Karachi Goan Association

Karachi Goan Association is a social and sports club in Karachi, Sindh, Pakistan.

Early history
In 1887 the foundation stone of the Goa-Portuguese Association building was laid, and in 1888 an imposing building was completed at a cost of Rs. 14,013. The building is a magnificent structure, and a popular Karachi landmark. The building has an extensive dance hall on the upper floor. There is a spacious stage for concerts, plays and operas. There are billiard and card rooms, table tennis rooms, a well furnished library, a well stocked bar and an outdoor tennis court.

The building was designed by Moses Somake, a Jewish architect of Iraqi origin.

In 1886 the Goa-Portuguese Association was established, with L.C. Gomes as the first President. Cincinnatus Fabian D'Abreo was instrumental in starting the Association.

In 1925	Augustus D’Cruz built the main pavilion of the Association’s gymkhana on Mohammad Ali Jinnah Road. The gymkhana formally opened in 1926 on a plot of land measuring 28,000 square yards. It is used for all outdoor and indoor sporting activities. It has two tennis courts, an indoor badminton court and a field for cricket, hockey and soccer.

In 1933	the Marylebone Cricket Club team was feted by the Association during a visit to Karachi.

Karachi Goan Association

In 1936 the name of the Goa-Portuguese Association was changed to the Karachi Goan Association (KGA) with C.M. Lobo as its first President.

Manuel Misquita, a former mayor of Karachi, twice served as President of the Karachi Goan Association, first from 1941 to 1942 and then again in 1954.

According to Roland deSouza, a member, in 1947 the population of Karachi was around 400,000 of which the Goan community numbered roughly 12,000 to 15,000, or three to four per cent.

According to a leading newspaper "the Goan community brought a unique touch of exuberance and vivacity to the Karachi of the 1960s".

In 1975	Luke Andrades introduced Grandmaster Ashraf Tai at the KGA Gymkhana and started Tai’s Karate Center.

1986 was the year KGA celebrated 100 years. From 2003 to 2012 the president was Valentine Gonsalves.

In 2011 the Karachi Goan Association celebrated 125 years. A special brochure highlighting its history was printed on the occasion. Migration to Canada and Australia has shrunk the club’s membership. In the 1940s the KGA had about 1,300 members, in 2012 there are only 483.

Sports
Peter Paul Fernandes, an Olympian, played with the KGA hockey team. His playing position was forward.

Ian Fyfe, a leading wicket taker for the KGA cricket team, was among the top slow left arm spin bowlers of Karachi at that time. He was also a playing coach for the KGA cricket team.


Dienne

Dienne () is a commune in the Cantal department in south-central France.

Population


Model Penal Code

The Model Penal Code (MPC) is a text designed to stimulate and assist U.S. state legislatures to update and standardize the penal law of the United States of America. The MPC was a project of the American Law Institute (ALI), and was published in 1962 after a ten-year drafting period. The chief reporter on the project was Herbert Wechsler, and contributors included Sanford Kadish and numerous other noted criminal law scholars, prosecutors, and defense lawyers.

The ALI performed an examination of the penal system in the U.S. and the prohibitions, sanctions, excuses, and authority used throughout in order to arrive at a cohesive synthesis to the extent possible,  and the best rules for the penal system in the United States. Primary responsibility for criminal law lies with the individual states, which over the years led to great inconsistency among the various state penal codes. The MPC was meant to be a comprehensive criminal code that would allow for similar laws to be passed in different jurisdictions.

The MPC itself is not legally-binding law, but since its publication in 1962 more than half of all U.S. states have enacted criminal codes that borrow heavily from it. It has greatly influenced criminal courts even in states that have not directly drawn from it, and judges increasingly use the MPC as a source of the doctrines and principles underlying criminal liability.

Key features

Element analysis
Under the MPC, crimes are defined in terms of a set of "elements of the offense," each of which must be proven to the finder of fact beyond a reasonable doubt.  There are three types of elements:
 conduct of a certain nature,
 attendant circumstances at the time of the conduct, or
 the result of that conduct.

The elements are those facts that:

 are included in the definition of forbidden conduct as provided by the statute, or
 establish the required culpability, or
 negate an excuse or justification for such conduct, or
 negate a defense under the statute of limitation, or
 establish jurisdiction or venue.

All but the last two categories are material elements, and the prosecution must prove that the defendant had the required kind of culpability with respect to that element.

Mens rea or culpability
One of the major innovations of the MPC is its use of standardized mens rea terms (criminal mind, or in MPC terms, culpability) to determine levels of mental states, just as homicide is considered more severe if done intentionally rather than accidentally. These terms are (in descending order) "purposely", "knowingly," "recklessly", and "negligently", with a fifth state of "strict liability", which is highly disfavored. Each material element of every crime has an associated culpability state that the prosecution must prove beyond a reasonable doubt.

 Purposely. If the element involves the nature of the conduct or the result thereof, it is his conscious object to engage in that conduct or cause the result. If the element involves attendant circumstances, he is aware of the circumstances or believes or hopes that they exist.
 Knowingly. If the element involves the nature of the conduct or the attendant circumstances, he is aware that his conduct is of that nature or that the circumstances exist. If the element involves a result, he is practically certain that the result will occur. Further, if the element involves knowledge of the existence of a particular fact, it is satisfied if he is aware of a high probability of the existence of that fact, unless he actually believes that it does not exist.
 Recklessly. A person consciously disregards a substantial and unjustifiable risk that the element exists or will result, such that its disregard involves a gross deviation from the standard of conduct that a law-abiding person would observe.
 Negligently. A person should be aware of a substantial and unjustifiable risk that the element exists or will result, such that the failure to perceive it involves a gross deviation from the standard of conduct that a reasonable person would observe.

If an offense requires a specific kind of culpability, then any more severe culpability will suffice.  Thus if an offense is defined in the form, "It is illegal to knowingly do X," then it is illegal to do X knowingly or purposely (a more severe state), but not to do so recklessly or negligently (the two less severe states). Strict liability means that it is illegal to do something, regardless of one's mental state. If a statute provides only a single kind of culpability for a crime, that kind of culpability is assumed to apply to all elements. If no culpability is stated by statute, a minimum of recklessness is assumed to be required. The MPC declines to use the common terms "intentional" or "willful" in its specification of crimes, in part because of the complex interpretive history of these terms. However, it defines that any (non-MPC) statute in the jurisdiction's criminal code that uses the term "intentionally" shall mean "purposely," and any use of "willfully" shall mean "with knowledge." If a law makes an actor absolutely liable for an offense, MPC sections 2.05 and 1.04 state that the actor can only be guilty of what the MPC calls violations (essentially meaning civil infractions), which only carry fines or other monetary penalties, and no jail time.

Unlawful acts explicitly set forth

Another important feature is that under the MPC, any action not explicitly outlawed is legal. This concept follows the saying, "That which is not forbidden is allowed" as opposed to "That which is not allowed is forbidden." Legal scholars contrast the MPC's limits with laws passed by Nazi Germany and the Soviet Union, which allowed people to be punished for acts not specifically outlawed but similar to acts that were.  The MPC provision has a prospective effect in that it applies to those acts which may be committed in the future.  This is not the same as a retrospective effect of past acts which are protected by the rule against ex post facto laws.

Under the MPC, ignorance of criminal law is not considered a valid defense, unless the legislature intended on making the mistake of law a defense, the law is unknown to the actor and had not been published, or the actor is acting as a result of some official statement about the law.  See sections 2.02(9) and 2.04.

Options for enacting jurisdictions
Certain parts of the MPC contain multiple options, inviting states to choose one. A particularly controversial topic was the proper place of the death penalty in the MPC. However, the MPC explicitly states that the "[American Law] Institute took no position on the desirability of the death penalty."  Note that no state is obliged to adopt any specific part of the MPC; see below.

Criticism
Advocates of the MPC stress that the law must be clearly defined to prevent arbitrary enforcement, or a chilling effect on a population that does not know what actions are punishable.  This is known as the legality principle. However, critics say that the assumption that there are no possible legal systems between the extremes of "forbidden" and "allowed" is the central weakness of the MPC. British law, for example, assumes that a jury can decide what is "reasonable" both in the context of British law and social expectations as well as the specific accusation they are being asked to judge. Behavior may thus be deemed unlawful by a jury in cases where the MPC would require legislative change to produce a conviction.

Use
The MPC is not law in any jurisdiction of the United States; however, it served and continues to serve as a basis for the replacement of existing criminal codes in over two-thirds of the states.  Many states adopted portions of the MPC, but only states such as New Jersey, New York, and Oregon have enacted almost all of the provisions.  Idaho adopted the model penal code in its entirety in 1971, but the legislature repealed this action two months after it came into effect in 1972.

The repeal of the MPC in Idaho came about after intense rejection of the new codification due to the lack of laws regulating morality, areas of the MPC that affected important political groups in the state, and also prosecutors and police who were critical of some areas of the new MPC-based code. The state bar association, judiciary committees in the legislature, and the Supreme Court of Idaho defended the new MPC-based code. Chief in the objections were the omission of sodomy, adultery and fornication as crimes, as well as objection by gun owners of the new stricter gun control law.

On rare occasions, the courts will turn to the MPC for its commentary on the law and use it to seek guidance in interpreting non-code criminal statutes. It is also used frequently as a tool for comparison.

Section 230.3 Abortion (Tentative draft 1959, Official draft 1962) of the MPC was used as a model for abortion law reform legislation enacted in 13 states from 1967 to 1972. It is included as Appendix B of Justice Blackmun's opinion in the January 22, 1973 Doe v. Bolton decision of the United States Supreme Court (Roe v. Wade's lesser-known companion case). It would legalize abortion to preserve the health (whether physical or mental) of the mother, as well as if the pregnancy is due to incest or rape, or if doctors agree that there is a significant risk that the child will be born with a serious mental or physical defect.

In October 2009, the ALI voted to disavow the framework for capital punishment that it had included in the MPC, "in light of the current intractable institutional and structural obstacles to ensuring a minimally adequate system for administering capital punishment." A study commissioned by the institute had said that experience had proved that the goal of individualized decisions about who should be executed and the goal of systemic fairness for minorities and others could not be reconciled.

