosa and Enrique reach their destination in Mexico, a passenger screams at the timid Maya youngsters:

Guatemalan exodus
David Villalpando, the actor who played Enrique Xuncax, gave an interview to Lear Media about what the film meant to him and why he believes the film is important. Villalpando said:

Production
When Nava and his production crew were, more or less, kicked out of Mexico during the film shoot, he had to re-create a Mexican village in California.  Nava said: "We were filming in Mexico during the end of the López Portillo presidency, one of the last of the old-fashioned caciques to rule Mexico. One day, men with machine guns took over the set. I had guns pointed at my head. We were forced to shut down production, bribe our way out of the country, fight to get our costumes back, and start shooting again in California. Ironically, in the United States our extras were real Mayan refugees. They were the people the movie was about."

Nava tells the story that, at one point, Mexican police kidnapped their accountant and held him for ransom, while, at the same time, his parents had to pose as tourists in order to smuggle exposed film out of the country in their suitcases.

Filming locations
The film was shot in Mexico and California. In Mexico: Chiapas, Morelos, México, D.F., and Tijuana. In California: San Diego and Los Angeles.

Distribution
The film was released in Scotland on October 11, 1983. On December 11, 1983, the movie opened in New York City and on January 27, 1984, it opened in wide release.

It was screened in the  section at the 1984 Cannes Film Festival.

A director's cut was re-released in May 2000.

The film was shown by Fathom Events on September 15, 2019 to commemorate its 35th anniversary, and featured new interviews with director Gregory Nava and the film's two stars, Zaide Silvia Gutierrez and David Villalpando. The film had undergone a complete restoration by the Academy of Motion Picture Arts and Sciences, and this showing was the first exhibition of the new print.

Reception

Critical response
When released, the staff at Variety magazine described the film as the "first United American independent epic".

In his review, film critic Roger Ebert was pleased with Nava and Thomas's work and likened it to a classic film of yesteryear, writing: El Norte (1983) tells their story with astonishing visual beauty, with unashamed melodrama, with anger leavened by hope. It is a Grapes of Wrath for our time."

In a scene where the characters cross into California by means of a rat-infested sewer tunnel and emerge to a view of San Diego, Commonweal critic Tom O'Brien wrote: "...the scene sums up its rare strength".

Film critics Frederic and Mary Ann Brussat of the website Spirituality and Practice were touched by Nava and Thomas' story and the attention they give to the character's native roots, and wrote: "Nava's attention to details, particularly the aesthetic and religious beauty of Indian culture, and his sympathy for the protagonists' inner lives lift this story above its melodramatic moments and make the tale a memorable one."

Yet, some film reviewers objected to what they considered the film's overly sad end.

Vincent Canby, writing for The New York Times, wrote: "Until its arbitrarily tragic ending, El Norte seems about to make one of the most boldly original and satirical social-political statements ever to be found in a film about the United States as a land of power as well as opportunity." However, Canby did find the acting top-rate and noted the realism they bring to their tasks. He added: "Mr. Nava does not patronize his 'little people.' This has something to do with the straight, unactorly quality of the performances, especially by Zaide Silvia Gutierrez as Rosa and David Villalpando as Enrique, two splendid Mexican actors."

The review aggregator Rotten Tomatoes reported that 86% of critics gave the film a positive review, based on 21 reviews.

Accolades
Wins
 Montréal World Film Festival: Grand Prix des Amériques, Gregory Nava; 1984.

Nominations
 Academy Awards: Oscar; Best Screenplay Written Directly for the Screen, Gregory Nava and Anna Thomas; 1985.
 Writers Guild of America, East: WGA Award; Best Screenplay Written Directly for the Screen; Gregory Nava and Anna Thomas; 1985.

Other distinguishments
 In 1995 the film was selected for preservation by the United States National Film Registry.

Soundtrack
A soundtrack for the film was produced in France by Island/Phono-Gram. The album was produced by Gregory Nava and Danny Holloway. The CD features original music for the film by Los Folkloristas, Emil Richards, and Linda O'Brian.

It also features "Rosa's Song" sung by the actress Zaide Silvia Gutiérrez. Adagio for Strings, by the American composer Samuel Barber, was featured at two different points in the film. It also contains excerpts from the First Cello Concerto and De Natura Sonoris No. 1 by Polish composer Krzysztof Penderecki, the latter of which is used twice.

Home media
The film has been released in video on two separate occasions, with different video covers.

In DVD format it has been released in: region 2 on June 15, 2002; region 4; and region 1.

The Criterion Collection released El Norte in DVD and Blu-ray format in January 2009.


Homec

Homec may refer to several places in Slovenia:

Homec, Domžale, a settlement in the Municipality of Domžale, central Slovenia
Homec, Kobarid, a settlement in the Municipality of Kobarid, western Slovenia
Homec, Vojnik, a settlement in the Municipality of Vojnik, northeastern Slovenia
Homec, Rečica ob Savinji, a settlement in the Municipality of Rečica ob Savinji, northeastern Slovenia


Liberty County Airport (Georgia)

Liberty County Airport  is a county-owned public-use airport in Liberty County, Georgia, United States. The airport is located five nautical miles (9 km) south of the central business district of City of Hinesville.

Facilities and aircraft
Liberty County Airport covers an area of  at an elevation of 98 feet (30 m) above mean sea level. It has one runway designated 14/32 with an asphalt surface measuring 3,698 by 75 feet (1,127 x 23 m). For the 12-month period ending July 18, 2006, the airport had 4,000 general aviation aircraft operations, an average of 10 per day.

Liberty County Airport was permanently closed in 2008 when Wright Army Airfield was opened to civilian traffic.


The Mexican Spitfires

The Mexican Spitfires were an Australian indie rock–indie pop band formed in 1986. The original lineup consisted of Price Conlan on drums, Stephen McCowage on lead guitar, Tim O'Reilly on bass and vocals, Michael Quinlan on rhythm guitar and vocals. O'Reilly, Quinlan and McCowage had all played in a psychedelic 1960s-styled indie pop band, Prince Vlad & the Gargoyle Impalers. They recorded two extended plays, Lupe Velez (1988) and Elephant (1990); however, they had disbanded late in 1989.

History

The Mexican Spitfires were an inner-city suburban band which developed a collection of songs about Sydney. They dealt with aspects of local daily life,: "Ivy Street" about a dilapidated street familiar to Sydney University students who walk to or from Redfern Station; "Sydney Town" on the moral tightrope found between the city and Kings Cross down Park Street; "Town Hall Steps" about a meeting out front of Sydney Town Hall; "Until" on spending time in Katoomba in the nearby Blue Mountains; and "Rookwood" talks about Rookwood Cemetery. Similar lyrical territory was farmed by contemporaries, Paul Kelly & the Coloured Girls and John Kennedy's Love Gone Wrong.

With three songwriters in O'Reilly, Quinlan and McCowage, the band's set lists contained mostly original material. Harking back to their earlier experiences in Prince Vlad & the Gargoyle Impalers, the band displayed a 1960s pop sensibility with strong harmonies from Quinlan and O'Reilly and also covered tracks by the Beatles' "If I Needed Someone" and the Monkees' "Mary Mary".

In July 1986 the Mexican Spitfires played their first gig to an audience at the Lismore Hotel, Sydney. They were signed to Red Eye Records. The group were finalists at a talent quest, Battle of the Bands, run by University of New South Wales in October; alongside Bodycore, Things for the Weekend, Merrie Melodies, and the Jive Turkeys. George Braddock of Tharunka saw their performance in October 1987, he observed "[they] play original songs with a basis on harmony. Like Paul Kelly an acoustic lays the basis for their arrangement with tasteful electric lead following In and out of powerful pop songs. Sounding somewhere between Lloyd Cole and the Smiths, with a hefty dose of Australian pub sounds, they are an interesting and worthwhile Sydney band."

The band's debut six-track 12-inch extended play, Lupe Velez, was released in 1988. The EP was produced by Jon Schofield (of the Coloured Girls), engineered by Phil Punch, and featured a keyboard appearance by Russell Parkhouse (ex-The Riptides). The EP appeared on the independent charts, moving into the top 5 in Sydney and received significant airplay on 2JJ (now 2JJJ), particularly for the "Sydney Town", "You Can't Run" and "Town Hall Steps". Lupe Velez received favourable reviews in English music magazine, NME, and in the Australian music press. "Town Hall Steps" was described by The Sydney Morning Heralds Michael Kozoil as "[an] upbeat ditty... about a summer rendezvous" at Sydney Town Hall.

According to London-based rock music critic, Andrew Mueller, as quoted in Who's Who of Australian Rock the Mexican Spitfires provided "Impressive songs in the Kelly/Kennedy vein with a slightly English sounding pop touch." The EP was favourably received in Germany and Italy, where "You Can't Run" gained substantial airplay on Radio Marte, Radio Luna and Radio Delfino in Catania. The music video for "Sydney Town" made its debut on SBS's world music show, Rock Around the World, before being shown on ABC's, rage. The band also performed "Ivy Street" on the Network TEN programme, Ridgey Didge.

After their debut, the Mexican Spitfires returned to the Electric Avenue Studio of Phil Punch to record their second six-track 12-inch EP, Elephant, during 1989 and 1990. That EP has not been released in any format, despite interest from indie pop labels such as Catania's No Tyme Records.

Two tracks, "Sydney Town" and "You Can't Run (Forever)", were included on a compilation album by Red Eye Records' various artists, Asides and Besides: The First Five Years (1990). Penelope Layland of The Canberra Times described the album, "a fun collection, snappily packaged in bright red. The liner notes explain where each track originated, and indicate if they went any where on the independent charts." "Sydney Town" appears on a Sony Music double CD compilation, Somewhere in Sydney: 30 Songs from the Harbour City, which was released in 2000 to coincide with the Sydney Olympic Games.

