Norayr Mnatsakanyan

Norayr Mnatsakanyan (, January 7, 1923 – March 25, 1986) was a Merited Artist of the Armenian Soviet Socialist Republic (1965).

As a renowned vocal performer of Armenian traditional and gusans' music, Norayr Mnatsakanyan has become one of the most influential vocalists in the canon of Armenian national music. Owing to his dainty baritone, profound knowledge of Armenian folk music, and his mastery of the Armenian language and Armenian literature, Norayr Mnatsakanyan has been highly acclaimed among famous writers, musicologists, and Armenian folk music lovers.

Norayr Mnatsakanyan was the first among Armenian vocalists to introduce a new approach to popular songs, as well as to the musical compilations of historic and contemporary gusans (Armenian minstrels). As an accepted convention of any national folklore, the works of Armenian popular and gusans music were performed in a crude, rustic, and provincial fashion. Professional performers of the opera and classical music also tried to render these works. However, their efforts to perform them alienated these works altogether from ordinary Armenian people, since the true significance of Armenian popular music could not have been properly represented by the artificially elitist operatic genre in Soviet Armenia. With his poetic approach to these great masterpieces of Armenian traditional and gusans' music, Norayr Mnatsakanyan was the first vocalist to present them in a refined and natural fashion, granting them an unprecedented simplistic register of artistic sophistication. Unlike his predecessors, Mnatsakanyan attempted to convey these works with a deep sense of harmony and in a previously impregnable unison with the authors' characteristic mentality and sentiments reflected in their compilations.

At the same time, Norayr Mnatsakanyan meticulously pursued to eliminate the provincial character of the songs that had wandered among the Armenian people for centuries. Thus, Norayr Mnatsakanyan's performances are exceptional because they masterfully immerse into the poetic essence of the literary work and unify it with the melody of the song. Norayr Mnatsakanyan also performed songs by famous Armenian composers interwoven with lyrics by such famous Armenian poets, as Avetik Isahakian, Vahan Terian, Hovhannes Shiraz. Perhaps the greatest Armenian lyricist - Avetik Isahakian - highly valued Mnatsakanyan's contributions to the canon of Armenian performing arts and proclaimed Norayr "the velvety voice" of Armenia. Derenik Demirchian marvelled at Norayr's performances in the poetic circles of the old Yerevan, calling Norayr Mnatsakanyan "a unique vocal interpreter of the popular consciousness, scattered bits of which are present in every Armenian individual." Being an art critic himself, Mnatsakanyan always conveyed great significance to the unity of the melody and the lyrics in whatever he performed.

Biography
Norayr Mnatsakanyan was born on January 7, 1923 in an old Yerevan family. He inherited the love for traditional music from his parents. Possessing an ever singing spirit of a talented youth, Norayr Mnatsakanyan won his first prize at the young performers' competition held in Moscow in 1936. Owing to his extraordinary vocal qualities and his passion for acting, Mnatsakanyan started his career as actor and singer at the Yerevan State Theater of Musical Comedy after Hakob Paronian. As surprising as it may seem, Mnatsakanyan played the first Gikor on the Armenian stage in the namesake performance based on Hovhannes Tumanyan's famous . Mnatsakanyan's artistic talent and his reverence for the Theater drove him to work with such eminent theatrical stage directors as Armen Gulakian. Mnatsakanyan also had the honor of working with the "titans" of the Armenian theatrical arts at the Yerevan State Academic Theater after Gabriel Sundukian: Vahram Papazian, Hrachia Nersisyan, Avet Avetisyan, Hambardzum Khachanyan, Babken Nersisyan, Metaksia Simonyan, the late Mher Mkrtchyan, and Khoren Abrahamyan. Norayr Mnatsakanyan's acting, apart from his artistic talent, vouched for his unsurpassed mastery of World Literature. After seeing Mnatsakanyan's rehearsal in the role of the Shakespearean Othello, Vahram Papazian highly praised Norayr for his excellent rendition of Othello's protagonistic pathos and antagonistic callousness, and foresaw a bright future for him in acting. Mnatsakanyan later played one of the leading roles in A Man from Olympus (Chelovek iz Olimpa)(Armenfilm, 1974).