Notes


Arlo (disambiguation)

Arlo is a male given name, including a list of people and fictional characters with the name.

Arlo may refer to:
Arlo (album), by Arlo Guthrie, 1968
Arló, a village in Borsod-Abaúj-Zemplén county, Hungary
Arlo Technologies, an American home automation company


Leonor Acevedo Suárez

Leonor Acevedo Suárez (1876–1975) was the mother of the Argentine author Jorge Luis Borges, and a major figure in his life and work.

Life

Leonor Acevedo Suárez was born in Uruguay, the daughter of Isidoro Acevedo Laprida and Leonor Suárez de Acevedo (1837–1918). She married Jorge Guillermo Borges, a lawyer with literary aspirations, by whom she had two children: Jorge Luis and Norah. As her husband's sight deteriorated, she assisted him with his reading and dictation, services which she would later provide to her son as he succumbed to the same hereditary blindness.

She produced several translations from English and French. Her output includes "The Woman Who Rode Away" by D. H. Lawrence, The Human Comedy by William Saroyan and Faulkner's If I Forget Thee, Jerusalem, among other works.

Leonor was known for her forceful personality and vitality. Tomás Eloy Martínez writes that when Borges visited the University of Texas in Austin in 1961, his mother was eighty-five but appeared much younger; as she walked about on her son's arm, many students assumed she was the author's wife.

Death
Leonor Acevedo Suárez died in 1975, aged 99. At her wake, a woman paid her respects and remarked, "Poor little Leonor, to die so close to turning a hundred. If only she'd waited a little longer..." to which Borges replied, "I see, madam, that you're a devotee of the decimal system."

Notes


Youssef Boutros Ghali

Youssef Raouf Boutros-Ghali (يوسف بطرس غالي) or "YBG" (born 20 August 1952) is an Egyptian economist who served in the government of Egypt as Minister of Finance from 2004 to 2011. He was succeeded by Samir Radwan on 31 January 2011.

Education
Youssef Boutros-Ghali was born in Cairo on 20 August 1952. He earned a bachelor of arts degree in economics  at Cairo University in 1974. He then earned a Doctor of Philosophy in economics from Massachusetts Institute of Technology in 1981. He was also a lecturer and research assistant during his stay at MIT. His uncle, Boutros Boutros-Ghali, was Secretary-General of the United Nations from 1992 to 1996.

Career
Upon graduation, Boutros-Ghali joined the International Monetary Fund as an EP (Economist Program). He became Senior Economist. He worked in both area and functional departments: first in the Middle East Department (MED) and later in Policy and Development Review (PDR) on Asian, Latin American and Middle Eastern countries. He gained profound knowledge of the economic problems and policy challenges of countries as diverse as the Sudan, Ivory Coast, the Philippines, China, Brazil, the Dominican Republic, and Mexico. He also did background work on the Latin American debt crisis of the early 1980s.

After leaving the Fund in 1986, Boutros-Ghali was appointed as Economic Advisor to Egypt's Prime Minister and to the Governor of the Central Bank of Egypt (1986–1993), where he took a prominent role in negotiating the 1987 and 1991 stand-by arrangements with the Fund and the debt rescheduling agreements with the Paris Club. The reform programs initiated then ushered a turnaround in the Egyptian economy and laid the groundwork for economic reforms that are being pursued to this day. Thereafter, Boutros-Ghali was appointed Minister of State for the Council of Ministers and Minister for International Cooperation (1993–1996), where he continued to be active in overseeing program relationship between Egypt and the Fund. He was subsequently named Minister of State for Economic Affairs (1996–1997). Thereafter he assumed the position of Minister of Economy and Foreign Trade (1997–2001), and later Minister of Foreign Trade (2001–2004).

A firm advocate of trade liberalization, as Minister of Foreign Trade, Boutros-Ghali participated in the Seattle, Doha and Cancun ministerial meetings of the World Trade Organization (WTO), and played a prominent role in launching the Doha round. He was also instrumental in concluding the Euro-Mediterranean Partnership Agreement between Egypt and the European Union in 1998. In 1999 he led the négociations with the COMESA (Common Market for Eastern and Southern Africa) a free trade agreement of some twenty east and southern African countries, into which Egypt was admitted that year. To this day this has provided the basis for an expanded Egyptian presence in the African continent. Early in the following decade and through the joint body created by the US–Egypt Trade and Investment Framework Agreement (TIFA), Boutros-Ghali was active in advancing the negotiations on the free trade agreement between Egypt and United States. He also headed the negotiations leading to the Qualified Industrial Zone (QIZ) agreement between Egypt, the United States, and Israel, established in 2004.

As Minister of Finance, Boutros-Ghali headed the Ministerial Economic Committee in charge of overseeing the design and implementation of Egypt's economic reform programs. He is credited with implementing a series of reforms that helped modernize and reinvigorate the Egyptian economy and deepen its global integration. Chief among these is a major income tax and trade reforms, coupled with deregulation and liberalization in key areas of economic activity. The tax reform program was hailed as one of the most successful reforms among developing countries, which earned Egypt the position of top reformer among developing countries in 2007 by the World Bank.

Boutros-Ghali received the Emerging Markets Award for Finance Minister of the Year for the Middle East Region twice (2005 and 2006).

Boutros-Ghali also received an Honorary Doctorate from Heriot-Watt University in 2008.

On 6 October 2008, Boutros-Ghali was elected chair of the IMF's policy-setting committee the IMFC. He beat India's Finance Minister Palaniappan Chidambaram to chair the 24-member International Monetary and Financial Committee (IMFC) the first chairman from an emerging market economy in the 65 year history of the committee ; Boutros-Ghali was well suited to assume the chairmanship of the IMFC. Having served both at the Fund and as a prominent government official, he was well aware of the concerns of the membership and of the reforms needed at the Fund. As IMFC Chairman, at the height of the international financial crisis of 2008, Boutros-Ghali helped create a consensus among national financial authorities for a coordinated approach, with active IMF participation, to address the fallout in international financial markets. Throughout Boutros-Ghali worked to promote consensus on the Fund’s most pressing reform agenda, particularly on governance reforms to enhance legitimacy and evenhandedness in surveillance, establishing a new and sustainable income model for the Fund, and adapting its instruments to better suit the evolving needs of the membership in a global economy.

In 2010 Boutros-Ghali enacted a far-reaching reform of the social security and pension systems in Egypt. He introduced modern concepts of pension systems notional accounting of accumulated benefits and enacted structural changes to account for the erosion of pension benefits and the burden of pension contributions on the national economy.

Boutros-Ghali resigned from his position as Minister of Finance on 29 January 2011. He declined President Mubarak's offer to join the next government headed by Ahmed Shafik.

Post-revolution exile
On 31 January 2011, as part of Hosni Mubarak's responses to the 2011 Egyptian protests, The government of Prime Minister Ahmed Nazif resigned and Boutros-Ghali was replaced as Minister of Finance by Samir Radwan. Then, on 4 February 2011, the IMF reported that Boutros-Ghali had resigned the Chairmanship of the International Monetary and Financial Committee (IMFC).

On 11 February 2011, just prior to Mubarak's resignation, the VIP lounge at Cairo Airport opened to accommodate Boutros-Ghali and his wife before they flew to Lebanon while other ex-regime officials, including Mubarak himself, were targeted with travel bans, asset freezes, and even arrests. During the chaotic three years that followed Boutros-Ghali along with many other ministers were subjected to legal proceedings. All, including Boutros-Ghali have been rehabilitated under the Sisi administration. With Boutros-Ghali residing abroad, the final steps are taking somewhat longer in winding their way through the legal system. Boutros-Ghali and his three sons are now permanent residents of the United Kingdom.

Writings
Boutros-Ghali published texts on exchange rate and monetary policy, external debt problems and debt relief issues, IMF programs, fiscal discipline and exchange rate market reforms.

Personal life
Boutros-Ghali speaks fluent Arabic, English, French, Italian and Spanish. He and his wife had three sons, Nader, Youssef and Naguib. While in London, in October 2011 his wife, Michele, died from a thoracic aneurism. The death was unexpected and sudden and devastated the family.


Ryo Asai

(born July 19, 1979) is a former baseball player in Japan.  Asai primarily played with the Hanshin Tigers in the Central League.  He also played baseball for the Waikiki BeachBoys.


William Talbott

William B. Talbott (1812 – September 5, 1899) was an English soldier who served in the Union Navy of the United States during the American Civil War. He received the Medal of Honor for valor.

Medal of Honor citation

Citation:

Served as captain of the forecastle on board the U.S.S. Louisville at the capture of the Arkansas post, 10 and 11 January 1863. Carrying out his duties as captain of a 9 inch gun, Talbott was conspicuous for ability and bravery throughout this engagement with the enemy.


British rock music

British rock describes a wide variety of forms of music made in the United Kingdom. Since around 1964, with the "British Invasion" of the United States spearheaded by the Beatles, British rock music has had a considerable impact on the development of American music and rock music across the world.

Initial attempts to emulate American rock and roll took place in Britain in the mid-1950s, but the terms "rock music" and "rock" usually refer to the music derived from the blues-rock and other genres that emerged during the 1960s. The term is often used in combination with other terms to describe a variety of hybrids or subgenres, and is often contrasted with pop music, with which it shares many structures and instrumentation.  Rock music has tended to be more orientated toward the albums market, putting an emphasis on innovation, virtuosity, performance and song writing by the performers.

Although much too diverse to be a genre in itself, British rock has produced many of the most significant groups and performers in rock music internationally, and has initiated or significantly developed many of the most influential subgenres, including beat music, progressive rock, art rock, hard rock, heavy metal music, punk, post-punk, New Romantic, and indie rock.