During the mid to late 1980s, the Mexican Spitfires played many local pubs: the Hopetoun, the Sandringham Hotel in Newtown (aka the "Sando"), Paddington Green, and Harold Park. In 1988 they toured Melbourne with other Red Eye acts the Crystal Set, Curious (Yellow) and the Bhagavad Guitars. The band also played with other bands such as: the Triffids, Roaring Jack, Penguins on Safari (later the Whitlams), the Wet Taxis, the Last Metro, the Upbeat, Billy Baxter and the Hollowmen and John Kennedy of John Kennedy's Love Gone Wrong.

Following McCowage's departure in 1989, DJ Pantless joined the band on lead guitar. That line-up supported the Proclaimers on the Sydney and Canberra leg of their 1989 tour supplemented by Dominic Killalea of the Upbeat filling in on drums. O'Reilly has since gone on to perform with the Sydney gospel music choir, the Elementals, and recorded Live at the Basement.

Whilst the Mexican Spitfires have not played live as a band since early 1989, their music has been played on radio stations like 88.1 FM WMBR Cambridge, Massachusetts, and fans of their music can be found in Australia, Japan, Germany, Italy and the United States.

Since then films have been made about this even in history.

Discography

 Lupe Velez (12-inch EP, 1988) Red Eye Records (RedEP3)
 Elephant (12-inch EP, 1990, unreleased)

 Compilations
 "Sydney Town" and "You Can't Run (Forever)" on Asides & Besides: The First Five Years (Compilation CD, 1990) Red Eye Records
 "Sydney Town" on Somewhere in Sydney: 30 songs from the Harbour City (Compilation CD, 2000)

Further reading

 Who's Who of Australian Rock, Chris Spencer, 2nd ed., 1989 The Five Mile Press,


Blue Suede Shoes: A Rockabilly Session

Blue Suede Shoes: A Rockabilly Session was a televised concert that was taped live at Limehouse Studios in London, England on 21 October 1985. The show featured rock n' roll pioneer Carl Perkins along with friends as guest stars, including Eric Clapton, former Beatles George Harrison and Ringo Starr, as well as Dave Edmunds who acted as musical director for the show. Most of the repertoire performed in the concert consisted of Perkins' classic rockabilly songs from the 1950s. It was directed by Tom Gutteridge. The concert special was originally broadcast in 1985 on Channel 4 in the UK and on Cinemax in 1986 with introductory comments by Johnny Cash, Roy Orbison, and Jerry Lee Lewis. The show was shown on Channel 4 on 1 January 1986. Perkins performed 16 songs, with two encores, in an extraordinary performance. Perkins and his friends ended the session by singing his most famous song, 30 years after its writing, which brought Perkins to tears. The concert is a memorable highlight of Carl Perkins' later career and has been highly praised by fans for the spirited performances delivered by Perkins and his famous guests. It was the first public performance by George Harrison in more than ten years An edited version of the program is available for viewing on YouTube.

Personnel
Carl Perkins (guitar, vocals)
Greg Perkins (bass guitar)
Lee Rocker (double bass)
Slim Jim Phantom (drums)
Earl Slick (guitar)
Dave Edmunds (guitar, vocals)
David Charles (drums)
John David (bass guitar)
Mickey Gee (guitar)
Geraint Watkins (piano)
Ringo Starr (drums, tambourine, vocals)
George Harrison (guitar, vocals)
Eric Clapton (guitar, vocals)
Rosanne Cash (vocals, maracas)

Track listing
All songs by Carl Perkins, except where noted:

 "Introduction"
 "Boppin' the Blues"
 "Put Your Cat Clothes On"
 "Honey Don't"
 "Matchbox"
 "Mean Woman Blues" (Claude Demetrius)
 "Turn Around"
 "Jackson" (Jerry Leiber, Billy Edd Wheeler)
 "What Kind of Girl" (Steve Forbert)
 "Everybody's Trying To Be My Baby"
 "Your True Love"
 "The World Is Waiting For The Sunrise "(Gene Lockhart, Ernest Seitz)
 "Medley": That's Alright Mama (Arthur Crudup) / Blue Moon of Kentucky (Bill Monroe) / Night Train to Memphis (Marvin Hughes, Beasley Smith, Owen Bradley) / Amen (Traditional)
 "Glad All Over"
 "Whole Lotta Shakin' Goin' On" (Sunny David [Roy Hall], Dave Williams)
 "Gone Gone Gone"
 "Blue Suede Shoes"
 "Blue Suede Shoes" (encore)
 "Gone Gone Gone" (encore)


Amoeba defense

The amoeba defense is a defensive strategy in the game of basketball.

History
The amoeba defense was developed by Fran Webster, an assistant for the Pittsburgh Panthers men's basketball team. In the 1970s, Webster perfected the defense with Pittsburgh head coaches Charles Ridl and Tim Grgurich. Grgurich later became an assistant to UNLV coach Jerry Tarkanian, who utilized the defense himself.   Pitt used the defense extensively in their 1974 season run to the Elite 8, winning 22 straight games in the process, before losing to eventual National Champion, North Carolina State in the East Region Finals (Elite 8).

Function
The amoeba defense is a basketball defense used to wear down an offense. It is a risky defense that mixes the man-to-man and zone defenses together.  The defense is set up like a diamond. The two quickest players, usually the point and shooting guards, should be set at the top of the key and just above the free throw line, while your biggest defender, most commonly the center or power forward, is set up under the basket and your other two defenders are set up on opposite sides of the lane just below the elbows.

Defending passes to the wing
The defender at the top of the key picks up the dribbler advancing up the court. The defender at the free throw line then sprints out and picks up the entry pass. The top defender then drops back to the free throw line where the defender now guarding the ball previously had been. If the ball handler begins to dribble the defender just below the elbow on the same side as the ball would then double team the ball handler with the defender already defending the ball. The defender below the opposite elbow then drops under the basket while the defender that was previously under the basket fronts the offensive player on the post. The defender originally at the top of the key is now at the free throw line anticipating the next pass in hopes of intercepting the pass and starting a fast break.

Defending passes to the corner
When the ball is passed into the corner the defender who started under the basket should sprint out to the ball. The defender originally playing below the elbow then drops to front the offensive post player. The defender originally at the free throw line is now on the wing denying the pass back up to the wing. The defender originally occupying the space below the elbow on the opposite side of the ball has now dropped under the basket and has backside responsibility while the defender originally at the top of the key sits at the free throw line and has top side responsibility.

Defending skip passes
In the event of a skip pass the defender with backside responsibility would sprint out to guard the ball. The defender guarding the ball then shifts back under the basket where they started. The defender who had been fronting the post then sprints over to the position just under the elbow on the opposite side. The defender at the free throw line then sprints out to deny the pass back to the top while the defender that had previously been denying the pass to the wing shifts back to the free throw line where they originally started.

Defending a two-guard front
A two-guard front is a different offensive formation in which two players begin at the top of the key, one player plays the high post and the other two players are positioned just above the baseline outside the three-point line. When defending against a two guard front in the amoeba defense the formation changes from a diamond shape to a 2-1-2 defense. The top two defenders who we first stacked at the free throw line and top of the key come up to defend the two guards. The defender under the basket then comes up to the free throw line and guards behind the high post. While the defenders on either side of the lane stay put to guard the pass to the corner. Ideally the ball handler would pass the ball to the high post. In that situation both defenders up top both drop down to the free throw line to triple team the high post. The high post would, in the perfect situation, panic and make a bad pass. The two defenders down low should then anticipate the pass and intercept it.

In the event that the triple team fails and the high post is able to make a pass to the wing the defender closest to the ball must sprint out to defend it. The defender that started guarding the high post then retreats to the post while the defender playing on the side of the lane closest to the ball sprints out and defends the pass to the corner. The last defender left that was previously triple teaming stays at the free throw line to deny the post and the defender playing on the opposite side of the lane drops under the basket. The defender now denying the pass to the high post now has to deny passes to the high post, wing and cross court. It is critical that the players denying passes to the high post and wing in this situation are your quickest players.

Advantages and disadvantages
The amoeba defense is a gambling defense; if used correctly it can lead to many fast breaks and easy layups, although if beaten the defense almost always leads to an uncontested layup or open shot. When used in cooperation with the man-to-man defense it can disrupt any offense and lead to many scoring streaks.  Since the defense was developed, many high school and college teams such as Rutgers and Pittsburgh have been very successful when using the defense in combination with other defenses. The defense is seen more in younger play because professional athletes are much faster and much better shooters.
The amoeba defense is a gambling defense so there may be cases in which the other team may be given easy opportunities to score. When anticipating a pass a defender may miss an interception in some cases leaving the defender wide open for a shot. In the case that a triple team occurs, if a pass is made an offensive player may be left wide open for a shot if the defender does not close out quickly enough. The defense packs into the middle of the lane so when playing a better shooting team it may be a smarter choice to stick to a man-to-man or zone defense.


Baroque guitar

The Baroque guitar (c. 1600–1750) is a string instrument with five courses of gut strings and moveable gut frets. The first (highest pitched) course sometimes used only a single string.

History
The Baroque guitar replaced the Renaissance lute as the most common instrument found in the home. The earliest attestation of a five-stringed guitar comes from the mid-sixteenth-century Spanish book Declaracion de Instrumentos Musicales by Juan Bermudo, published in 1555. The first treatise published for the Baroque guitar was Guitarra Española de cinco ordenes (The Five-course Spanish Guitar), c. 1590, by Juan Carlos Amat.

The baroque guitar in contemporary ensembles took on the role of a basso continuo instrument and players would be expected to improvise a chordal accompaniment. Several scholars have assumed that the guitar was used together with another basso continuo instrument playing the bass line. However, there are good reasons to suppose that the guitar was used as an independent instrument for accompaniment in many situations. Intimately tied to the development of the Baroque guitar is the alfabeto system of notation.

Tuning
Three different ways of tuning the guitar are well documented in seventeenth-century sources as set out in the following table.  This includes the names of composers who are associated with each method. Very few sources seem to clearly indicate that one method of stringing rather than another should be used and it is often argued that it may have been up to the player to decide what was appropriate. The issue is highly contentious and different theories have been put forward.