Purporting to pursue a more worldly profession, Norayr Mnatsakanyan held a Master of Arts degree from the Department of Philology of the Yerevan State University. Upon his graduation, Mnatsakanyan defended a dissertation with a thesis on "Sayat Nova's Lyric Poetry in the Armenian Literary Milieux." Mnatsakanyan proceeded with a professional career as a journalist and a freelance writer. With his unconventional disposition, Norayr Mnatsakanyan authored an anthology of short novels dedicated to the old city of Yerevan, depicting its people's way of life, its customs and traditions. As a journalist, Mnatsakanyan's articles and critiques on various issues of the Armenian arts and culture frequented the pages of many Armenian periodicals. One of Mnatsakanyan's most groundbreaking articles was dedicated to the famous Armenian duduk players of the past and the present: Margar Margarian, Levon Madoyan, Vatche Housepian, and Djivan Gasparyan. Mnatsakanyan also hosted a special program in 1985, the heyday of his artistic career, on the Public Television of Armenia, which was about the instrumental and stylistic distinctions of the duduk and its most outstanding players.

In spite of his success in acting and his excellence in writing, Mnatsakanyan's innate predilection belonged to singing. Norayr's art of performance, his truly rich and mellow voice, as well as his unique professional approach had already made him long sought-for to Armenian music lovers both in Armenia and abroad.  Subsequently, Norayr Mnatsakanyan became the ultimate crooner of Armenian performing arts after Tatoul Altunian, one of the greatest contributors to Armenian folk music, invited him to the State Philharmonic Chapel's Ensemble of Song and Dance to perform as a soloist. Here, Mnatsakanyan had the pleasure of working with Araksia Gyulzadian and Varduhi Khachatrian. Apart from his Sayat Nova repertoire, in this period, Norayr Mnatsakanyan performed popular songs and  works by such famous gusans (minstrels) as: Sheram, Ashot, Jivani, Havasi, as well as famous compilations of the urban folklore.

However, the inviolable right of Norayr Mnatsakanyan's achievement consists in his performances of Sayat Nova's works. His performances of Sayat Nova imbued the Bard's poetry with unprecedented lyricism and spirituality. It is through Norayr Mnatsakanyan's rendition of Sayat Nova that the ethical and metaphysical peculiarities in the works become apparent. The singer grieves and rejoices with the poet, feeling every tremble of the great Bard's heart. It is Norayr Mnatsakanyan's unforgettable voice that brings us the songs of Sayat Nova in the namesake movie (1960).

Mnatsakanyan's performances became a lot more accessible to the general public, when Aram Merangulian invited Norayr to perform as a soloist in his Ensemble of Folk Instruments of the Armenian National Radio and Television. Mnatsakanyan's songs are possible to find in several Armenian films, including Sergei Parajanov's The Color of Pomegranates
(1969), also dedicated to the life of Sayat Nova. A piece of Mnatsakanyan's unique rendition of the traditional Dle Yaman also appears in the background of Andrew Goldberg's The Armenian Americans (2000). A number of documentaries were shot on Mnatsakanyan's life and activity intermitted by his own performances. Throughout his lifetime, the vocalist recorded over two hundred traditional and gusans songs, all of which are held as relics by the Museum Fund of the Public Radio and Television of Armenia. His performances have paved the way for many successors in the traditional vocal genre.

Norayr Mnatsakanyan performed in many countries where Armenians had set foot and had established their communities. During his tour of the Middle Eastern countries, Norayr Mnatsakanyan received an honorary gold medal from King Hussein of Jordan after his concert in Amman (1979), which His Majesty attended with Queen Noor. Mnatsakanyan's performance of Sayat Nova brought him the highest honors at the Festival of Traditional Music in Lyon, France (1981). Subsequently, upon the request of the smaller Armenian communities in Luxembourg, Belgium, and the Netherlands, Mnatsakanyan performed in a tributary concert at the Conservatoire de Luxembourg Hall (1981).

In the annual ceremony of the Armenian Music Awards, held in Los Angeles for the year 1999, Mnatsakanyan posthumously received a lifetime achievement award for his worthwhile contributions to Armenian music, and his album of traditional and gusans' compilations, named Husher (Reminiscences) (Parseghian Records, 1999) was recognized as the year's best traditional album.

In 2005, Narek Productions, with the support of the Public Radio of Armenia, launched a record, called "I Sing a Song," composed of Norayr Mnatsakanyan's performances of the most famous Armenian gusans' works.


Z-FA-FMK

Z-FA-FMK, abbreviating for benzyloxycarbonyl-phenylalanyl-alanyl-fluoromethyl ketone, is a very potent irreversible inhibitor of cysteine proteases, including cathepsins B, L, and S, cruzain, and papain.  It also selectively inhibits effector caspases 2, 3, 6, and 7 but not caspases 8 and 10. This compound has been shown to block the production of IL1-α, IL1-β, and TNF-α induced by LPS in macrophages by inhibiting NF-κB pathways.