Early British rock and roll

In the 1950s, Britain was well placed to receive American rock and roll music and culture. It shared a common language, had been exposed to American culture through the stationing of troops in the country, and shared many social developments, including the emergence of distinct youth sub-cultures, which in Britain included the Teddy Boys. Trad Jazz became popular, and many of its musicians were influenced by related American styles, including Boogie Woogie and the Blues. The skiffle craze, led by Lonnie Donegan, utilised mostly amateurish versions mainly of American folk songs and encouraged many of the subsequent generation of rock and roll, folk, R&B and beat musicians to start performing. At the same time British audiences were beginning to encounter American rock and roll, initially through films including Blackboard Jungle (1955) and Rock Around the Clock (1955). Both films contained the Bill Haley & His Comets hit "Rock Around the Clock", which first entered the British charts in early 1955 - four months before it reached the US pop charts - topped the British charts later that year and again in 1956, and helped identify rock and roll with teenage delinquency. American rock and roll acts such as Elvis Presley, Little Richard and Buddy Holly thereafter became major forces in the British charts.

The initial response of the British music industry was to attempt to produce copies of American records, recorded with session musicians and often fronted by teen idols. British rock and rollers soon began to appear, including Wee Willie Harris and Tommy Steele. The bland or wholly imitative form of much British rock and roll in this period meant that the American product remained dominant. However, in 1958 Britain produced its first "authentic" rock and roll song and star, when Cliff Richard reached number 2 in the charts with "Move It". British impresario Larry Parnes fashioned young singers to the new trend, giving them corny names such as Billy Fury, Marty Wilde and Vince Eager.  At the same time, TV shows such as Six-Five Special and Oh Boy!, both produced by Jack Good, promoted the careers of British rock and rollers like Marty Wilde and Adam Faith. Cliff Richard and his backing band The Drifters, who quickly changed their name to The Shadows, were the most successful home grown rock and roll based acts of the era. Other leading acts included Joe Brown, and Johnny Kidd & The Pirates, whose 1960 hit song "Shakin' All Over" became a rock and roll standard. The first American rock and roll artist to hit British stages and appear on television was Charlie Gracie, quickly followed by Gene Vincent in December 1959, soon joined on tour by his friend Eddie Cochran. The producer Joe Meek was the first to produce sizeable rock hits in England, culminating with The Tornados' instrumental "Telstar", which went to number one in both the UK and USA.

Development in the 1960s and early 1970s

Beat music

In late 1950s Britain a flourishing culture of groups began to emerge, often out of the declining skiffle scene, in major urban centres in the UK like Liverpool, Manchester, Birmingham and London. This was particularly true in Liverpool, where it has been estimated that there were around 350 different bands active, often playing ballrooms, concert halls and clubs.

These beat bands were heavily influenced by American groups of the era, such as Buddy Holly and the Crickets (from which groups The Beatles and The Hollies derived their names), as well as earlier British groups such as The Shadows. After the national success of the Beatles in Britain from 1962, a number of Liverpool performers were able to follow them into the charts, including Gerry & The Pacemakers, The Searchers, and Cilla Black. Among the most successful beat acts from Birmingham were The Spencer Davis Group and The Moody Blues; The Animals came from Newcastle, and Them, featuring Van Morrison, from Belfast. From London, the term Tottenham Sound was largely based around The Dave Clark Five, but other London bands that benefited from the beat boom of this era included the Rolling Stones, The Kinks and The Yardbirds. The first non-Liverpool, non-Brian Epstein-managed band to break through in the UK were Freddie and the Dreamers, who were based in Manchester, as were Herman's Hermits and The Hollies. The beat movement provided most of the bands responsible for the British invasion of the American pop charts in the period after 1964, and furnished the model for many important developments in pop and rock music, particularly through their small group format - typically lead guitar, rhythm guitar, bass guitar, and drums, sometimes replacing the rhythm guitar with keyboards, either with a lead singer or with one of the musicians taking lead vocals and the others providing vocal harmonies.

British blues boom

In parallel with beat music, in the late 1950s and early 1960s a British blues scene was developing recreating the sounds of American R&B and later particularly the sounds of bluesmen Robert Johnson, Howlin' Wolf, and Muddy Waters. Initially led by purist blues followers such as Alexis Korner and Cyril Davies, it reached its height of mainstream popularity in the 1960s, when it developed a distinctive and influential style dominated by electric guitar and made international stars of several proponents of the genre including The Rolling Stones, The Yardbirds, Eric Clapton, Cream, Fleetwood Mac and Led Zeppelin (who morphed out of The Yardbirds). A number of these moved through Blues-rock to different forms of rock music, with increasing emphasis on technical virtuosity and improvisational skills.  As a result, British blues helped to form many of the subgenres of rock, including psychedelic rock and heavy metal music. Since then direct interest in the blues in Britain has declined, but many of the key performers have returned to it in recent years, new acts have emerged and there has been a renewed interest in the genre.

The Beatles and the "British Invasion"

The Beatles themselves were less influenced by blues music than the music of later American genres such as soul and Motown.  Their popular success in Britain in the early 1960s was matched by their new and highly influential emphases on their own song writing, and on technical production values, some of which were shared by other British beat groups.  On 7 February 1964, the CBS Evening News with Walter Cronkite ran a story about The Beatles' United States arrival in which the correspondent said "The British Invasion this time goes by the code name Beatlemania". A few days later, they appeared on The Ed Sullivan Show. Seventy five percent of Americans watching television that night viewed their appearance thus "launching" the invasion with a massive wave of chart success that would continue until the Beatles broke up in 1970. On 4 April 1964, the Beatles held the top 5 positions on the Billboard Hot 100 singles chart, the only time to date that any act has accomplished this. During the next two years, Peter and Gordon, The Animals, Manfred Mann, Petula Clark, Freddie and the Dreamers, Wayne Fontana and the Mindbenders, Herman's Hermits, The Rolling Stones, The Troggs, and Donovan would have one or more number one singles in the US. Other acts that were part of the "invasion" included The Who, The Kinks, and The Dave Clark Five; these acts were also successful within the UK, although clearly the term "British Invasion" itself was not applied there except as a description of what was happening in the USA.  So-called "British Invasion" acts influenced fashion, haircuts and manners of the 1960s of what was to be known as the "Counterculture". In particular, the Beatles' movie A Hard Day's Night and fashions from Carnaby Street led American media to proclaim England as the centre of the music and fashion world. The success of British acts of the time, particularly that of the Beatles themselves, has been seen as revitalising rock music in the US and influenced many American bands to develop their sound and style. The growth of the British music industry itself, and its increasingly prominent global role in the forefront of changing popular culture, also enabled it to discover and first establish the success of new rock artists from elsewhere in the world, notably Jimi Hendrix and, in the early 1970s, Bob Marley.

Freakbeat

Freakbeat is a loosely defined subgenre of rock and roll music developed mainly by harder-driving British groups, often those with a mod following, during the Swinging London period of the mid-to late 1960s. The genre bridges British Invasion mod/R&B/pop and psychedelia. The term was coined by English music journalist Phil Smee. AllMusic writes that "freakbeat" is loosely defined, but generally describes the more obscure but hard-edged artists of the British Invasion era such as the Creation, the Pretty Things or Denny Laine's early solo work. Much of the material collected on Rhino Records's 2001 box-set compilation Nuggets II: Original Artyfacts from the British Empire and Beyond, 1964–1969 can be classified as freakbeat. Other bands include The Smoke, The Eyes (band), The Birds (band), The Action and The Sorrows.

Psychedelic rock

Psychedelic music is a style of music that is inspired or influenced by psychedelic culture and attempts to replicate and enhance the mind-altering experiences of hallucinogenic drugs. It particularly grew out of blues-rock and progressive folk music and drew on non-Western sources such as Indian music's ragas and sitars as well as studio effects and long instrumental passages and surreal lyrics. It emerged during the mid-1960s among progressive folk acts in Britain such as The Incredible String Band and Donovan, as well as in the United States, and rapidly moved into rock and pop music being taken up by acts including the Beatles, The Yardbirds, The Moody Blues, Small Faces, The Move, Traffic, Cream and Pink Floyd.  Psychedelic rock bridged the transition from early blues-rock to progressive rock, art rock, experimental rock, hard rock and eventually heavy metal that would become major genres in the 1970s. Shock rock pioneer Arthur Brown performed his 1968 hit song "Fire" wearing black and white makeup (corpse paint) and a burning headpiece. He has been a significant influence on extreme acts that have followed.

Mainstream and global success

By the early 1970s, rock music had become more mainstream, and internationalised, with many British acts becoming massively successful in the United States and globally. Some of the most successful artists, such as the individual members of The Beatles, Elton John, David Bowie, and Rod Stewart performed their own songs (and in some cases those written by others) in an eclectic variety of styles, in which the presentation of the performance itself became increasingly important. By way of contrast, the former psychedelic-pop act, The Status Quo, dropped the definite article from their name and became one of the most successful British rock acts by presenting an apparently unsophisticated style of boogie-based rock music; and Van Morrison gained international critical acclaim through a blend of rock, jazz and blues styles. Some well-established British bands that began their careers in the British Invasion, notably The Rolling Stones, The Who and The Kinks, also developed their own particular styles and expanded their international fan base during that period, but would be joined by new acts in new styles and subgenres.

New subgenres in the 1970s

British folk rock

British folk rock developed in Britain during the mid to late 1960s by the bands Fairport Convention, and Pentangle which built on elements of American folk rock, and on the second British folk revival. Using traditional English music as its basis, these bands drew heavily on the Child Ballads, ballads of the British Isles from the later medieval period until the 19th century. An early success was Fairport Convention's 1969 album Liege and Lief, but it became more significant in the 1970s, when it was taken up by groups such as Pentangle, Steeleye Span and the Albion Band. It was rapidly adopted and developed in the surrounding Celtic cultures of Brittany, where it was pioneered by Alan Stivell and bands like Malicorne; in Ireland by groups such as Horslips; and also in Scotland, Wales and the Isle of Man and Cornwall, to produce Celtic rock and its derivatives. It was also influential in those parts of the world with close cultural connections to the UK, such as the US and Canada and gave rise to the subgenre of Medieval folk rock and the fusion genres of folk punk and folk metal. By the end of the 1970s the genre was in steep decline in popularity, as other forms of music, including punk and electronic began to be established.