A very brief list of composers and tunings:

Composers
Giovanni Paolo Foscarini (c.1600 -  1650)
Angelo Michele Bartolotti (c.1615-1680)
Giovanni Battista Granata (1620 - 1687)
Gaspar Sanz (c.1640–1710)
Robert de Visée (c. 1658 – 1725)
Francisco Guerau (1649 - 1722), Poema harmonico
Francesco Corbetta (1615–1681)
 Henri Grenerin (fl. mid-17th century)
Ludovico Roncalli (1654 - 1713)
Santiago de Murcia (c. 1673 - 1739)

Makers
Nicholas Alexandre Voboam II (c. 1634/46–1692/1704), a French luthier with three guitars bearing his signature (from a total of 26 attributed to the Voboam Family). The guitars of Alexandre were held in high esteem during his lifetime and a century later were still considered desirable instruments.

Performers

 David Ryckaert III (Antwerp 1612–1661)
 Lex Eisenhardt
 Eduardo Egüez
 Paul O'Dette
 Hopkinson Smith
 Stephen Stubbs
 Xavier Díaz-Latorre
 Rolf Lislevand
 Nigel North
 Jakob Lindberg
 Stephen Stubbs
 Barry Mason
 Ugo Nastrucci
 Andrea Damiani
 Massimo Lonardi
 James Tyler
 Patrick O'Brien

Gallery

Bibliography
Lex Eisenhardt, Italian Guitar Music of the Seventeenth Century, University of Rochester Press, 2015.
Lex Eisenhardt, "Bourdons as Usual". In The Lute: The Journal of the Lute Society, vol. XLVII (2007)
Lex Eisenhardt, "Baroque guitar accompaniment: where is the bass". In Early Music, vol. 42, No 1 (2014)
Lex Eisenhardt, "A String of Confusion"
James Tyler, "The Early Guitar", Oxford University Press, 1980.
James Tyler/Paul Sparks, The Guitar and its Music", Oxford University Press, 2002.
James Tyler, " A guide to playing the Baroque Guitar" Indiana University Press, 2011.
Monica Hall: Baroque Guitar Stringing : a survey of the evidence (Guildford: The Lute Society, 2010)
Monica Hall: "Recovering a lost book of guitar music by Corbetta". In Consort: The Journal of the Dolmetsch Foundation, Vol. 61 (2005).
Monica Hall: "The "Guitarra espanola" of Joan Carles Amat". In Early Music, Vol. 6, no. 3, July 1978.
Monica Hall: "Dissonance in the guitar music of Francesco Corbetta". In Lute: The Journal of the Lute Society, Vol. XLVII (2007)
Monica Hall: "Angiol Bartolotti's Lettere tagliate". In Lute: The Journal of the Lute Society, Vol. XLVII  (2007)
Monica Hall: "Tuning instructions for the baroque guitar in Bibliotheque Nationale Res. Vmc Ms. 59, f. 108v". In Lute: The Journal of the Lute Society, Vol. XLVII (2007)
Antoni Pizà: Francesc Guerau i el seu temps (Palma de Mallorca: Govern de les Illes Balears, Conselleria d'Educació i Cultura, Direcció General de Cultura, Institut d'Estudis Baleàrics, 2000).
Hélène Charnassé, Rafael Andia, Gérard Rebours, The Guitar Books of Robert de Visée, Paris: Editions Musicales Transatlantiques,2000, 235 pages.
Thomas Schmitt: "Sobre la ornamentación en el repertorio para guitarra barroca en España (1600-1750)". In: Revista de Musicología, XV, nº 1, 1992
Giovanni Accornero, Eraldo Guerci (edited and translated by Davide Rebuffa) - The Guitar: "Four Centuries of Masterpieces", (Italian/English), Edizioni Il Salabue, 2008.
Carlo Alberto Carutti, "Passioni di un collezionista", Catalogue by Giovanni Accornero (edited and translated by Davide Rebuffa), (Italian/English), Edizioni Il Salabue, 2011.  (also available on CD rom)


Hamlet Isakhanli

Hamlet Abdulla oglu Isayev ( ) (born March 1, 1948, Kosali, near Gardabani, Georgia) is an Azerbaijani mathematician, businessman, graphoman, living founder of Khazar University who served as founding president from April 1991 to September 2010. He is currently the Chairman of the Board of Directors and Trustees, Khazar University (beginning from September, 2010); founder of integrated primary, secondary and high schools (Dunya School); and founder of a publishing house (all in Baku, capital of Azerbaijan) as well as a translator of poetry, lecturer, and editor.

He is a founding member of Eurasian Academy.

Hamlet Isakhanli ( () is the penname that he uses as a poet and in his publications in the fields of humanities and social sciences. All his works in mathematics have been published under the surname Isayev (H.A. Isayev, G.A. Isaev, etc. depending on the Western transliteration of his name). Nowadays he is better-known among the general public as Hamlet Isakhanli.

Hamlet Isakhanli's academic and literary works cover a broad range of fields including research in mathematics and in many areas of humanities and the social sciences, poetry, and creative writing.  He is often described as a polymath displaying talent in a wide range of subjects.

His critical approach to the reform of education systems in countries with transitional economies has affected the thoughts and actions of educators, policy makers and general public. He has represented Azerbaijan and the broader region on cultural, scientific, educational, and political matters in North America, Europe and Russia, Asia and Africa.
Hamlet Isakhanli is a prominent thinker, influential to his own and new generations, public intellectual and cultural figure who speaks out about what he sees as radical conservatism and injustice. He has also become a noted public figure in Azerbaijan, often giving interviews for newspapers, magazines, internet-based news agencies, and television. He hosts a lecture-based broadcast on Public TV called "Triangle of Science."

Biography

Hamlet's father Abdulla Isakhan oglu Isayev (1926–1972) taught mathematics in a secondary school and his mother, Perikhanim, is a housewife.

Hamlet attended public school (elementary, secondary and high school) in his home village of Kosali (1954–1965) where the main language of instruction was Azeri with Russian as a second language, French as a foreign language and Georgian as an official language of Georgia. Hamlet finished this school with a gold medal for highest achievement.

His brothers live in a village in Georgia and in Baku, Azerbaijan.

Hamlet Isakhanli's wife, Naila Isayeva (née Asgarli), was born in Quba, Azerbaijan. She graduated from the Institute of Russian Language and Literature in Baku. She has also received music education. She composes songs. She was the head of Khazar Ladies` Club, then, until September 2010, the Director of Dunya School (preschool, primary, middle and high schools) affiliated with Khazar University . At present she is the Advisor to the Board of Directors and Trustees in Humanitarian Affairs, Khazar University.

The couple has four daughters. Their eldest daughter, Aygun (b. 1972), finished secondary school with a gold medal, took up undergraduate study in mathematics and graduate - in management and business administration. She is living in England with her husband and two sons.
Their second daughter Zeynab (b. 1975) finished secondary school with a silver medal and received higher education in medicine with a further specialization in dermatology. She is living in Istanbul, Turkey with her husband and a son.
Their third daughter Ayten (b. 1977), took up post-graduate study in business administration, and she is a certified public accountant. She was a member of the Azerbaijani national chess team. At present she is living and working in London.
Their last-born daughter, Ulker (b. 1985), is a psychologist with a master's degree in cognitive neuroscience. She works at Khazar University now, acting as the Human Resources Director and as coordinator of the Department of Psychology.

For more information on Hamlet Isakhanli's life through his academic, literary and public activities, see below.

Mathematics
Hamlet Isakhanli (G.A. Isaev, or H.A. Isayev in mathematical works) finished high school with a gold medal and was admitted to the Faculty of Mechanics and Mathematics of Azerbaijan State University (present-day Baku State University, BSU) in 1965. He graduated from BSU in 1970 with honors. In the same year, he was admitted to the postgraduate research course (aspirantura) at the Institute of Mathematics and Mechanics, Azerbaijan Academy of Sciences, Baku, Azerbaijan, and sent to Lomonosov Moscow State University for his graduate education and research. In 1973, he defended his dissertation "On Problems of Spectral Theory of Operator Pencils" and received the Ph.D. (Kandidat nauk) degree in Physical-Mathematical sciences.

From 1973 to 1983, he carried out research in mathematics in Moscow and Baku at Moscow State University, the Steklov Institute of Mathematics of the Soviet Academy of Sciences, the Institute of Mathematics and Mechanics of the Azerbaijan National Academy of Sciences, then Azerbaijan State University. During this period, he lectured occasionally. Later he also worked as professor at Azerbaijan State Institute of Oil and Chemistry (currently Azerbaijan State Oil Academy) and chaired the department of mathematics in the Baku campus of the Leningrad Institute of Economics and Finance.

Isakhanli's articles were published in leading academic periodicals and transactions in the Soviet Union, the United States, the United Kingdom, Canada and Germany, which brought him international recognition. In 1983, Hamlet Isakhanli defended his second doctoral dissertation (leading to a D.S. - Doctor of Science degree) "On Problems of Multiparameter Spectral Theory" at the V.I. Steklov Institute of Mathematics, Moscow. He received the degree of Doctor of Physical-Mathematical Sciences, and was later awarded the title of Professor by the Soviet Higher Attestation Committee.

Hamlet Isakhanli is recognised as a scholar of great research capacity in mathematics. He has performed research in various areas of mathematics and the applied sciences such as non-self-adjoint operator theory, multiparameter spectral theory, the theory of joint spectra, differential equations, numerical ranges, and mathematical models of economy. He is considered one of the founders of the modern Multiparameter Spectral Theory. He was the first Soviet mathematician to carry out scientific research in this field of study, which has its origin in mathematical physics.

Isakhanli was not only a representative of the famous Moscow mathematics school, but his background also reflects achievements in the scientific schools of the United States, United Kingdom, Germany and Canada.  During the times of the Soviet "Iron Curtain," in spite of some difficulties, he viewed the West not only from a distance, but also as a visiting professor. Scientific - research centers, academies and universities in Europe, the Americas and Asia continuously invited him to their institutions to deliver lectures, undertake joint research, and speak at international conferences. He in turn invited foreign scholars to Moscow and Baku to deliver lectures for furthering good relations between the East and the West. He achieved the establishment of an international academic network even in those Soviet times.