San Basilio, Grontardo

San Basilio Vescovo is a Roman Catholic parish church located on Via Trieste in the town of Grontardo in the province of Cremona, region of Lombardy, Italy.

History
The whole church, except the choir, was rebuilt in a Neoclassical-style in 1840. It houses an altarpiece by one of the painters of the family of Sigismondo Benini.


Clay Armstrong

Clay Margarave Armstrong (born 1934) is an American physiologist and a former student of Dr. Andrew Fielding Huxley. Armstrong received his MD from Washington University School of Medicine in 1960. He is currently emeritus professor of Physiology at the University of Pennsylvania. He has also held professorial appointments at Duke University and the University of Rochester.

Armstrong was awarded the Louisa Gross Horwitz Prize from Columbia University in 1996, and the Albert Lasker Award for Basic Medical Research (shared with Bertil Hille and Roderick MacKinnon) in 1999, for his seminal contributions to our understanding of the functions of ion channel proteins in nerve cells.
Armstrong was elected to the National Academy of Sciences in 1987, and was elected as a Fellow of the American Academy of Arts and Sciences in 1999.
He won the 2001 Gairdner Foundation International Award.

Armstrong is married to noted scientist Clara Franzini-Armstrong.

Ideas and influence
Much of the current understanding of ion channel structure and function can be attributed to the notion proposed by Clay Armstrong (with Bertil Hille). Armstrong provided the first general description of the K+ ion channel pore, including the fundamental ideas of a selectivity filter that can allow the rapid flow of K+ while excluding the flow of Na+ across the cell membrane; a wide inner vestibule; and a molecular gating element at the cytoplasmic side of the channel that controls the flow of ions through the pore. In addition, Armstrong's studies (with Francisco Bezanilla) that described the first measurement of charge movement associated with the activation of Na+-selective ion channels laid the groundwork for the current understanding of the molecular basis of electrical signaling in nerve and muscle cells.

A consistent feature of Armstrong's contributions is the quantitative nature of his work, combined with clear and concise descriptions of the underlying mechanism.


Macrobathra asemanta

Macrobathra asemanta is a moth in the family Cosmopterigidae. It was described by Lower in 1894. It is found in Australia, where it has been recorded from Tasmania.


Believe Again

"Believe Again" is a New Age and electronica-influenced pop song written by Delta Goodrem, Brian McFadden, Stuart Crichton and Tommy Lee James and Nigel Hove produced by Stuart Crichton and Marius de Vries for Goodrem's third studio album Delta (2007). The single, released in Australia on 8 December 2007, features exclusive remixes and the unreleased B-side track, "Fortune and Love". The single was released to radio on 12 November 2007, although it had its premiere on commercial radio in late-October 2007.

Background
The song was written by Goodrem, McFadden, Stuart Crichton and Tommy Lee James just after Christmas in 2006. On writing with fiancee McFadden, Goodrem said, "He is such a brilliant writer. I was intimidated by his talent, because we have really different writing styles." Goodrem states that the song brought about the focus the album needed when she stated, "The turning point came with the album's opening song 'Believe Again'. Before that I was feeling a little unsure about the direction of the new album. That song really turned things around for me in a lot of different ways."

The song has been noted to be about overcoming life's obstacles. Goodrem also stated that for her the song means a positive, uplifting shift in her writing style. Goodrem says about the song:

"The song closed the door to an era, after years of struggling. I actually stopped writing songs after recovering from cancer because I just needed to feel free from such artistic environment."

"Believe Again is about my constant perseverance. It shows that you can overcome anything in life as long as you have a strong belief in yourself", she explained.

During Delta's special A Night with Delta Goodrem, a fan asked the question "What song was your favourite to record off the new album, Delta?", with Delta replying "Believe Again".

Due to overwhelming demand for the remix used in Goodrem's AFI performance, the "Believe Again" Diamond Cut Remix was released on the "You Will Only Break My Heart" EP released on the Australian iTunes Store.

Music video

The video, shot in a warehouse in Sydney, was filmed in the week ending 20 October by Paul J Varolo (Producer) and Michael Spiccia (Director), a friend of Goodrem. In it, Goodrem plays different mystical characters including a water nymph most likely to be the Nymph of Springs Pegaeae, a crystal-covered, cave dwelling Wiccan or Nymph and a sky goddess swathed in navy satin, most likely Aušrinė, a Lithuanian sky deity.

According to the Sun Herald newspaper, it is one of the most expensive music videos to be produced in recent years. When speaking exclusively about the video, Goodrem said: "There's flames and water – it's a real fantasy sequence, but it's quite dark. It's not going to be a bright-looking clip."