Progressive rock

Progressive or prog rock developed out of late 1960s blues-rock and psychedelic rock. Dominated by British bands, it was part of an attempt to elevate rock music to new levels of artistic credibility. Progressive rock bands attempted to push the technical and compositional boundaries of rock by going beyond the standard verse-chorus-based song structures. The arrangements often incorporated elements drawn from classical, jazz, and international sources later called "world music". Instrumentals were common, while songs with lyrics were sometimes conceptual, abstract, or based in fantasy. Progressive rock bands sometimes used concept albums that made unified statements, usually telling an epic story or tackling a grand overarching theme. King Crimson's 1969 début album, In the Court of the Crimson King, which mixed powerful guitar riffs and mellotron, with jazz and symphonic music, is often taken as the key recording in progressive rock, helping the widespread adoption of the genre in the early 1970s among existing blues-rock and psychedelic bands, as well as newly formed acts. The term was applied to the music of bands such as Yes, Genesis, Pink Floyd, Jethro Tull, Soft Machine, Electric Light Orchestra, Procol Harum, Hawkwind, and Emerson, Lake & Palmer. It reached its peak of popularity in the mid-1970s, but had mixed critical acclaim and the punk movement can be seen as a reaction against its musicality and perceived pomposity. Many bands broke up, but some, including Genesis, ELP, Yes, and Pink Floyd, regularly scored Top Ten albums with successful accompanying worldwide tours.

Glam rock

Glam or glitter rock developed in the UK in the post-hippie early 1970s. It was characterised by "outrageous" clothes, makeup, hairstyles, and platform-soled boots. The flamboyant lyrics, costumes, and visual styles of glam performers were a campy, playing with categories of sexuality in a theatrical blend of nostalgic references to science fiction and old movies, all over a guitar-driven hard rock sound. Pioneers of the genre included David Bowie, Roxy Music, Mott the Hoople, Marc Bolan and T. Rex. These, and many other acts straddled the divide between pop and rock music, managing to maintain a level of respectability with rock audiences, while enjoying success in the UK singles chart, including Queen and Elton John. Other performers aimed much more directly for the popular music market, where they were the dominant groups of their era, including Slade, Wizzard, Mud and Sweet. The glitter image was pushed to its limits by Gary Glitter and The Glitter Band. Largely confined to the British music scene where it originated, glam rock peaked during the mid-1970s, before it declined in the face of punk rock and new wave trends. It has had a direct influence on acts that rose to prominence later.

Hard rock/Heavy metal

With roots in blues-rock, psychedelic rock and garage rock the bands that created heavy metal developed a thick, powerful sound, characterised by overt rhythmic basslines, highly amplified distortion, extended guitar solos, emphatic beats, and overall loudness. Heavy metal lyrics and performance styles often incorporated elements of fantasy and science fiction, and are generally associated with masculinity and machismo. The three pioneering heavy metal bands, Led Zeppelin, Black Sabbath, and Deep Purple, were all British and, while gaining little critical acclaim, they and the next generation of metal groups, which included American, Australian and continental bands beside British acts Judas Priest, Motörhead and Rainbow, attracted large audiences and record sales. Rainbow moved heavy metal into stadium rock while Motörhead introduced a punk rock sensibility and an increasing emphasis on speed. After a decline in popularity in the late 1970s Judas Priest discarded most of the genre's blues influences, particularly on their 1980 album British Steel, which opened the door for the new wave of British heavy metal (NWOBHM) including Iron Maiden, Vardis, Saxon and Def Leppard, and a return to popularity in the 1980s.

Although NWOBHM inspired many new bands, in the late 1980s much of the creative impetus in the genre shifted towards America and continental Europe (particularly Germany and Scandinavia), which produced most of the major new subgenres of metal, which were then taken up by British acts. These included thrash metal and death metal, both developed in the USA; black metal and power metal, both developed in continental Europe, but influenced by the British band Venom; and doom, which was developed in the USA but which soon had a number of bands from England, including Pagan Altar and Witchfinder General. There's also a large British influence in the doom/gothic metal scene, pioneered by such bands as Paradise Lost, My Dying Bride and Anathema. Grindcore, or simply grind, was a hybrid of death metal and hardcore punk, characterized by heavily distorted, down-tuned guitars, high speed tempo, blast beats, songs often lasting no more than two minutes (some are seconds long), and vocals which consist of growls and high-pitched screams. Pioneers, the British band Napalm Death inspired other British grindcore groups in the 1980s, among them Extreme Noise Terror, Carcass and Sore Throat.

Probably the most successful British metal band since the days of NWOBHM were Cradle of Filth, formed in 1991, and pursuing a form of extreme metal that is difficult to categorise. The term "retro-metal" has been applied to such bands as The Darkness, whose mix of glam rock and heavy riffs earned them a string of singles hits and a quintuple platinum album with One Way Ticket to Hell... and Back (2005), which reached number 11 in the UK charts. Bullet for My Valentine, from Wales, broke into the top 5 in both the U.S. and British charts with their metalcore, a mixture of metal and hardcore, with Scream Aim Fire (2008).

Proto-punk, punk and new wave

Pub rock

Pub rock was a short-lived trend that left a lasting influence on the British music scene, especially in punk rock. It was a back-to-basics movement that reacted against the glittery glam rock of David Bowie and Gary Glitter, and peaked in the mid-1970s. Pub rock developed in large north London pubs. It is said to have begun in May 1971 with Eggs over Easy, an American band, playing in the Tally Ho! in Kentish Town. A group of musicians who had been playing in blues and R&B bands during the 1960s and early 70s soon formed influential bands like Brinsley Schwarz, Ducks Deluxe and Bees Make Honey. Brinsley Schwarz was probably the most influential group, achieving some mainstream success both in the UK and in the States. The second wave of pub rock included Kilburn and the High Roads, Ace, Johnny Kid & the Pirates, and Chilli Willi and the Red Hot Peppers; these were followed by the third and final wave of pub rock, including Dr. Feelgood,  and Sniff 'n' the Tears. Several pub rock musicians joined the new wave acts such as Graham Parker's backing band, The Rumour, Elvis Costello & the Attractions and even The Clash.

Punk rock

Punk rock developed between 1974 and 1976, originally in the United States, where it was rooted in garage rock, and other forms of what is now known as protopunk music. The first punk band is usually thought to be the Ramones from 1976. This was taken up in Britain by bands also influenced by the pub rock scene, like the Sex Pistols, The Clash and The Damned, particularly in London, who became the vanguard of a new musical and cultural movement, blending simple aggressive sounds and lyrics with clothing styles and a variety of anti-authoritarian ideologies. Punk rock bands eschewed the perceived excesses of mainstream 1970s rock, creating fast, hard-edged music, typically with short songs, stripped-down instrumentation, and often political, anti-establishment lyrics. Punk embraced a DIY (do it yourself) ethic, with many bands self-producing their recordings and distributing them through informal channels. 1977 saw punk rock spreading around the world, and it became a major international cultural phenomenon. However, by 1978, the initial impulse had subsided and punk had morphed into the wider and more diverse new wave and post-punk movements.

New wave

As the initial punk impulse began to subside, with the major punk bands either disbanding or taking on new influences, the term "New Wave" began to be used to describe particularly British bands that emerged in the later 1970s with mainstream appeal. These included pop bands like XTC, Squeeze and Nick Lowe, the electronic rock of Gary Numan as well as songwriters like Elvis Costello, rock & roll influenced bands like the Pretenders, the reggae influenced music of bands like The Police, as well as bands of the mod revival like The Jam and of the ska revival like The Specials and Madness. By the end of the decade many of these bands, most obviously the Police, were beginning to make an impact in American and world markets.

Post-punk

Beside the development of mainstream new wave, there were also less commercial, darker and sub-culture acts, often classified as post-punk. Like new wave they incorporated a range of influences, including electronic music, Jamaican dub music (specifically in bass guitar), and American funk. Examples of post-punk outfits in Britain included The Smiths, Orange Juice, The Psychedelic Furs, Television Personalities, The Fall, Siouxsie and the Banshees, The Lords of the New Church, Joy Division, Killing Joke, Echo & the Bunnymen, Gang of Four, The Cure, Bauhaus, Magazine, Wire, The Jesus and Mary Chain, and Tubeway Army. Post-punk would be a major element in the creation of the alternative rock and gothic rock genres.

Folk punk

Folk punk or rogue folk is a fusion of folk music and punk rock, or occasionally other genres, which was pioneered by the London-based band The Pogues in the 1980s. It achieved some mainstream success in the 1980s and, particularly as the subgenre of Celtic punk, has been widely adopted in areas of the Celtic diaspora in North America and Australia and by many bands in continental central and eastern Europe. Unlike earlier Celtic rock and electric folk groups, folk punk groups tend to include relatively little traditional music in their repertoire, but instead usually performed their own compositions, often following the form of punk rock, using additional folk instrumentation, including, mandolin, accordion, banjo and particularly violin. Other bands adopted some traditional forms of music, including sea shanties and eastern European gypsy music. Among the most successful performers were The Men They Couldn't Hang, New Model Army, Oysterband, The Levellers, and singer-songwriter Billy Bragg, who enjoyed a series of hits in the 1980s.

Electronic rock in the early 1980s

Synth rock

Many progressive rock bands had incorporated synthesizers into their sound, including Pink Floyd, Yes and Genesis. In 1977, Ultravox member Warren Cann purchased a Roland TR-77 drum machine, which was first featured in their October 1977 single release "Hiroshima Mon Amour". The ballad arrangement, metronome-like percussion and heavy use of the ARP Odyssey synthesizer was effectively a prototype for nearly all synthpop and rock bands that were to follow. In 1978, the first incarnation of The Human League released their début single "Being Boiled". Others were soon to follow, including Tubeway Army, a little known outfit from West London, who dropped their punk rock image and jumped on the band wagon, topping the UK charts in the summer of 1979 with the single "Are Friends Electric?". This prompted the singer, Gary Numan to go solo and in the same year he release the Kraftwerk inspired album, The Pleasure Principle and again topped the charts for the second time with the single "Cars". Particularly through its adoption by New Romantics, synthesizers came to dominate the pop and rock music of the early 80s. Albums such as Visage's Visage (1980), John Foxx's Metamatic (1980), Gary Numan's Telekon (1980), Ultravox's Vienna (1980), The Human League's Dare (1981) and Depeche Mode's Speak and Spell (1981), established a sound that influenced most mainstream pop and rock bands, until it began to fall from popularity in the mid-1980s.