His achievements in the field of mathematics were highly praised by prominent mathematicians, particularly by members of the Soviet Academy of Sciences as N.N.Bogolyubov, V.S.Vladimirov and S.M. Nikolskiy, Lenin Prize winners B.M. Levitan and V.B. Lidskiy, and by well-known mathematicians A. G. Kostyuchenko, A.A. Dezin, and V.A. Sadovnichiy (currently rector of Lomonosov Moscow State University), professor F.Atkinson (University of Toronto), professor P.J.Browne (University of Calgary), and other scholars. His published works are included in "The List of Best Scientific Works of the Year" by the Presidium (an Executive Committee) of the Soviet Academy of Sciences.

Research in humanities and social studies, creative writings
Hamlet Isakhanli is a scholar who has carried out research and produced significant results in various fields of sciences and arts, particularly outside of mathematics. Overall, he has written hundreds of articles, monographs, and textbooks in the philosophy of history, history of science, education and culture; education policy; theory and history of translation; language and literature; and in many other areas.

The book In Search of Khazar by Hamlet Isakhanli has become very popular in Azerbaijan and throughout the international community. His storytelling style connected with description of political, cultural, personal and psychological situations of the process of establishment of a new institution of higher education, and well-documented analyses of events of the time, make this a valuable book to read. "The realities of events associated with the establishment and development of Khazar University have left indelible traces in my memory. I intend to pass these events to you in their entirety and in all sincerity," says the author in the introductory note to the book.

His research and writings on translation problems, on language policy, and on lexicography are worthy of esteem. A large article entitled "Translating Poetry and Cross-cultural Communication: In Search of Beauty and Harmony Within Limited Borders" devoted to the history and analyses of East-West communication through the translation highway, to problems of translation from and into Azerbaijani, and to problems of translating poetry, is a "must, for constant reference" according to one expert viewpoint.

Hamlet Isakhanli is one of the authors and co-editor of the Khazar English-Azerbaijani Comprehensive Dictionary in six volumes. This work has been completed for the most part; its first three volumes have already been published. This dictionary is, without a doubt, one of the monumental achievements of the Azerbaijani culture.
The textbook "The Azerbaijani Language" for foreigners, written by Hamlet Isakhanli with two co-authors, is based on the communicative approach and is a handbook to which foreigners and teachers may have recourse.

Isakhanli an influential scholar, liberal intellectual, educator, writer and public speaker in the fields of history of science, philosophy and culture; philosophy of history; theory and history of literature, languages; translation studies; education; education policy; and history/philosophy of education. He has written books, numerous articles, policy papers and reports in addition to abundant interviews in TV, radio, newspapers, magazines, and bulletins. For  a sampling of them see.

Hamlet Isakhanli discusses in his writings the problems of poetry and philosophy. political science and international relations,  history, journalism,  etc.

A complete list of writings by Hamlet Isakhanli as well as others' writings about him is available in print as Hamlet Isaxanli: Bibliography. Scholar, Founder, Poet.

Poetry
Hamlet Isakhanli is also well known and respected in Azerbaijan and other countries as a poet. Although he has written poems since childhood (Isakhanli remembers that the first poem he wrote was at age 9 while a primary school student), he did not begin to publish them until recently.
His poems are translated into Russian, English, German, Chinese, Ukrainian, Persian, Turkish, Georgian, Finnish/Suomi; Estonian, etc. His poetical volumes have been published in Azerbaijan
("Təzadlar", 2001; "Bu da bir həyatdı", 2004; "Dördlüklər", 2007; "Ziyarət", 2009), Russia ("Контрасты", ИзографЪ, 2006), Iran ( "Şeirə dönən duyğular" ("ﺭﻻﻮ۔۔ﻐﯿﻮﺩ ڹ۔۔ﻧﺅﺪ ﮦﺭﻌﺷ"), Əxtər nəşriyyatı, Təbriz, 2004; "Təzadlar" ("ﺭﻻﺩﺎﻀﺘ"). Əxtər nəşriyyatı, Təbriz, 2005; "Bu da bir həyatdı"("ﯼﺩڌﺎﯾﺣﺭﯾﺒ ﺍﺩﻮﺒ"). Əxtər nəşriyyatı, Təbriz, 2005), China 咍姆雷特诗迭/(阿塞) 咍姆雷特.伊萨赞里著; 陈子慕译.一北京:中央编译岀版社 ("Kontrasts" and "This is a Life as well", Central Compilation and Translation Press, 2009), Georgia ("Sitotxlis poezia" (ჰამლეთ ისახანლი.  სიცოცხლის პოეზია), Intellect, 2004), Turkey (Hazana Övgü, IQ Kültür Sanat Yayıncılık, 2014), Pakistan (a chapter in "Poetry of Azerbaijan. A Drop in the Ocean", Leaf Publications, 2010), in Finland (a chapter in "Olen Helmi Simpukassa", 2014), in Ukraine (a chapter in "Поезiя". "Всесвит"/Review of World Literature, 11-12, Kiev, 2014).

In addition, he translated poetry from English, Russian and French into Azerbaijani, particularly the poems of George Gordon Byron, W. Blake, Robert Herrick, and Gérard de Nerval, Vasily Zhukovsky, Evgeny Baratynsky, Fyodor Tyutchev, Afanasy Fet, Sergei Yesenin, Nikolay Gumilev, Anna Akhmatova, and Alla Akhundova.

Poetry and music
Hamlet Isakhanli's poems are melodic; for this reason his poems have attracted Azerbaijani composers' attention. Many of his lyric poems have been used for composing songs and musical spectacles.

Prominent national composers, the late Ramiz Mustafayev and the late Vasif Adigozalov, composed music - a hymn based on his poem My Khazar University;  Ramiz Mustafayev – on the poem In Search of my Khazar; Vagif Garayzadeh - on the poem Parting; Lutfiyar Imanov – on the poem Life will be so easy; Naila Isayeva - on poems I just fell in love with you, It is beautiful, Poppy, Lily, Wind and a lassie, I want to stay alone, Come soon, and My world;  Tahir Akber -on four poems, Elza Seyidcahan - on the poems I couldn’t understand this world and Baku, Jahangir Zulfugarov – on the poem Where we meet, Dilara Gulamova - on the poems  An old question, Magical night, Clouds lag behind childhood, and musical spectacle "The life path is just a moment" based on a series of Hamlet Isakhanli's philosophical poems. His entire epic-lyric poem "Pilgrimage" was set to music by composer Javanshir Guliyev, who also composed  eleven songs on the lyric by Hamlet Isakhanli. All these songs and musical spectacles are sung and performed by master-singers Lutfiyar Imanov, Flora Karimova, Brilliant Dadashova, Azer Zeynalov, Ilgar Muradov, Rashida Behbudova, Manana Japaridze, Gulyanaq Memmedova, Elza Seyidcahan, Samir Jafarov, Beture Huseynova, Anar Shushali, Yusif Savalan, Mehseti Cabbarova, Fadaya Lachin, Azerbaijani State Symphony Orchestra and Choir, the "Savalan," "Sheron" and "Kristal" bands and others. Khanandas singing mugham such as Arif Babayev, Alim Qasimov, Nazakat Teymurova, Zabit Nabizadeh, and Zakir Aliyev also have used Hamlet Isakhanli's poems while singing.

Reforms in education
Besides conducting his research and delivering lectures abroad during the Soviet Period, Hamlet Isakhanli was also interested in studying different aspects of educational organizations in the West. In the late 1980s, Isakhanli tried to explain to the public and to the government the meaning of and reasons for the crisis that was occurring in the Soviet and Azerbaijani Higher Education System. He showed ways to overcome the crisis and called for substantial reforms through his articles published in Azerbaijani and Russian newspapers and in speeches made on the radio and TV.

New ideas started to emerge and be implemented in a country that was living through political and economic crisis and war. Hamlet Isakhanli played an important role in that development.
On the one hand, he noted the necessity for step-by-step reforms in the entire education system; on the other hand, he emphasized the prospect of establishing new types of higher education institutions that would meet the demands of the new, rapidly changing and globalized world.
In his opinion, these new higher education institutions might benefit to some degree from US models of higher education (particularly in terms of curriculum, management, quality of teaching and research, university-industry relations, the knowledge economy and innovation, an interactive student-centered system based on credit accumulation, programs leading to Bachelors, Masters and PhD degrees, extensive international relations, etc.), and they would play an important role not only in education and research, but also in the overall awareness and democratization of society as a whole.

Khazar University (foundation and principles)

In addition to thinking and writing about means for educational reform, Hamlet Isakhanli decided to establish a university. In this way he aimed to contribute to the process of implementing his own proposed reforms through his actions. As an outcome of these activities, official preparatory efforts by the Resolution of the Cabinet (Council) of Ministers of the Republic of (then Soviet!) Azerbaijan were carried out (dated on December 20, 1990). Khazar University (then called Azerbaijan University of the English Language) was subsequently created by a Resolution of the Cabinet of Ministers dated March 18, 1991. The university, which began with seven teachers and 19 students, was the first private (not for profit) university established in Azerbaijan and one of the first officially established in the present-day post-Soviet area

Due to its Western-type curricula and study programs, adoption of a flexible credit accumulation system and student-centered model of education, application of modern methods of management, establishment of broad and effective international relations, recruitment of high-quality local and foreign specialists, fighting against corruption in education, and generally speaking, provision of high-quality education under the direction of Hamlet Isakhanli, Khazar University became famous as one of the leading universities not only in Azerbaijan, but also in the wider geographical region covering the former Soviet area, particularly the Caucasus  and Central Asia, and also the Middle East.

Hamlet Isakhanli decided to use English as a main language of instruction at Khazar. The reasons for this include providing ways to facilitate the use of books and other educational and research resources published in the West, for student exchange programs, for inviting visiting professors; and, in general, for breaking away from inertia and encouraging innovative thinking.