The video is the first to be released in HD resolution in Australia. The video has many special-effects, in total 109 shots according to the director, more than the average feature film. It took two days to film and six weeks to complete the special effects. Art directors from Australia, America and Spain were included in the production of the video.

The first shots from the video were incorporated into the album's television promotional commercial that has been broadcast nationally on commercial networks since the beginning of November, although these shots did not make it to the final edit of the video.

The video won the award for "Best Video of the Year" during the MTV Australia Awards of 2008. Goodrem accepted the award via satellite due to promotional commitments in the USA at the time.

Track listing
CD single
 "Believe again" (radio edit) – 4:10
 "Fortune And Love" – 3:52
 "Believe Again" (Tommy Trash Remix) – 7:15
 "Believe Again" (Electrodex Remix) – 3:57
 Behind the Scenes (video)

iTunes Australia EP
 "Believe Again" (radio edit) – 4:10
 "Fortune and Love" – 3:52
 "Believe Again" (Tommy Trash Remix) – 7:15
 "Believe Again" (Electrodex Remix) – 3:57
 "Fever" (iTunes Australia exclusive) – 3:38

BigPond Music EP
 "Believe Again" (radio edit) – 4:10
 "Fortune and Love" – 3:52
 "Believe Again" (Tommy Trash Remix) – 7:15
 "Believe Again" (Electrodex Remix) – 3:57
 "Unsure" (BigPond Music Australia exclusive) – 2:58

Reception and chart performance
"Believe Again" was officially released to radio on 12 November 2007. It became the most added song on Australian radio that week, while the previous single, "In This Life", remained in the #1 spot on the Australian Airplay Chart.

On 16 December 2007, the single debuted and peaked at #2 on the Australian Singles Chart. The track also managed to acquire Goodrem her eleventh #1 on the Australian Airplay Chart.

Five weeks after "In This Life" topped the NLP Singles Chart, "Believe Again" was released for airplay and made an impressive #1 debut on 14 September 2008, staying at the top for 2 consecutive weeks. Returning to the top 2 weeks later, giving the single a total of 3 weeks at #1. After winning the NLPMA for the Video of the Year, airplay surged, causing "Believe Again" to re-enter the top 5 at #4 on 28 December chart, in its 16th chart week.

In early March 2008, "Believe Again" received airplay in the United States on a rhythmic XM Satellite Radio station, reaching #1 on the station's playlist.

Year-end charts

Official versions and remixes
 Album version – 5:46
 US mix – 5:46
 Radio edit – 4:10
 Video version – 4:06
 Tommy Trash Remix – 7:15
 Tommy Trash Remix Edit – 3:45
 Tommy Trash Dub – 6:13
 Electrodex Remix – 5:27
 Electrodex Remix Edit – 3:57
 Diamond Cut Remix – 4:57


Pitcairnia tuberculata

Pitcairnia tuberculata is a plant species in the genus Pitcairnia. This species is endemic to Venezuela.


Diwas

Diwas is a native bamboo wind instrument in the Philippines which is a variation of the well-known panflutes or panpipes. It is made of bamboo with one of its end closed via the node of the bamboo. It also does not have finger holes (or tone holes) which is unlike popular aerophones like flutes that have finger holes or tone holes to play different pitches on the instrument. But Diwas compensate on this by grouping pipes of graduated length together. So to produce sound with varying pitch, you shift from one pipe to another. In Kalinga, these individual pipes are known as Saggeypo which is why Diwas is sometimes called as Saggeypo. Usually, the number of Saggeypos strung together ranges from 5 to 8.

Playing techniques
Simply, the instrument is played by blowing on the embouchure of the instrument. The embouchure has two distinct sides but both these sides can be used to play the instrument. However the big difference on these two sides, when you played on the side with shorter cutnstrument tend to produce higher pitch than when you played on the side with longer cut.

Science behind panpipes
How the instrument produce its sound can be traced by the concept of closed-end pipes/tubes. Basically, it is the very application of that concept. The starting point is at the time the person blows on the embouchure. As he blows, air jet enters the body of the instrument causing vibration inside the instrument. The slanted cut in the embouchure is responsible in controlling the air that will flow in the body. The time for this vibration to reach the end of the body and then get reflected back determines the frequency produced by the instrument. Thus the length of the tube is essential in determining the frequency produced by the instrument.

Instrument variations
Most of the variations of the Philippine bamboo panpipes can be traced in Northern Luzon where the instrument is known by different names. In Balangaw, the instrument is called as Dad-ayu. In Bontoc, it is known as Diwdiw-as. In Tingguian, Dewdew-as. And in Kankanai it is still Diwas. In these variations, the typical number of pipes consisted in the panpipes ranges from 5 to 8. The size, length and radius, of the instruments also varies from one ethnic group to another but there are no exact measurements for they do not depend highly on this. Also, the aesthetics of the instrument varies from one group to another.