New Romantics

New Romantic emerged as part of the new wave music movement in London nightclubs including Billy's and The Blitz Club towards the end of the 1970s. Influenced by David Bowie and Roxy Music, it developed glam rock fashions, gaining its name from the frilly fop shirts of early Romanticism. New Romantic music often made extensive use of synthesizers. Pioneers included Visage, Japan and Ultravox and among the commercially most successful acts associated with the movement were Adam and the Ants, Culture Club, The Human League, Spandau Ballet and Duran Duran. By about 1983 the original movement had dissolved, with surviving acts dropping most of the fashion elements to pursue mainstream careers.

The second British invasion

From its inception in 1981, the cable music channel MTV featured a disproportionate amount of music videos from image conscious British acts. British acts, who had been accustomed to using music videos for half a decade, featured heavily on the channel. The Buggles' "Video Killed the Radio Star" was the first music video shown on MTV. In late 1982, "I Ran (So Far Away)" by A Flock of Seagulls entered the Billboard Top Ten, arguably the first successful song that owed almost everything to video. They would be followed by bands like Duran Duran whose glossy videos would come to symbolise the power of MTV. Dire Straits' "Money for Nothing" gently poked fun at MTV which had helped make them international rock stars. In 1983, 30% of the record sales were from British acts. 18 of the Top 40 and 6 of the Top 10 singles on 18 July were by British artists. Overall record sales would rise by 10% from 1982. Newsweek featured Annie Lennox of Eurythmics and Boy George of Culture Club on the cover of one of its issues, while Rolling Stone would release an "England Swings" issue. In April 1984, 40 of the Top 100 singles were from British acts while 8 of the Top 10 singles in a May 1985 survey were of British origin. Veteran music journalist Simon Reynolds theorised that similar to the first British Invasion the use of black American influences by the British acts helped to spur success. Commentators in the mainstream media credited MTV and the British acts with bringing colour and energy back to pop music while rock journalists were generally hostile to the phenomenon because they felt it represented image over content.

Indie rock

Indie or independent rock, particularly in America often known as alternative rock, was a scene that emerged from post-punk and new wave in the 1980s, eschewing the major record labels for control of their own music and relying on local scenes or national sub-cultures to provide an audience. Having enjoyed some success a number of indie acts were able to move into the mainstream, including early indie bands Aztec Camera, Orange Juice and The Smiths, followed by The Housemartins and James. Other forms of alternative rock developed in the UK during the 1980s. The Jesus and Mary Chain wrapped their pop melodies in walls of guitar noise, while New Order emerged from the demise of post-punk band Joy Division and experimented with techno and house music, forging the alternative dance style. The Mary Chain, along with Dinosaur Jr and the dream pop of Cocteau Twins, were the influences for the shoegazing movement of the late 1980s.

Gothic rock

Gothic rock, often shortened to goth, developed out of the post-punk scene in the later 1970s. It combines dark, often keyboard-heavy music with introspective and depressing lyrics. Notable early gothic rock bands include Bauhaus (whose "Bela Lugosi's Dead" is often cited as the first goth record), Siouxsie and the Banshees (who may have coined the term), The Cure, The Sisters of Mercy, and Fields of the Nephilim. Gothic rock gave rise to a broader goth subculture that included clubs, various fashion trends and numerous publications that grew in popularity in the 1980s, gaining notoriety by being associated by several moral panics over suicide and Satanism.

Madchester

The independent rock scene that had developed in Manchester in the second half of the 1980s, based in The Haçienda nightclub and Factory Records and dubbed Madchester, came to national prominence at the end of the decade, with the Happy Mondays, the Inspiral Carpets, and Stone Roses charting late in 1989. The scene became the centre of media attention for independent rock in the early 1990s, with bands like World of Twist, New Fast Automatic Daffodils, The High, Northside, Paris Angels, and Intastella also gaining national attention. The period of dominance was relatively short lived with The Stone Roses beginning to retreat from public performance while engaged in contractual disputes, the Happy Mondays having difficulty in producing a second album and Factory Records going bankrupt in 1992. Local bands catching the tail-end of Madchester, such as The Mock Turtles, became part of a wider baggy scene. The music press in the UK began to place more focus on shoegazing bands from the south of England and bands emerging through US grunge.

Dream pop and shoegazing

Dream pop had developed out of the indie rock scene of the 1980s, when bands like Cocteau Twins, The Chameleons, The Passions, Dif Juz, Lowlife and A.R. Kane began fusing post-punk and ethereal experiments with bittersweet pop melodies into sensual, sonically ambitious soundscapes. The 4AD record label is the one most associated with dream pop, though others such as Creation, Projekt, Fontana, Bedazzled, Vernon Yard, and Slumberland also released significant records in the genre. A louder, more aggressive strain of dream pop came to be known as shoegazing; key bands of this style were Lush, Slowdive, My Bloody Valentine, Ride, Alison's Halo, Chapterhouse, Curve and Levitation. These bands kept the atmospheric qualities of dream pop, but added the intensity of post-punk-influenced bands such as The Chameleons and Sonic Youth.

Post-rock

Post-rock originated in the release of Talk Talk's album Laughing Stock and US band Slint's Spiderland, both in 1991, which produced experimental work influenced by sources as varied as electronica, jazz, and minimalist classical music, often abandoning the traditional song format in favour of instrumental and ambient music. The term was first used to describe the band Bark Psychosis and their album Hex (1994), but was soon employed for bands such as Stereolab, Laika, Disco Inferno and Pram and other acts in America and Canada. Scottish group Mogwai are one of the influential post-rock groups to arise at the turn of the 21st century.

Indie pop

Initially dubbed as 'C86' after the 1986 NME tape, and also known as "cutie", "shambling bands" and later as "twee pop", indie pop was characterised by jangling guitars, a love of sixties pop and often fey, innocent lyrics. It was also inspired by the DIY scene of punk and there was a thriving fanzine, label and club and gig circuit. Early bands included The Pastels, The Shop Assistants and Primal Scream. Scenes later developed in the United States particularly around labels such as K Records. Genres such as Riot Grrrl and bands as diverse as Nirvana, Manic Street Preachers, and Belle and Sebastian have all acknowledged its influence.

Britpop

Britpop emerged from the British independent music scene of the early 1990s and was characterised by bands influenced by British guitar pop music of the 1960s and 1970s. The movement developed as a reaction against various musical and cultural trends in the late 1980s and early 1990s, particularly the grunge phenomenon from the United States. New British groups such as Suede and Blur launched the movement by positioning themselves as opposing musical forces, referencing British guitar music of the past and writing about uniquely British topics and concerns. These bands were soon joined by others including Oasis, Pulp, Supergrass, The Boo Radleys, Kula Shaker, Ash, Ocean Colour Scene and Elastica. Britpop groups brought British alternative rock into the mainstream and formed the backbone of a larger British cultural movement called Cool Britannia. Although its more popular bands were able to spread their commercial success overseas, especially to the United States, the movement largely fell apart by the end of the decade.

Post-Britpop

From about 1997, as dissatisfaction grew with the concept of Cool Britannia, and Britpop as a movement began to dissolve, emerging bands began to avoid the Britpop label while still producing music derived from it. Many of these bands tended to mix elements of British traditional rock (or British trad rock), particularly the Beatles, Rolling Stones and Small Faces, with American influences, including post-grunge. Radiohead, Placebo and Post-Britpop bands like The Verve, Travis, Stereophonics, Feeder, and particularly Coldplay, achieved much wider international success than most of the Britpop groups that had preceded them, and were some of the most commercially successful acts of the late 1990s and early 2000s.

Garage rock revival/Post-punk revival

In the 2000s British indie rock experienced a resurgence. Like modern American alternative rock, many British indie bands such as Franz Ferdinand, The Libertines and Bloc Party drew influences from post-punk groups such as Joy Division, Wire, and Gang of Four. Other prominent independent rock bands in the 2000s include: Editors, The Fratellis, Lostprophets, Razorlight, Keane, Kaiser Chiefs, Muse, Kasabian, The Cribs, The Maccabees, The Kooks and Arctic Monkeys (the last being the most prominent act to gain their initial fan base through the use of internet social networking).

New rave

With developments in computer technology and music software advanced, it became possible to create high quality music using little more than a single laptop computer. This resulted in a massive increase in the amount of home-produced electronic music available to the general public via the expanding internet, and new forms of performance such as laptronica and live coding. In Britain the combination of indie with American pioneered dance-punk was dubbed new rave in publicity for Klaxons and the term was picked up and applied by the NME to a number of bands, including Trash Fashion, New Young Pony Club, Hadouken!, Late of the Pier, Test Icicles, and Shitdisco forming a scene with a similar visual aesthetic to earlier raves.


Logisticus obscurus

Logisticus obscurus is a species of beetle in the family Cerambycidae. It was described by Waterhouse in 1880.


Jelena Žarić Kovačević

Jelena Žarić Kovačević (; born 2 May 1981) is a politician in Serbia. She has served in the National Assembly of Serbia since 2016 as a member of the Serbian Progressive Party.

Early life and career
Žarić Kovačević was born in Niš, then part of the Socialist Republic of Serbia in the Socialist Federal Republic of Yugoslavia. She was raised in the city and has both a bachelor's degree and a master's degree from the University of Niš Faculty of Law. She is a law professor and also worked as a lawyer until 2012, when she became deputy secretary of the City Assembly of Niš. She served in this role until March 2016, when she became president of the city's election commission, a position she held until July of the same year. The revenue that she and other election commissioners earned subsequently became a point of controversy, although she has said that the payments simply followed past precedent.

Political career
Žarić Kovačević is a member of the Progressive Party's main board and its city committee in Niš. She received the 219th position (out of 250) on the party's Aleksandar Vučić — Future We Believe In electoral list for the 2014 Serbian parliamentary election; this was too low a position for election to be a realistic possibility, and indeed she was not elected despite the list winning a landslide victory with 158 mandates. She was promoted to the fifty-first position on the successor Aleksandar Vučić — Serbia is winning list for the 2016 parliamentary election and was elected when the list won 131 mandates.