The innovative endeavors of Hamlet Isakhanli and Khazar University played an important role in the introduction and successful application of the two-cycled (Bachelor, Master) system and in methodology for evaluation in the higher education system of Azerbaijan, which was later envisaged in the Bologna Process on the creation of the European Higher Education Area. He was one of the main initiators in joining Azerbaijan to the Bologna Process in 2005.

Dunya School and Training Center(foundation)
Dunya School, established by Hamlet Isakhanli in 1998 and affiliated with Khazar University, providing education at the preschool, primary, secondary and high school levels, is a successful and highly sought-after school where schoolchildren receive bilingual education in the Azerbaijani and English.

Recently (January 16, 2009) Dunya School gained an international status through accreditation by International Baccalaureate Organization - IBO. Namely, Dunya School as an IB World School now offers the IB Diploma Program to its students in the last two years of high school.

Hamlet Isakhanli not only put his ideas into practice in the higher education system; he is also trying to create a model for pre-university education that would be able to compete internationally. Thus he is realizing and providing the idea of lifelong education by building a network of education institutions from early childhood till PhD and professorship.

As part of the goal of providing lifelong education, Isakhanli also established the Khazar University Training Center which provides courses in foreign languages, all academic fields, standardized examination preparation, and musical instruments for students of all ages.

Public work and leadership

Hamlet Isakhanli is engaged within two worlds: mathematics and natural sciences along with the humanities and social sciences.

Isakhanli is recognized as a scholar, leader, and public figure among intellectuals, scientists and men of arts, as well as the international community.
Hamlet Isakhanli is a member of international networks, associations, academies and boards, as well as a participant in and organizer of international projects and gatherings on different continents and various countries. He delivered plenary lectures at conferences held by UNESCO, NATO, UNDP, Council of Europe, etc. He has received honors and awards for his contribution to the development of research, education and culture.
As a member of the Education Commission under the President of the Republic of Azerbaijan, Hamlet Isakhanli is actively participating in preparation and realization of reforms carried out in the fields of research, development and education.

The Assembly of Science and Art (), founded and chaired by Hamlet Isakhanli, has turned into a creative intellectual center where scholars and men of arts from diverse fields of study and creative young people come together and carry out discussions on various topics of the arts and sciences. Speeches of presenters from different countries and minutes of the discussions are published first in the Khazar Review magazine (previously Khazar View), then in separate books by Khazar University Press.

His editorship includes research journals and magazines both in the sciences and humanities, transactions of conferences, textbooks and monographs, encyclopedias and dictionaries, translations from various languages into Azerbaijani and vice versa in history, mass media, poetry, novels, etc.

Teaching professor and supervisor

Through his academic activity, creativity and leadership, Hamlet Isakhanli greatly contributed to human resources development, sending students and scholars to universities of developed countries as well as teaching and supervising them himself.

Hamlet Isakhanli taught mathematics and its applications, intellectual and cultural history, history of science and philosophy, and literature for many years in Azerbaijan in Academy of Sciences of Azerbaijan (Azerbaijan National Academy of Sciences), Baku State University, Azerbaijan State Oil Academy, Azerbaijan State Economic University, Khazar University, as well as in the Former Soviet Union, Europe and North America, Middle East and Far East for PhD, master and undergraduate students, helping and supervising them in their research works.

Hamlet Isakhanli focuses developing outlook and insight in his advanced (Master and PhD) students, taking them to the frontlines of research if they are ready to work hard. Scientists and researchers who have defended dissertations under his supervision now work in the US, Europe, Russia, Israel, Turkey, Iran and in other countries.

Kin
Hamlet Isakhanli is a member of the well known Hajibayramli clan. His grandfather was a famous guerilla Isakhan Hajibayramli (1897–1930), who organized an armed rebellion against the Soviets during the collectivization period (in the late 1920s to 1930) in the territories of Georgia and Armenia. Isakhan is retained in the memory of the old generation for his bravery and chivalry. His 100-year anniversary was celebrated in both Azerbaijan and Georgia.
Hamlet's grandmother Zeynab and her children and close relatives were exiled from their home country to Kazakhstan and Kyrgyzstan for two years.

Awards
1965 - Gold Medal Award for highest achievement in high school, Republic of Georgia
1970 - Honors Diploma in Mathematics, Azerbaijan State University, Baku
1994 - Yusif Mamedaliyev Award, in recognition of contributions to science and education, Baku, Azerbaijan
2004 – "Golden Pen" Award, In recognition of contribution to Poetry and Creative Writing, Baku, Azerbaijan
2005 - "Samad Vurghun" Award, in recognition of contributions to Education, Science, Azerbaijani Culture and Literature, Baku, Azerbaijan
2008 – Honorary Doctor of EuroUniversity, Tallinn, Estonia
2010 - "Jafar Jabbarly"  (Cəfər Cabbarlı) Award, in recognition of contribution to publicity of classic and modern Azerbaijani Poetry by completing the multi-volume work "Azerbaijani Love Poetry".
2010 – National "Khazar" Award, in recognition of contribution to development of Azerbaijani Education and to founding a university which meets international standards
2016 - "Eurasian Legend" Award, as a founding member of Eurasian Academy

Recognition and membership
1976 - 1983: Research articles included into lists of the most outstanding scientific researches in the USSR, published annually by the National (Soviet) Academy of Science, Moscow
1979–present: Board Member or Chairman of numerous conferences, Director of various research and educational projects
1988 - 1990: Chairman, Department of Mathematics, Leningrad Institute for Economics and Finance, Baku branch
1991: Founder, Khazar University, Baku, Azerbaijan
1991 - 2010: September: President, Khazar University, Baku, Azerbaijan
1995–present: Editor, Journal of Azerbaijani Studies (Khazar Journal of Humanities and Social Sciences as of 2011)
1995–present: Editor, Khazar View (Xəzər Xəbər) magazine
1996–present: Co-Chair, Council of Azerbaijani University Presidents
1997 - 1999 Board Member, Eurasia Foundation Caucasus, Tbilisi, Georgia
1998 - 2002: Board Member, Open Society Institute - Azerbaijan
2000 - 2007: Executive Committee Member, Association of Azerbaijani Football Federations
2001–present: President, Association of Azerbaijani Private Universities
2001 - Member, International Academy of Science - International Council for Scientific Development
2005 - Member, Academy of Pedagogical and Social Sciences, Russia, Moscow
2005 - Member, National Education Council under President of Azerbaijan
2006–present: Chairman, Assembly of Science and Art (Elm və Sənət Məclisi), Baku, Azerbaijan; also Editor of its Transactions
2008–present: First Vice-President, EURAS (Eurasian Universities Union)
2010 - Co-founder, Karabakh Foundation, and Member of the Board of Directors, Karabakh Foundation, USA; http://www.karabakhfoundation.org
2010 - Chairman, Board of Directors and Trustees, Khazar University, Baku, Azerbaijan
2012 - Co-founder, Khazar Education and Research Foundation ASBL, Non Profit Making Association, Luxembourg
2012 - Co-founder, Eurasian Academy
2013 - Member of Board of Trustees, Eurasia Partnership Foundation

Publications about Hamlet Isakhanli
Hamlet Isakhanli's many-sided activity and image have been broadly represented in literary, publicistic, scientific articles and books, and in art works written, made and performed by various authors, scholars, writers and artists.

The life and activity of the scholar have been thoroughly  investigated in the book "The Life of the Scholar and Founder" by Fuad Tanriverdiyev, published in 1997. Another book, "What I Brought to this World" by Knyaz Aslan and Vahid Omarli, published in 2005 in both Azerbaijani and Russian languages, is devoted to brief descriptions of his academic and creative works, public and organizational life, and also contains the thoughts of well-known people of academia, arts and culture from various countries about Hamlet Isakhanli. Besides all this, scholars, writers, poets and journalists in Azerbaijan, the US, Canada, Russia, Turkey, Georgia, Iran, India, China, Estonia and other countries have written and published works about his creative life and activities.

A number of monographs and scientific articles properly appraise and contain reference to Isakhanli's (Isayev's) works, part of which is based on his research. At the same time in the Eastern and Western World, in developed and developing countries, he has repeatedly appeared as an interviewee and as a visitor of broadcasts and telecasts.

The poets Nariman Hasanzadeh, Huseyn Kurdoglu, Muzaffar Shukur, Shahin Fazil, Alla Akhundova, Saadat Buta and many others have devoted special poems to the person of Hamlet Isakhanli. In Azerbaijan, Jamal Mustafayev, Manaf Suleymanov, Rafael Naghiyev, Movlud Suleymanli, Mirabbas Gasimov, Vidadi Babanli, Zalimkhan Yagub, Bahlul Abdulla, Vagif Yusifli, Alirza Khalafli, Kamran Nazirli, Khalil Majidoglu, Aydin Khan, Tamilla Aliyeva, İrena Seidova, Maarifa Hajiyeva, Sevil Gulten, Elza Samadli, Hafiz Rustam and numerous other authors have written about his literary and academic activity. Metin Turan  and İmdat Afşar from Turkey, Van Dzen Bo from China, V. Odinets and Lyudmila Lavrova from Russia, Aslan Hacili/İsmayilov, Suleyman Efendi, M. Sakarashvili from Georgia,  H. Siyami from Iran,  and many writers have written articles about his works.

In addition, Hamlet Isakhanli's image has been portrayed in various drawing, mosaic, and carpet art works.

Publication
For a full list of publications by and about Hamlet Isakhanli until 2009, see

Selected publications in mathematics:


Frederick Timbury

Frederick Richard Vaughan Timbury (12 July 1885 – 14 April 1945) was a rugby union player who represented Australia.

Timbury, a lock, was born in Gladstone, Queensland and claimed a total of 2 international rugby caps for Australia.

He also represented Queensland at cricket and tennis. A fast bowler, he played six first-class matches for Queensland, taking 14 wickets.

He became a solicitor, and was an outspoken advocate for water diversion irrigation for western Queensland. He was mayor of Roma when he died in 1945.


Panaeolus bisporus

Panaeolus bisporus, also known as Copelandia bisporus is a rare and widely distributed little brown mushroom that bruises blue and contains the hallucinogen psilocybin.

This mushroom is similar macroscopically to Panaeolus tropicalis, Panaeolus cambodginiensis and Panaeolus cyanescens, but can be differentiated using a microscope by its two spored basidia.

Description

This is a little brown mushroom that grows on dung and has black spores.  It has been found in Hawaii, Southern California, North Africa, Spain and Switzerland.


Tabi (disambiguation)

Tabi are traditional Japanese socks.

Tabi may also be a romanisation of the Arabic word ʈābiʕ (), meaning "follower", used in English to refer to:
Tabi‘un, generation of Muslims born after the death of Muhammad
Tabi‘ al-Tabi‘in, the generation which succeeded them

Tabi may also mean:
Tabi, Angola, town and commune in Bengo Province, Angola
Tabi Bonney, Togolese indie musician
William Etchu Tabi, Cameroonian footballer


Tinne (letter)

Tinne is the Irish name of the eighth letter of the Ogham alphabet, ᚈ, meaning "ingot" or "iron bar". Its phonetic value is [t].

Bríatharogam
In the medieval kennings, called Bríatharogam or Word Ogham the verses associated with Tinne are:

trian roith - "one of three parts of a wheel" in the Word Ogham of Morann mic Moín

smiur gúaile - "marrow of (char)coal" in the Word Ogham of Mac ind Óc

trian n-airm - "one of three parts of a weapon"  in the Word Ogham of Culainn.


Alexander Dunphy

Alexander M. Dunphy, Jr. (October 23, 1928 – 1999) was a businessperson and politician in Newfoundland. He represented St. George's in the Newfoundland House of Assembly from 1971 to 1975.

The son of Alexander M. Dunphy and Isabella McLellan, he was born in Curling and was educated at Saint Bonaventure's College and Saint Francis Xavier University. In 1962, Dunphy married Mary Elizabeth Burton. He served as mayor of Steady Brook from 1970 to 1971. Dunphy served on the executive of the Progressive Conservative Association from 1968 to 1971.


John of Monmouth (disambiguation)

John of Monmouth (c.1182–1248) was an Anglo-Norman feudal lord.

John of Monmouth or John de Monmouth may also refer to:

John of Monmouth (died 1257), Anglo-Norman feudal lord, son of John of Monmouth (c.1182–1248)
John of Monmouth (bishop) (died 1323), bishop of Llandaff
John de Monmouth (MP) for Gloucester (UK Parliament constituency)


U.S.Avengers

U.S.Avengers is an American comic book series published by Marvel Comics, featuring an traditionally patriotic-themed team of Avengers. It is written by Al Ewing and penciled by Paco Medina. It was released as part of Marvel NOW! 2.0.

Publication history

Al Ewing described this group to be working with S.H.I.E.L.D. while not being a part of it. Besides their leader as the latest Citizen V, the group's other members consist of Robert Maverick (in his Red Hulk form), Squirrel Girl, Cannonball, Pod (under the alias Enigma), Toni Ho's Iron Patriot form, and the time-displaced Danielle Cage's Captain America form who comes from the alternate future of 20XX. The first issue of U.S.Avengers was released in January 4, 2017, and then published in March later that year.

Fictional team history
When Advanced Idea Mechanics merged with the U.S. military to form American Intelligence Mechanics, Sunspot, under the alias of Citizen V, formed the U.S.Avengers with Cannonball, Pod (under the alias of Enigma), Squirrel Girl, and Toni Ho's Iron Patriot form as well as Robert Maverick, who gained a Hulk Plug-In that enables him to turn into a variation of Red Hulk for an hour. Their first mission puts them against the Secret Empire, who were planning to destroy the United States inside their floating volcanic island base. Red Hulk crash-landed into the Secret Empire's floating volcanic island base, hard enough to destroy it. They're later approached by a future version of Danielle Cage as Captain America, who tells them that her nemesis, the Golden Skull, came to their timeline to steal all the wealth. In Miami, Florida, the team crash a charity gala only to discover that the wealthy CEO's were kidnapped and replaced by robots. During the battle, the team manages to defeat and capture the Golden Skull, who was wearing a golden armored suit. Danielle then goes back to her timeline, with the Golden Skull as her prisoner. Red Hulk is later sent to confront and defeat an out-of-control American Kaiju, who was attacking Europe. During the hunt, he encounters Deadpool, who was turned into a monster by a mad scientist named Dr. Vandoom.

During the "Opening Salvo" part of the Secret Empire storyline, Red Hulk stumbles upon the underground lair of Gorilla-Man and his army of Gorilla-Men. Gorilla-Man tries to remove Red Hulk's head in order to strengthen his Gorilla-Men army. Squirrel Girl manages to defeat Gorilla-Man and his army with her flying squirrels. Meanwhile, Steve Rogers has a meeting with Roberto da Costa and scolds him for his recent actions and Cannonball decides to quit the team so he could live with his wife Smasher and their son. Roberto then sees footage of the attacks in Manhattan, deep space, and in Sokovia. Cannonball returns to Earth only to discover the Alpha Flight Space Program, the Guardians of the Galaxy, and the Ultimates' battle against the Chitauri. He joins the heroes in battle until one of the Chitauri Dragons eats Quasar and explodes, leaving both him and Quasar to be presumed dead. When Roberto assembles the team, he is attacked by one of his scientists who has allied with Hydra. Meanwhile, the team arrives in Washington D.C. to confront Hydra when Red Hulk begins to attack them due to nanites that were injected in him, which starts to control him. When Pod and Squirrel Girl end up in Paris and are attacked by Hydra Agents, they are saved by the Champions of Europe consisting of Ares, Captain Britain, Excalibur, Guillotine, Outlaw, and Peregrine. Meanwhile, Cannonball is found by an alien, among the debris from the Chitauri battle, where it's revealed that he's still alive. Red Hulk and Iron Patriot are captured and imprisoned when they see a nearly dead Roberto in one of the cells. While adjusting to prison life, Toni manages to heal Roberto just in time, when Hydra soldiers show up at their cell. Meanwhile, Cannonball is sold at an auction to a human named Howard Mason and Squirrel Girl and Enigma help the Champions of Europe in raiding a Hydra base. At the prison, Roberto manages to use his powers to defeat the guards and free Red Hulk from the nanites controlling him, while Squirrel Girl, Enigma and the Champions of Europe defeat the Hydra soldiers in Paris by destroying a helicarrier and releasing other captured heroes. Cannonball is later brought to an Earth-like American small town named Glenbrook. In the aftermath of the event, Roberto resigns from A.I.M. and is visited by Smasher who tells him that Cannonball is still alive. Meanwhile, Toni deactivates the Hydra nanites in Red Hulk's blood enabling him to return to normal and gets asked by A.I.M. agents to be the organization's new leader and Squirrel Girl and Enigma are seen fighting the Plunderer and Blue Streak who were attempting to rob from the Project P.E.G.A.S.U.S. facility.

While traveling through space, Smasher and the U.S.Avengers are attacked by space pirates known as Warpjackers. After a brief fight, the pirates tell them that Glenbrook is actually a planet named Kral X. Meanwhile, Cannonball is introduced to the townspeople by Ritchie Redwood, ruler of the planet. Upon discovering the people's troublesome behavior, Cannonball tries to escape only to be defeated and captured. Awakening in a dungeon, Cannonball meets other prisoners including a teen named Bugface. In the dungeon, Bugface explains to Cannonball that they're Skrulls and that Kral X is a planet designed for those who are not fit to serve in the Skrull army. In order to make them happy, Kral X was designed to look like a 1950s American TV show, but when the show was cancelled and rebooted in modern times, the Skrull Ritchie neglected Bugface's suggestion to move with the times and sent him and other like-minded citizens to the dungeon to keep their lifestyles the way it is. After escaping the dungeon, Cannonball leads Bugface and the rebels against Ritchie until Smasher and the U.S.Avengers arrive to help. After sending Ritchie and his cohorts to jail, the U.S.Avengers head back home.

Collected editions


Natalie Prass (album)

Natalie Prass is the self-titled debut studio album by Natalie Prass. It was co-produced by Matthew E. White and Trey Pollard.

Composition, recording, and production
Prass began writing songs for her self-titled as early as 2009. In January 2012, Prass began to record with Matthew E. White, her childhood friend and founder of Spacebomb Records, in his studio attic in Richmond, Virginia. White provided the horn arrangements and Trey Pollard provided the string arrangements. Since the budget for the album was “virtually nonexistent,” White utilized the help of his friends from the Virginia Commonwealth University jazz program to record the strings. By February 2012, recording for the album was complete but the release was delayed due to Spacebomb’s inaugural release of Big Inner.

Music videos
The first music video for the album, "Why Don't You Believe In Me", was released on February 4, 2015. The music video, which was co-directed by Erica Prince and Tiona McClodden, features Prass "cutting up the features of her face and rearranging them in increasingly bizarre patterns".

A second music video from the album, "Bird of Prey", was released on June 15, 2015. The music video was directed by Malia James, bassist for the Dum Dum Girls.

Reception

Accolades

Track listing

Charts


Browntown, Pennsylvania

Browntown, Pennsylvania may refer to a community in the United States:

Browntown, Bradford County, Pennsylvania, an unincorporated community
Browntown, Luzerne County, Pennsylvania, a census-designated place


2010–11 Barys Astana season

The 2010–11 Barys Astana season was the Kontinental Hockey League franchise's 3rd season of play.

Standings

Division standings
Source: Kontinental Hockey League Official Website

Conference standings
Source: Kontinental Hockey League Official Website

Divisions: KHA – Kharlamov Division, CHE – Chernyshev Division

Schedule and results

Regular season

Playoffs

Player statistics
Source: Kontinental Hockey League Official Website

Skaters

Goaltenders

Final roster
Updated April 16, 2011.