She is currently a member of the assembly's committee on constitutional and legislative issues; a deputy member of the committee on human and minority rights and gender equality and the committee on spatial planning, transport, infrastructure, and telecommunications; a deputy member of Serbia's delegation to the Parliamentary Assembly of the Mediterranean; the head of Serbia's parliamentary friendship group with the United Arab Emirates; and a member of the parliamentary friendship groups with Austria, Azerbaijan, Belgium, Bosnia and Herzegovina, Bulgaria, Canada, China, Croatia, Cyprus, Finland, France, Germany, Greece, Hungary, Italy, Japan, Macedonia, The Netherlands, Russia, Slovenia, Spain, Switzerland, the United Kingdom, and the United States of America.


Northwest African Training Command

The Northwest African Training Command (NATC) was a sub-command of the Northwest African Air Forces (NAAF) which itself was a sub-command of the Mediterranean Air Command (MAC). These new Allied air force organizations were created at the Casablanca Conference in January 1943 to promote cooperation between the British Royal Air Force (RAF), the American United States Army Air Force (USAAF), and their respective ground and naval forces in the North African and Mediterranean Theater of Operations (MTO). Effective February 18, 1943, the NATC and other MAC commands existed until December 10, 1943 when MAC was disbanded and the Mediterranean Allied Air Forces (MAAF) were established.

Brigadier General John Cannon organized and commanded NATC to provide pre-combat flight training for new pilots and crews.  Many of the bomber and fighter groups of NAAF were assigned to Cannon's NATC for a brief but highly effective training period prior to their ultimate combat assignments.  Some of the groups trained by NATC before the Allied invasion of Sicily (Operation Husky) on July 10, 1943 are indicated below.

Northwest African Training CommandBrigadier General John Cannon

Notes:^These reconnaissance squadrons were likely permanent assignments to NATC.

To establish an effective training command, Cannon and Lieutenant General Carl Spaatz, commander of NAAF, arranged a meeting with the Commanding General of the United States Army Air Forces (USAAF), General Henry H. Arnold to consider their recommendation of Philip Cochran as a teacher and trainer of raw fighter pilots.  Cochran was unanimously approved and contributed most effectively to the combat performance of many NAAF pilots. The comic strips Terry and the Pirates and Steve Canyon by Milton Caniff were partly inspired by Philip Cochran who was a friend of Caniff.

In 1942, Colonel Charles D. Jones was General Cannon's Assistant A-3 (Operations) Officer. After the Allied air force reorganization and the creation of NATC in early 1943, Jones took charge of a school in French Morocco that trained American fighter pilots and aviators in the Free French Air Force. In 1944, Jones became the commanding officer of the 340th Bombardment Group until he was shot down on March 10, 1944 and spent the rest of the war as a prisoner in Germany.


0F

0F (zero F) may refer to:

Zero degrees Fahrenheit
Caledonian Railway 0F Class
LMS Kitson Class 0F, a classification of LMS Kitson 0-4-0ST


Greece in the Roman era

Greece in the Roman era describes the period of Greek history when Ancient Greece was dominated by the Roman Republic (509 – 27 BC), the Roman Empire (27 BC – AD 395), and the Byzantine Empire (AD 395 – 1453). The Roman era of Greek history began with the Corinthian defeat in the Battle of Corinth in 146 BC. However, before the Achaean War, the Roman Republic had been steadily gaining control of mainland Greece by defeating the Kingdom of Macedon in a series of conflicts known as the Macedonian Wars. The Fourth Macedonian War ended at the Battle of Pydna in 148 BC and defeat of the Macedonian royal pretender Andriscus.

The definitive Roman occupation of the Greek world was established after the Battle of Actium (31 BC), in which Augustus defeated Cleopatra VII, the Greek Ptolemaic queen of Egypt, and the Roman general Mark Antony, and afterwards conquered Alexandria (30 BC), the last great city of Hellenistic Greece. The Roman era of Greek history continued with Emperor Constantine the Great's adoption of Byzantium as Nova Roma, the capital city of the Roman Empire; in AD 330, the city was renamed Constantinople.  Afterwards, the Byzantine Empire was a generally Greek-speaking polity.

Early Roman history

The Greek peninsula fell under Roman rule in 146 BC, after the Battle of Corinth, when Macedonia became a Roman province. At this time, southern Greece also came under Roman hegemony; however, some key Greek poleis remained partly autonomous and avoided direct Roman taxation. The Hellenistic Kingdom of Pergamon (282–133 BC) was annexed to that territory in 133 BC, when King Attalus III (r. 138–133 BC) willed the lands to Rome; however, the Romans were slow in securing their claim to those lands, and a pretender to the throne of Pergamon, Eumenes III (Aristonicus) led a revolt with the help of the philosopher Blossius, which the Roman army suppressed in 129 BC, when the lands of Pergamon were divided among Rome, the Kingdom of Pontus, and Cappadocia.

In 88 BC, Athens and other Greek city-states revolted against Rome, and were suppressed by General Lucius Cornelius Sulla. During the Roman civil wars Greece was physically and economically devastated, until Augustus organized the peninsula as the province of Achaea, in 27 BC. Initially, Rome's conquest of Greece damaged the economy, yet it readily recovered under Roman administration in the post-war period. Moreover, the Greek cities in Asia Minor recovered from Roman conquest more rapidly than did the cities of peninsular Greece, which had been much damaged in the war with Sulla. As an empire, Rome invested resources and rebuilt the cities of Roman Greece, and established Corinth as the capital city of the province of Achaea, whilst Athens prospered as a cultural hub of philosophy, education, and learned knowledge.

Early Empire

Life in Greece continued under the Roman Empire much the same as it had previously. Roman culture was highly influenced by the Greeks; as Horace said, Graecia capta ferum victorem cepit ("Captive Greece captured her rude conqueror"). The epics of Homer inspired the Aeneid of Virgil, and authors such as Seneca the Younger wrote using Greek styles. While some Roman nobles regarded the Greeks as backwards and petty, many others embraced Greek literature and philosophy. The Greek language became a favorite of the educated and elite in Rome, such as Scipio Africanus, who tended to study philosophy and regarded Greek culture and science as an example to be followed.

The Roman Emperor Nero visited Greece in AD 66, and performed at the Ancient Olympic Games, despite the rules against non-Greek participation. He was honored with a victory in every contest, and in the following year he proclaimed the freedom of the Greeks at the Isthmian Games in Corinth, just as Flamininus had over 200 years previously. Hadrian was also particularly fond of the Greeks; before he became emperor he served as an eponymous archon of Athens. He also finished the Temple of Zeus there and the Atheneans built the Arch of Hadrian in his honor nearby.

Many temples and public buildings were built in Greece by emperors and wealthy Roman nobility, especially in Athens. Julius Caesar began construction of the Roman agora in Athens, which was finished by Augustus. The main gate, Gate of Athena Archegetis, was dedicated to the patron goddess of Athens, Athena. The Agrippeia was built in the center of the Ancient Agora of Athens by Marcus Vipsanius Agrippa. The emperor Hadrian was a philhellene and an ardent admirer of Greece and, seeing himself as an heir to Pericles, made many contributions to Athens. He built the Library of Hadrian in the city, as well as completing construction of the Temple of Olympian Zeus, some 638 years after its construction was started by Athenian tyrants, but ended due to the belief that building on such a scale was hubristic. The Athenians built the Arch of Hadrian to honor Emperor Hadrian. The side of the arch facing the Athenian agora and the Acropolis had an inscription stating "This is Athens, the ancient city of Theseus." The side facing the Temple of Zeus and the 'new city' (this was still part of the ancient city; e.g. the Panathenaic Stadium has always been on that side) had an inscription stating "This is the city of Hadrian, and not of Theseus." Adrianou (Hadrian Street) exists to this day, leading from the arch to the Ancient Agora.

The Pax Romana was the longest period of peace in Greek history, and Greece became a major crossroads of maritime trade between Rome and the Greek speaking eastern half of the empire. The Greek language served as a lingua franca in the East and in Italy, and many Greek intellectuals such as Galen would perform most of their work in Rome.

During this time, Greece and much of the rest of the Roman east came under the influence of Early Christianity. The apostle Paul of Tarsus preached in Philippi, Corinth and Athens, and Greece soon became one of the most highly Christianized areas of the empire.

Later Roman Empire

During the 2nd and 3rd centuries, Greece was divided into provinces including Achaea, Macedonia, Epirus and Thrace. During the reign of Diocletian in the late 3rd century, Moesia was organized as a diocese, and was ruled by Galerius. Under Constantine (who professed Christianity) Greece was part of the prefectures of Macedonia and Thrace. Theodosius divided the prefecture of Macedonia into the provinces of Creta, Achaea, Thessalia, Epirus Vetus, Epirus Nova, and Macedonia. The Aegean islands formed the province of Insulae in the Diocese of Asia.

Greece faced invasions from the Heruli, Goths, and Vandals during the reign of Romulus Augustulus. Stilicho, who pretended he was a regent for Arcadius, evacuated Thessaly when the Visigoths invaded in the late 4th century. Arcadius' chief advisor Eutropius allowed Alaric to enter Greece, and he looted Athens, Corinth and the Peloponnese. Stilicho eventually drove him out around 397 and Alaric was made magister militum in Illyricum. Eventually, Alaric and the Goths migrated to Italy, sacked Rome in 410, and built the Visigothic Kingdom in Iberia, which lasted until 711 with the advent of the Arabs.

Greece remained part of the relatively cohesive and robust eastern half of the empire, which eventually became the center of the remaining Roman Empire, the Eastern Roman or Byzantine Empire. Contrary to outdated visions of Late Antiquity, the Greek peninsula was most likely one of the most prosperous regions of the Roman Empire. Older scenarios of poverty, depopulation, barbarian destruction and civil decay have been revised in light of recent archaeological discoveries. In fact the polis, as an institution, appears to have remained prosperous until at least the 6th century. Contemporary texts such as Hierokles' Syndekmos affirm that late antiquity Greece was highly urbanised and contained approximately eighty cities. This view of extreme prosperity is widely accepted today, and it is assumed between the 4th and 7th centuries AD, Greece may have been one of the most economically active regions in the eastern Mediterranean.