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Draft picks

Barys Astana's picks at the 2010 KHL Junior Draft in Moscow, Russia in June 4, 2010.


Chemical-mechanical polishing

Chemical mechanical polishing or planarization is a process of smoothing surfaces with the combination of chemical and mechanical forces. It can be thought of as a hybrid of chemical etching and free abrasive polishing.

Description

The process uses an abrasive and corrosive chemical slurry (commonly a colloid) in conjunction with a polishing pad and retaining ring, typically of a greater diameter than the wafer. The pad and wafer are pressed together by a dynamic polishing head and held in place by a plastic retaining ring. The dynamic polishing head is rotated with different axes of rotation (i.e., not concentric). This removes material and tends to even out any irregular topography, making the wafer flat or planar. This may be necessary to set up the wafer for the formation of additional circuit elements. For example, CMP can bring the entire surface within the depth of field of a photolithography system, or selectively remove material based on its position. Typical depth-of-field requirements are down to Angstrom levels for the latest 22 nm technology.

Working principles

Physical action
Typical CMP tools, such as the ones seen on the right, consist of a rotating and extremely flat plate which is covered by a pad. The wafer that is being polished is mounted upside-down in a carrier/spindle on a backing film. The retaining ring (Figure 1) keeps the wafer in the correct horizontal position. During the process of loading and unloading the wafer onto the tool, the wafer is held by vacuum by the carrier to prevent unwanted particles from building up on the wafer surface. A slurry introduction mechanism deposits the slurry on the pad, represented by the slurry supply in Figure 1. Both the plate and the carrier are then rotated and the carrier is kept oscillating; this can be better seen in the top view of Figure 2. A downward pressure/down force is applied to the carrier, pushing it against the pad; typically the down force is an average force, but local pressure is needed for the removal mechanisms. Down force depends on the contact area which, in turn, is dependent on the structures of both the wafer and the pad. Typically the pads have a roughness of 50 μm; contact is made by asperities (which typically are the high points on the wafer) and, as a result, the contact area is only a fraction of the wafer area. In CMP, the mechanical properties of the wafer itself must be considered too. If the wafer has a slightly bowed structure, the pressure will be greater on the edges than it would on the center, which causes non-uniform polishing. In order to compensate for the wafer bow, pressure can be applied to the wafer's backside which, in turn, will equalize the centre-edge differences. The pads used in the CMP tool should be rigid in order to uniformly polish the wafer surface. However, these rigid pads must be kept in alignment with the wafer at all times. Therefore, real pads are often just stacks of soft and hard materials that conform to wafer topography to some extent. Generally, these pads are made from porous polymeric materials with a pore size between 30-50 μm, and because they are consumed in the process, they must be regularly reconditioned. In most cases the pads are very much proprietary, and are usually referred to by their trademark names rather than their chemical or other properties.

Chemical action
Chemical mechanical polishing or planarization is a process of smoothing surfaces with the combination of chemical and mechanical forces. It can be thought of as a hybrid of chemical etching and free abrasive polishing.

Usage in semiconductor fabrication
Before about 1990 CMP was viewed as too "dirty" to be included in high-precision fabrication processes, since abrasion tends to create particles and the abrasives themselves are not without impurities. Since that time, the integrated circuit industry has moved from aluminum to copper conductors. This required the development of an additive patterning process, which relies on the unique abilities of CMP to remove material in a planar and uniform fashion and to stop repeatably at the interface between copper and oxide insulating layers (see Copper interconnects for details). Adoption of this process has made CMP processing much more widespread. In addition to aluminum and copper, CMP processes have been developed for polishing tungsten, silicon dioxide, and (recently) carbon nanotubes.

Limitations
There are currently several limitations of CMP that appear during the polishing process requiring optimization of a new technology. In particular, an improvement in wafer metrology is required. In addition, it was discovered that the CMP process has several potential defects including stress cracking, delaminating at weak interfaces, and corrosive attacks from slurry chemicals. The oxide polishing process, which is the oldest and most used in today's industry, has one problem: a lack of end points requires blind polishing, making it hard to determine when the desired amount of material has been removed or the desired degree of planarization has been obtained. If the oxide layer has not been sufficiently thinned and/or the desired degree of planarity has not been achieved during this process, then (theoretically) the wafer can be repolished, but in a practical sense this is unattractive in production and is to be avoided if at all possible. If the oxide thickness is too thin or too non-uniform, then the wafer must be reworked, an even less attractive process and one that is likely to fail. Obviously, this method is time-consuming and costly since technicians have to be more attentive while performing this process.

Application

Shallow trench isolation (STI), a process used to fabricate semiconductor devices, is a technique used to enhance the isolation between devices and active areas. Moreover, STI has a higher degree of planarity making it essential in photolithographic applications, depth of focus budget by decreasing minimum line width. To planarize shallow trenches, a common method should be used such as the combination of resist etching-back (REB) and chemical mechanical polishing (CMP). This process comes in a sequence pattern as follows. First, the isolation trench pattern is transferred to the silicon wafer. Oxide is deposited on the wafer in the shape of trenches. A photo mask, composed of silicon nitride, is patterned on the top of this sacrificial oxide. A second layer is added to the wafer to create a planar surface. After that, the silicon is thermally oxidized, so the oxide grows in regions where there is no Si3N4 and the growth is between 0.5 and 1.0 μm thick. Since the oxidizing species such as water or oxygen are unable to diffuse through the mask, the nitride prevents the oxidation. Next, the etching process is used to etch the wafer and leave a small amount of oxide in the active areas. In the end, CMP is used to polish the SiO2 overburden with an oxide on the active area.


Sir James Ashe, 2nd Baronet

Sir James Ashe, 2nd Baronet (27 July 1674 – 8 November 1733) was an English baronet and Whig politician who sat in the House of Commons from 1701 to 1705.

Background
Ashe was the eldest surviving son of Sir Joseph Ashe, 1st Baronet and his wife Mary Wilson, daughter of Robert Wilson. In 1686, aged only eleven, he succeeded his father as baronet. Ashe owned land in Wiltshire and held shares of the East India Company.

Career
Ashe entered Parliament in 1701, sitting as a Member of Parliament (MP) for Downton, the constituency his father has represented before, until 1705. A year later, Ashe was appointed High Sheriff of Wiltshire. He stood for Downton again in 1708, however unsuccessfully.

Family
In 1698 against his mother's will, he married his cousin Elizabeth Bowyer, daughter of Sir Edmund Bowyer and had by her four daughters and a son. From 1709 they lived separately, but were not divorced. Ashe died intestate at his seat at Twickenham Meadows and was buried at St Margaret's Church, Halstead, Kent. His son having predeceased him, the baronetcy became extinct with Ashe's death.  His only surviving daughter, Martha, inherited his estate, and, as a condition of the succession, her husband Joseph Windham — who also eventually became MP for Downton — took on her surname of Ashe in addition to his own by Act of Parliament.


Sérgio de Camargo

Sérgio de Camargo (April 8, 1930 – 1990) was a sculptor and relief maker, born in Rio de Janeiro, Brazil. Sergio De Camargo studied at the Academia Altamira in Buenos Aires under Emilio Pettoruti and Lucio Fontana. Camargo also studied philosophy at the Sorbonne in Paris. On a protracted trip through Europe in 1948, Camargo met Brâncuși, Arp, Henri Laurens and Georges Vantongerloo. Sérgio de Camargo showed work at numerous international exhibitions, including the 1965 São Paulo Biennale (where he won a gold medal), the 1966 Venice Biennale, and the 1968 documenta in Kassel. Sérgio de Camargo died in Rio de Janeiro in 1990. The Tate Gallery in London has one of de Camargo's work in their permanent collection.

Early Life and Education
Sergio Camargo was born in Rio de Janeiro in 1933. Camargo began his art education at the Academia Altamira in Buenos Aires under Lucio Fontana and Emilio Pettoruti . He would later move to Paris in 1948, where he enrolled at the Academie de la Grand Chaumiere. He also studied at the Sorbonne, where he encountered the philosopher Gaston Bachelard. However, Camargo was most influenced by Constantin Brancusi’s study of the natural world through the lens of volumetric forms, which inspired his interest in the language of materials.

When Carmargo returned home to Brazil in the 1950s, he stumbled into the rising Neo-Concrete Constructivist and Kinetic Op Art movements. Camargo found that the volumetric forms captured the immaterial qualities of being. Ultimately playing with light and form to express feelings of existence.

In 1952-53 he again returned to Europe and went to China in 1954. Between 1961 and 1974 Sérgio de Camargo remained in Paris, where he became a member of the Groupe de Recherche d’Art Visuel (GRAV) in 1963. During that period he concentrated on structuring monochrome white surfaces some in "Polyhedral Volumes of Mutable Readings" using parallelepiped shapes and others with cylindrical wooden reliefs, in both cases proposing the play of lights and shadows alternating between order and chaos, fullness and emptiness. As retold by Guy Brett, a curator and friend:

“Cutting an apple to eat it, he sliced off nearly half and then made another cut at a different angle to take a piece out. The two planes made a simple relationship between light and shadow. Camargo grasped it; unconsciously, he had made the first cylindrical element. In the apple was the synthesis he had been working towards … the combination of a single element of substance (the rounded body of the apple) and direction (the plane he had just exposed). It is a synthesis of his thought and experience in a single sculptural sign”

It was from cutting this apple that Camargo was able to see how the refractions of light acted differently based on circumstance. This simple act would become the catalyst for his first painted wood reliefs. The wood reliefs, monochromatic in nature allowed for simple and repetitive logic with only subtle alterations. With such slight variations arranged across an otherwise flat plane, there became thousands of compositional possibilities. These wood reliefs communicated a specific message of light and its surroundings. Gaston Bachelard would frame it, light and shadow ‘inhabit’ the work such that it can ‘transcend geometrical space’.

Breakthrough and Early Exhibitions
Carmargo received the International Sculpture Prize at the Paris Biennale in 1963. Camargo had continued success in Europe in 1964. His wood reliefs would win him his first solo exhibition at Signals Gallery in London. It is this gallery that would go on to host some of Camargo’s peers, such as Lygia Clark, Mira Schendel, and Helio Oiticica. It was these artists and exhibitions that would shed light on the growing Brazilian contemporary art world.

In 1965, he found success in South America as well  In 1965 Camargo would continue his success and recognition with his first solo museum exhibition at the Museu de Arte Modern do Rio de Janeiro. Additionally, he was named best national sculptor in the São Paulo Bienal. His employment of new materials is largely attributed to this success. With access to Carrara marble, Camargo began creating work of a much grander scale.  Finally, Camargo could fully explore his ideas in a fully three-dimensional context. With this exploration of size and material, Camargo also decided to expand his library of geometric shapes to more prismatic elements that would pierce, project, and recede. His strongest examples can be seen in his commissions for the Centre Hospitalier Universitaire de Bordeaux-Pellegrin, and the Palacio Itamaraty, Brasilia. Also in 1965, he began sculptural pieces for Oscar Niemeyer's Foreign Ministry Building in Brasília.Eventually, by 1967, he contributed a monumental element to the site—a rhythmically structured 25 meter wall.

During the late 1960s Sérgio de Camargo showed work at numerous international exhibitions, including the 1965 São Paulo Biennale, the 1966 Venice Biennale, and the 1968 documenta in Kassel.

Return to Brazil
Carmargo decided it was time to leave Europe and subsequently returned to Brazil in 1973. While Carmargo had been gone Brazil had been in a time of prosperity with the rise in exportation of newly found oil repositories. Carmargo’s return to Brazil would bring about a new phase within his practice. It is the later works of Carmargo’s that seem to be defined by a return to previous forms and experiments. In 1977 he won the sculpture award given by the São Paulo Association of Art Critics. In the 1980s his works largely returned to the original cylindrical forms, as well as shrinking in scale. Perhaps most significantly there was less conflict been form and volume. During this time Carmargo also began working with yet another new material, Belgian black marble. The artist’s interest in this material stemmed from its inherent ability to absorb light. This facet of the marble allowed Carmargo to use reflection in the same manner in which he once employed shadow. In the 1980s Camargo had solo exhibitions in both the Rio and São Paulo museums of modern art, and he participated in the 1982 Venice Biennale.

Influence
One of the primary influences for Camargo was the constructivist art movement that was highly popular in Brazil during his time. Constructivist art was largely stimulated by the post-war economic boom and the rise of modernist trends in architecture. During the evolution of the Constructivist art movement, Sergio de Carmargo and his peers were inspired by two specific events, the establishment of the Biennial in 1951, and the inauguration of Brasilia in 1960. Artworks created during this period range widely in there different approaches to the rules of constructivist art. The contributions of these artists began a highly original period in the history of modernism. When it comes to the whole of Brazilian art there are few independent artists like Camargo that simplified an already complex visual language through his “highly iconoclastic approaches”.  Brazilian constructivism lies within the need to have universal communion and communication. Artistically, Carmargo has often been linked to either the Neo-Concrete Constructivism or Op Art Kineticism art movements. He is often compared with his Brazilian colleagues, such as Lygia Clark, Mira Schendel, and Hélio Oiticica. However, Carmargo was never clearly aligned with any one movement. While Camargo’s work was distinctly a part of the constructivism movement he adapted the rules in order to more accurately communicate his thoughts. Camargo’s work has been linked due to its distinct reliance on simplicity, systems, and uniformity through volumetric elements and color. Critic Ronaldo Brito refers to Camargo’s work as “the madness of order”. Carmargo confronts the human perception of a paradigm and attempts to break understanding of the laws of the object. Camargo does not interrogate this subject in a conceptual realm but through the ever-changing effects of visual light. It is because of his unique style, that Camargo stands apart from his contemporary peers.

Exhibitions
Camargo’s work is represented in the collections of the Albright-Knox Art Gallery, Buffalo, NY; Birmingham Museum of Art, AL; Centre Pompidou, Paris; Dallas Museum of Art; Hirshhorn Museum and Sculpture Garden, Washington, DC; Kunstmuseum, Bern, Switzerland;Los Angeles County Museum of Art; Museum of Fine Arts, Houston; Museum of Modern Art, New York; and the Tate Modern, London. In 2000, the Paço Imperial, Rio de Janeiro, opened a permanent exhibition space for the artist, which includes a replica of his art studio in Jacarepaguá, Brazil. Camargo’s work has been the subject of major retrospectives at the Museu de Arte Moderna, Rio de Janeiro, in 1993; the Stedelijk Museum, Schiedam, in 1994; and the Instituto de Arte Contemporânea, São Paulo, in 2010, which traveled to the Museu Oscar Niemeyer, Curitiba, Brazil, in 2012.


Glenwood Cemetery West Long Branch

Glenwood Cemetery is a located in West Long Branch, Monmouth County, New Jersey.  The cemetery is located at the intersection of Route 36 and Monmouth Road.

Notable interments
 Mike Donlin, aka "Turkey Mike: (May 30, 1878 – September 24, 1933), Major League Baseball Player and movie actor.  He was known as "Turkey Mike" because of his unique strut.
 George Fotheringham (July 9, 1883 – April 8, 1971), Scottish-American professional golfer.
 Arthur Pryor, (September 22, 1870 – June 18, 1942), jazz trombonist and bandleader with the Sousa Band and New Jersey politician.


Jose Maria Redondo

Jose Maria Redondo (March 9, 1830 – June 18, 1878) was a Mexican-American entrepreneur, member of the Arizona Territorial Legislature, and mayor of Yuma, Arizona. Jose Maria Redondo is known as the father of the Yuma Territorial Prison. He also changed the name of Arizona City to Yuma and became wealthy from mining and irrigation in Arizona.

External links
 Jose Maria Redondo | Find A Grave
 C-SPAN Cities Tour - Yuma: Yuma Territorial Prison
 Jose Maria Redondo


A Short Story About a War

A Short Story About a War is the sixth studio album by Canadian rapper Shad,  released in Canada on 26 October 2018.

Background
A Short Story About a War is a concept album focused around The Fool in a war controlled by the Snipers, Revolutionaries, the Establishment, and the Stone-Throwers, described as "holding a mirror to our world – a provocative story told through disarmingly catchy songs that weaves through issues of migration, environment, politics and above all, the human spirit."

Singles
He had released the singles for this album "The Fool Pt. 1 (Get it Got it Good)" on 26 July 2018, along with a music video, "The Fool Pt. 3 (State of Mind)" on 29 August 2018, along with a music video, and the song "The Stone Throwers (Gone in a Blink)" on 26 September 2018.

Critical reception

A Short Story about a War has received generally positive review from critics. Eric Lowers from Exclaim! said, "Shad's A Short Story About a War isn't a one-listen album, but rather one with multiple layers that need to be peeled back to fully grasp its concept.". Spill Magazine declared the album for Editor's Picks and Nicholas Mustolli states that, "A Short Story About A War delivers the raw reality of injustice, greed, and racism in our present time and space. Shad’s sixth studio album stands out as collage of expressionism, a mixed-media of sorts." and that "A Short Story About A War delivers in the most uncomfortable way, while difficult at times, it speaks an honest emotional truth." In July 2019, A Short Story about a War was shortlisted for the 2019 Polaris Music Prize.

Track listing

Personnel
The following personnel are the known album contributors:

 Tim "2oolman" Hill
 Eternia
 Ian Kamau
 Kaytranada
 Steven Mulcare
 Lido Pimienta
 DJ T Lo.
 Yukon Blonde
 Paul Chin


Ira Gordon

Ira Lawrence Gordon (born May 5, 1947 in Kilbourne, Louisiana) is a former professional American football player who played offensive tackle for six seasons for the San Diego Chargers. He was a starter for the last two. Left unprotected in the 1976 NFL Expansion Draft, he was selected by the Tampa Bay Buccaneers. He was expected to start for the Bucs, but wound up as a surprise training camp cut. Coach John McKay would not comment on outgoing players, but had earlier expressed concern that, although Gordon had potential to be one of the league's better guards, he would have difficulty learning the team's offensive system due to missing much of training camp with a contract dispute. Gordon believed that Buccaneer coaches soured on his outspokenness over harsh practice conditions, which included two-a-day practices in the Tampa sun with no water breaks, and refused to play football after the experience. The brother of Arizona State University and Miami Dolphins linebacker Larry Gordon, he worked in Phoenix, Arizona as a drug counselor after his NFL career.


Huzaima bint Nasser

Huzaima bint Nasser (1884–1935) was an Arabian princess, Sharifa of Mecca. She was Queen of Syria and then Queen of Iraq by marriage to Faisal I of Iraq, and queen mother during the reign of her son.

Biography
Her father was Amir Nasser Pasha. She was his younger twin of Musbah. Her mother was Dilber Khanum.

In 1904, in Istanbul, she married the prince Faisal son of the Sharif of Mecca. Their first born was Azza (1906–1936), followed by Rajiha (1907–1959) and Raifi'a (1910–1934), and finally by Ghazi (1912–1939), the future king of Iraq.

Queen of Syria
After World War I, the former dominions of the Ottoman Empire were divided between the European nations, or proclaimed independent.
In 1920, Faisal was proclaimed king of Syria, and so Hazima became queen of Syria. In order to reach her husband, she moved with her children into the new established royal palace in Damascus.
After only four months of reign, the kingdom of Syria was dissolved after the Franco-Syrian War, and so both Faisal and Hazima lost their titles.

Queen of Iraq
In 1921, the British government decided to put Faisal as king of the new Kingdom of Iraq, over which they had an international mandate.
He accepted and he was proclaimed king of Iraq. Naturally Hazima became queen, and the royal family was transferred to Baghdad the capital of the new kingdom.

Faisal died in 1933, and was succeeded by his son Ghazi, and so Huzaima became queen mother of Iraq.

She died in Baghdad two years later, in 1935.