Fluoride varnish

Fluoride varnish is a highly concentrated form of fluoride which is applied to the tooth's surface, by a dentist, dental hygienist or other health care professional, as a type of topical fluoride therapy. It is not a permanent varnish but due to its adherent nature it is able to stay in contact with the tooth surface for several hours. It may be applied to the enamel, dentine or cementum of the tooth and can be used to help prevent decay, remineralise the tooth surface and to treat dentine hypersensitivity. There are more than 30 fluoride-containing varnish products on the market today, and they have varying compositions and delivery systems. These compositional differences lead to widely variable pharmacokinetics, the effects of which remain largely untested clinically.

Fluoride varnishes are relatively new in the United States, but they have been widely used in western Europe, Canada, South Africa and the Scandinavian countries since the 1980s as a dental caries prevention therapy. They are recognised by the Food and Drug Administration for use as desensitising agents, but, currently, not as an anti-decay agent. Both Canadian and European studies have reported that fluoride varnish is as effective in preventing tooth decay as professionally applied fluoride gel; however, it is not in widespread use for this purpose.

Fluoride varnish is composed of a high concentration of fluoride as a salt or silane preparation in a fast drying, alcohol and resin based solution. The concentration, form of fluoride, and dispensing method may vary depending on the manufacturer. While most fluoride varnishes contain 5% sodium fluoride at least one brand of fluoride varnish contains 1% difluorsilane in a polyurethane base and one brand contains 2.5% sodium fluoride that has been milled to perform similar to 5% sodium fluoride products in a shellac base.

There is low quality evidence that resin-based pit and fissure sealants were more effective in preventing occlusal caries than fluoride varnish.   This same review provided low quality conclusions regarding superior performance when tooth surfaces were sealed and varnished with fluoride, as opposed to when varnished only with fluoride.

Clinical recommendations
A panel of experts convened by the American Dental Association (ADA) Council on Scientific Affairs presents evidence-based clinical recommendations regarding professionally applied, prescription-strength and home-use topical fluoride agents for caries prevention. The panel recommends the use of 2.26 percent fluoride varnish for people at risk of developing dental caries. As part of the evidence-based approach to care, these clinical recommendations should be integrated with a practitioner's professional judgment and the patient's needs and preferences.

United Kingdom
Fluoride varnish is widely used in the United Kingdom, following guidelines from multiple sources backing its efficacy. Public Health England, a UK government organisation sponsored by the Department of Health, released guidance in 2014 recommending fluoride varnish application at least twice yearly for children and young adults. Similarly, the Scottish Intercollegiate Guidelines Network and the Scottish Dental Clinical Effectiveness Programme have both released independent guidance recommending at least twice yearly fluoride varnish application, citing a strong clinical evidence base. SIGN recommends fluoride varnish at a concentration of 2.2%, while SDCEP recommends 5%.

Types of varnish
Different varnish products release varying amounts of calcium, inorganic phosphate, and fluoride ions. MI varnish releases the most amounts of calcium ions and fluoride. Enamel Pro varnish releases the most amount of inorganic phosphate ions. Each type of varnish is designed to be used in specific situations.

Cost effectiveness
Fluoride varnish treatment has a better outcome at preventing cavities at a lower cost compared to other fluoride treatments such as the fluoride mouth rinsing.
For fluoride varnish treatment, the benefit to cost ratio 1.8:1, whereas fluoride mouth rinsing is 0.9:1. With fluoride varnish treatments, one can save by preventing future restorations. Fluoride varnish also requires fewer treatments for measurable effectiveness, therefore in the long run it is cost effective when compared to other treatments.

Advantages and disadvantages

Advantages
Fluoride varnishes are available in different flavours which can be advantageous when treating younger patients
They dry rapidly and will set even in the presence of saliva
Because they do not require the use of fluoride trays they are suitable for use in patients with a strong gag reflex (See image to the right)
Due to the small amounts used and the rapid setting time there is only a small or negligible amount of fluoride ingested
It has a sticky consistency which helps it to adhere to the tooth’s surface thereby allowing the fluoride to stay in contact with the tooth for several hours
Based on published findings, professionally applied fluoride varnish does not appear to be a risk factor for dental fluorosis, even in children under the age of 6. This is due to the reduction in the amount of fluoride which may potentially be swallowed during the fluoride treatment because of the small quantities used and the adherence of the varnish to the teeth.
Fluoride varnish treatments are shown to reduce the number of the cariogenic bacteria S. Mutans by over ten-fold.
Fluoride varnish was a higher concentration than the foam and gel.  There was not a significant difference in the amount of remineralization between gels, foams, and varnish.  A study with a larger sample size and a longer time frame could show differing results.
They can be applied easily and quickly

Disadvantages
Due to the color and adherence of most fluoride varnishes, they may cause a temporary change in the surface color of teeth as well as some filling materials. As the varnish is worn away by eating and brushing, the yellowish colour fades.
Varnish costs more than gel and requires a prescription unlike the gel that is over the counter.
They do not have the bitter taste of some fluoride gels, but in some patients the taste of the varnish can cause nausea especially when consuming food within the 24 hours post treatment.

Indications and contraindications

Indications for use

 Use as a topical fluoride agent on moderate and high-risk patients, especially children aged 5 and younger
 Desensitizing agent for exposed root surfaces
 Fluoridated cavity varnish
 When a higher concentration of fluoride is needed for high caries risk patients
 In the elderly to prevent increasingly prevalent root dentin lesions, which may require higher concentration of fluoride
 On advanced enamel carious lesions, which may also require higher fluoride concentration for remineralization
 Fluoride treatment for institutionalized patients or in other situations where setting, equipment and patient management might preclude the use of other fluoride delivery methods
 Caries prevention on exposed root surfaces
 Remineralization of lesions in root dentin
 Fluoride application around orthodontic bands and brackets (See image to right)
 Fluoride treatment on patients when there is a concern that a fluoride rinse, gel or foam might be swallowed

Contraindications for use
Areas with open cavities
Patients that are at low-risk or are decay-free and live in an area where the water is fluoridated
Treatment of areas where discoloration after treatment may be an aesthetic concern


Lateral pulvinar nucleus

Lateral pulvinar nucleus (nucleus pulvinaris lateralis) is one of four traditionally anatomically distinguished nuclei of the pulvinar of the thalamus. The other three nuclei of the pulvinar are called anterior, inferior and medial pulvinar nuclei.

Connections

Afferent
 Lateral pulvinar nucleus, together with its inferior and medial nuclei, receives afferent input from superior colliculus.
 The dorsal part of the lateral pulvinar nucleus also receives afferent input from posterior parietal cortex and the dorsal stream cortical areas.

Efferent
 Lateral pulvinar nucleus, together with its inferior nucleus, both have projections to the early visual cortical areas.
 The dorsal part of the lateral pulvinar nucleus also sends its efferent output connections to the posterior parietal cortex and the dorsal stream cortical areas.

Functions
 Lateral pulvinar nucleus, together with its inferior and medial nuclei, is thought to be important for the initiation and compensation of saccadic movements of the eyes.. Those nuclei also participate in the visual attention regulation.

Clinical significance
Lesions of the lateral pulvinar nucleus can result in neglect syndromes and attentional deficits.


Mirounga Point

Mirounga Point () is the east entrance point to Potter Cove, King George Island, in the South Shetland Islands off Antarctica. The feature was called "Punta Baliza" (beacon point) by R. Araya and F. Herve in 1966. It was later called "Punta Elefante" by the Argentine Antarctic Expedition after the elephant seal (Mirounga leonina), in connection with the establishment of Site of Special Scientific Interest number 13 (now Antarctic Specially Protected Area 132) in this vicinity under the Antarctic Treaty. The approved name avoids the duplication of Elephant Point on Livingston Island.


Lift-induced drag

In aerodynamics, lift-induced drag, induced drag, vortex drag, or sometimes drag due to lift, is an aerodynamic drag force that occurs whenever a moving object redirects the airflow coming at it. This drag force occurs in airplanes due to wings or a lifting body redirecting air to cause lift and also in cars with airfoil wings that redirect air to cause a downforce.

Samuel Langley observed higher aspect ratio flat plates had higher lift and lower drag and stated in 1902 “A plane of fixed size and weight would need less propulsive power the faster it flew”, the counter-intuitive effect of induced drag.

Source of induced drag

The total aerodynamic force acting on a body is usually thought of as having two components, lift and drag. By definition, the component of force parallel to the oncoming flow is called drag; and the component perpendicular to the oncoming flow is called lift. At practical angles of attack the lift greatly exceeds the drag.

Lift is produced by the changing direction of the flow around a wing. The change of direction results in a change of velocity (even if there is no speed change, just as seen in uniform circular motion), which is an acceleration. To change the direction of the flow therefore requires that a force be applied to the fluid; lift is simply the reaction force of the fluid acting on the wing.

To produce lift, air below the wing is at a higher pressure than the air pressure above the wing. On a wing of finite span, this pressure difference causes air to flow from the lower surface wing root, around the wingtip, towards the upper surface wing root. This spanwise flow of air combines with chordwise flowing air, causing a change in speed and direction, which twists the airflow and produces vortices along the wing trailing edge. The vortices created are unstable, and they quickly combine to produce wingtip vortices.  The resulting vortices change the speed and direction of the airflow behind the trailing edge, deflecting it downwards, and thus inducing downwash behind the wing.

Wingtip vortices modify the airflow around a wing, reducing the wing's ability to generate lift, so that it requires a higher angle of attack for the same lift, which tilts the total aerodynamic force rearwards and increases the drag component of that force.  The angular deflection is small and has little effect on the lift. However, there is an increase in the drag equal to the product of the lift force and the angle through which it is deflected. Since the deflection is itself a function of the lift, the additional drag is proportional to the square of the lift.

Reducing induced drag
According to the equations below, a wing of infinite aspect ratio (wingspan/chord length) and constant airfoil section would produce no induced drag. The characteristics of such a wing can be measured on a section of wing spanning the width of a wind tunnel, since the walls block spanwise flow and create what is effectively two-dimensional flow.

A rectangular planform wing produces stronger wingtip vortices than does a tapered or elliptical wing, therefore many modern wings are tapered. However, an elliptical planform is more efficient as the induced downwash (and therefore the effective angle of attack) is constant across the whole of the wingspan. Few aircraft have this planform because of manufacturing complications — the most famous examples being the World War II Spitfire and Thunderbolt. Tapered wings with straight leading and trailing edges can approximate to elliptical lift distribution. Typically, straight edged non-tapered wings produce 5%, and tapered wings produce 1-2% more induced drag than an elliptical wing.

Similarly, for a given wing area, a high aspect ratio wing will produce less induced drag than a wing of low aspect ratio because there is less air disturbance at the tip of a longer, thinner wing. Induced drag can therefore be said to be inversely proportional to aspect ratio. The lift distribution may also be modified by the use of washout, a spanwise twist of the wing to reduce the incidence towards the wingtips, and by changing the airfoil section near the wingtips. This allows more lift to be generated nearer the wing root and less towards the wingtip, which causes a reduction in the strength of the wingtip vortices.

Some early aircraft had fins mounted on the tips of the tailplane which served as endplates. More recent aircraft have wingtip mounted winglets to reduce the intensity of wingtip vortices. Wingtip mounted fuel tanks or in extreme cases, propellers, may also provide some benefit, by preventing the spanwise flow of air around the wingtip.

Calculation of induced drag

For a planar wing with an elliptical lift distribution, induced drag can be calculated as follows:
,
where
 is the lift,
 is the air density,
 is the true airspeed, and
 is the wingspan.
From this equation it is clear that the induced drag decreases with flight speed and with wingspan. Deviation from the non-planar wing with elliptical lift distribution are taken into account by dividing the induced drag by the span efficiency factor .

To compare with other sources of drag, it can be convenient to express this equation in terms of lift and drag coefficients:
,   where

and
 is the aspect ratio,
 is a reference wing area.

This indicates how high-aspect ratio wings are beneficial to flight efficiency. With  being a function of angle of attack, induced drag increases as the angle of attack increases, up to the stall angle.

The above equation can be derived using Prandtl's lifting-line theory. Similar methods can also be used to compute the minimum induced drag for non-planar wings or for arbitrary lift distributions.

Combined effect with other drag sources

Induced drag must be added to the parasitic drag to find the total drag. Since induced drag is inversely proportional to the square of the airspeed (at a given lift) whereas parasitic drag is proportional to the square of the airspeed, the combined overall drag curve shows a minimum at some airspeed - the minimum drag speed (VMD). An aircraft flying at this speed is operating at its optimal aerodynamic efficiency. According to the above equations, the speed for minimum drag occurs at the speed where the induced drag is equal to the parasitic drag. This is the speed at which for unpowered aircraft, optimum glide angle is achieved. This would also be the speed for greatest range if the efficiency of the engine were constant with speed (although for a given air density VMD will decrease as the plane consumes fuel and becomes lighter). But in fact, the efficiency of jet engines increases with speed, so greatest range is achieved at a speed greater than the speed of minimum drag.
The speed for greatest range (i.e., distance travelled) is the speed at which a straight line from the origin is tangent to the fuel flow rate curve. The curve of range versus airspeed is normally very flat and it is customary to operate at the speed for 99% best range since this gives about 5% greater speed for only 1% less range.

Of course, flying higher where the air is thinner will raise the speed at which minimum drag occurs, and so permits a faster voyage for the same amount of fuel. If the plane is flying at the maximum permissible speed, then there is an altitude at which the air density will be what is needed to keep it aloft while flying at the optimal angle of attack. The optimum altitude at maximum speed, and the optimum speed at maximum altitude, change during the flight as the plane consumes fuel and becomes lighter. For this reason airliners normally climb during long flights (see Step climb).

The speed for maximum endurance (i.e., time in the air) is the speed for minimum fuel flow rate, and is less than the speed for greatest range. The fuel flow rate is calculated as the product of the power required and the engine specific fuel consumption (fuel flow rate per unit of power). The power required is equal to the drag times the speed.


Black Crown Initiate

Black Crown Initiate is an American technical death metal group from Reading, Pennsylvania currently signed to Century Media. The band formed in 2012 and self-released their first EP Song of The Crippled Bull, which was met with positive reviews. They began touring relentlessly in early 2014 with fellow extreme metal bands such as Goatwhore, Behemoth, and 1349, and lead to them being signed by eOne Music in June 2014. With eOne, they have released both The Wreckage of Stars and their most recent effort Selves We Cannot Forgive, which was released on July 22, 2016.

When asked about the origins of the name "Black Crown Initiate" in a 2016 Reddit, AMA, the band stated:

 there is a Tibetan spiritual leader that wears a black crown to signify help for humanity. We are all pervert pigs so we help by showing people that, first about ourselves.

History

Formed in late 2012, Black Crown Initiate released several demos onto SoundCloud, which lead to the creation of their four track EP titled Song of the Crippled Bull.  The EP was recorded with Carson Slovak (August Burns Red, Texas In July) at Atrium Audio and was released on July 17, 2013. The EP quickly became the discussion of many underground metal blogs and publications. Due to the success of the EP, what had initially begun as a small project by guitarist Andy Thomas, vocalist James Dorton and bassist Nick Shaw became a full-time endeavor, and they began to recruit members for live performances. The band played their first live show on October 18, 2013 in their hometown with their long time friends in Rivers of Nihil.

In January 2014 the band posted on their official Facebook page that they would be embarking on the 2014 Metal Alliance Tour supporting 1349, Goatwhore and Behemoth. This was the band's first tour, a rare feat for a band with only one four track EP and having been together for just over a year at the time. After finishing the tour, the band returned to the studio, again with Carson Slovak. On June 19 the band announced through their Facebook page, their signing to eOne Music, and that their full-length debut album would be on its way.

Guitarist Andy Thomas on signing with the label, “We started this band with absolutely no clue how far it would take us. It has been an amazing time, as of today, we can honestly say that we are starting a new chapter in our careers; one that will afford us opportunities that we never imagined. We are absolutely honored to be part of the eOne family.”

Later that summer, the band went on tour with Septicflesh and Fleshgod Apocalypse, followed by their first tour outside the US into Canada on the Summer Slaughter tour with The Faceless, Fallujah, and Rings of Saturn. The band shot a music video and released the first single off their upcoming album The Wreckage of Stars titled "Withering Waves". The album was officially released on September 30, 2014 and debuted at #18 on the Billboard Heatseekers chart.

Black Crown Initiate later appeared at several other festivals such as New England Hardcore Metal Fest, South By So What? and CMJ. In February 2016, the band announced they were back in the studio, again with Carson Slovak, to record their sophomore effort to be released in late spring 2016 through eOne Music. Black Crown Initiate went on tour in March 2016 along with label mates Black Fast. The tour lead them to Austin, Texas, where they performed at the SXSW festival for the first time in their careers. The band is also rumoured to be a part of the Metal Alliance Tour once again this time supporting Dying Fetus, The Acacia Strain and Jungle Rot.

In June 2016 the band announced that long-time guitarist Rik Stelzpflug was departing. He was replaced by former The Faceless guitarist Wes Hauch.

On 11th of December 2018 the band announced on their official Facebook page that drummer Jesse Beahler and guitarist Wes Hauch had departed the band on good terms to be replaced with drummer Samuel Santiago (Gorod, Beyond Creation, Arkhon Infaustus) and guitarist Ethan McKenna who was the first guitarist that founding members Andy, James and Nick originally asked to join the band.

Tours

2014
Metal Alliance Tour from April 4 to May 3 with Behemoth, Goatwhore, 1349 and Inquisition.
Conquerors of the World Tour from June 22- July 12 with Septicflesh, Fleshgod Apocalypse and Necronomicon.
Summer Slaughter Canada Club Tour from August 14–28 with The Faceless, Rings of Saturn, Archspire, and Fallujah.
Reading Rainbow Tour from September 19 to October 3 with Rivers of Nihil.
Hell or High Wattage Tour from October 13- October 22 with Unearth, Darkest Hour, Carnifex, Origin, and King Parrot.
Late Fall Tour from November 30 to December 14 with Crowbar and Unearth.

2015
Through Space and Grind Tour from January 27 to February 28 with Napalm Death, Voivod, Exhumed and Ringworm.
Metal Alliance Tour from May 26 to June 20 with Deicide, Entombed, and Hate Eternal. NOTE- Entombed was forced to drop off the tour due to financial concerns they were replaced by Lorna Shore. The tour continued as a Deicide headliner.
Wreckage of Canada Tour from March 25 to April 4.
North American Extinction Tour from September 15 to October 7 with Cattle Decapitation, King Parrot, and Dark Sermon.

2016
Blacker Than All Tour from March 6- March 17 with Black Fast
Metal Alliance Tour from April 29 to May 29 with Dying Fetus, The Acacia Strain and Jungle Rot.
The Sumerian Alliance European Tour in September–October with Born of Osiris, Veil of Maya and Volumes.
The Citadel World Tour in July–August with Ne Obliviscaris and Starkill

Members

Current
 James Dorton – lead vocals (2012–present)
 Andy Thomas  – lead guitar, clean vocals (2012–present)
 Nick Shaw – bass (2012–present)
 Ethan McKenna – rhythm guitar (2018–present)
 Samuel Santiago – drums (2018–present)

Former
 Rik Stelzpflug  – rhythm guitar, backing vocals (2013–2015)
 Wes Hauch  – rhythm guitar (2016–2018)
 Jeff Willet – drums (2012–2013)
 Jesse Beahler – drums (2013–2018)

Chronology

Style

Black Crown Initiate is known for incorporating various elements of heavy metal and extreme music in their sound. There are traces of progressive metal, ambience, doom metal, and post-rock which often gives them comparisons to Opeth, Gojira, Mastodon, Decapitated and Cynic.

Discography
Extended Plays

Albums