Saggeypo
In Kalinga, Saggeypo and Diwas are the same because Saggeypo is the individual pipes in Diwas. There is no significant difference in the physical features of Saggeypo and Diwas. However, since Diwas is a group of Saggeypo strung together, the lengths of the pipe are more fixed. Typically, Saggeypo has no fixed length.

Physical features
The production of Diwas do not depend highly on exact measurements. This affects the generality of the music in indigenous tribes of the Philippines. Thus unlike the Western music which depends largely on musical notes in producing melody, indigenous music in the Philippines depends highly on rhythm. This is the very reason why sizes, length, radius, etc. of the instruments have no fixed value where these values are important in producing pitch.


Jorge E. Galán

Jorge Enrique Galán is an Argentinian-American microbiologist who won the 2011 Robert Koch Prize. His research concerned bacterial pathogenesis. He is the Lucille P. Markey Professor of Microbial Pathogenesis at Yale University.


Rubber Heels

Rubber Heels is a 1927 silent film comedy produced by Famous Players-Lasky and distributed through Paramount Pictures. It stars stage comedian Ed Wynn in his first motion picture.

Cast
Ed Wynn as Homer Thrush
Chester Conklin as Tennyson Hawks
Thelma Todd as Princess Anne
Robert Andrews as Tom Raymond
John Harrington as Grogan
Bradley Barker as Gentleman Joe
Armand Cortez as 'The Ray'
Ruth Donnelly as Fanny Pratt
Mario Majeroni as Prince Zibatchefsky
Truly Shattuck as Mrs. P. Belmont-Fox


Kallmeyer

Kallmeyer is a German surname.  Notable people with the surname include:

Helmut Kallmeyer (1910–2006), German chemist and Action T4 perpetrator
Minnie Kallmeyer (1882–1947), American-born Canadian artist


Steve Cilladi

Stephen Cilladi (born March 15, 1987) is an American professional baseball player who serves as bullpen catcher for the Los Angeles Dodgers of Major League Baseball.

Early life
Cilladi was born in Phoenix, Arizona; his father, Dave, was the trainer for the Colorado Rockies. He attended Mountain View High School in Mesa, Arizona. Cilladi played college baseball at Kansas Wesleyan University.

Professional career

Minor leagues
Cilladi was drafted by the Los Angeles Dodgers in the 33rd round of the 2009 Major League Baseball Draft. He split his first year between the Arizona League Dodgers and Inland Empire 66ers, hitting .122 for the rookie team and .000 for the 66ers. Cilladi then spent the 2010 season entirely in the Arizona League, putting up a .292 average with a home run in his second campaign. In 2011, he was promoted to the Great Lakes Loons, where he hit .185. In 2012, he joined the Albuquerque Isotopes, getting only one at-bat and striking out; on the side, he caught bullpens. In 2013, he played again with the Isotopes, appearing in one game, catching all 18 innings of the longest game in the Isotopes' history.

Major leagues
In 2014, Cilladi joined the Los Angeles Dodgers' major-league coaching staff, serving as the bullpen catcher.


Adam and the Devil

Adam and the Devil () is a 2007 Turkish drama film directed by Barış Pirhasan.

Cast
 Nurgül Yeşilçay - Hacer
 Cem Özer - Hasan Hoca
 Derya Alabora - Sükran
 Asuman Dabak - Münevver
  - Resat
  - Musa


Chimera of Arezzo

The Chimera of Arezzo is regarded as the best example of ancient Etruscan artwork. British art historian, David Ekserdjian, described the sculpture as "one of the most arresting of all animal sculptures and the supreme masterpiece of Etruscan bronze-casting."  Made entirely of bronze and measuring 78.5 cm high with a length of 129 cm, it was found alongside a small collection of other bronze statues in Arezzo, an ancient Etruscan and Roman city in Tuscany. The statue was originally part of a larger sculptural group representing a fight between a Chimera and the Greek hero Bellerophon. This sculpture was likely created as a votive offering to the Etruscan god Tinia.

History of the Chimera
According to Greek mythology the Chimera or "she-goat" was a monstrous, fire-breathing hybrid creature of Lycia in Asia Minor, created by the binding of multiple animal parts to create a singular unnatural creature. As the offspring of Typhon and Echidna, the Chimera ravaged the lands of Lycia at a disastrous pace. Distressed by the destruction of his lands, the king of Lycia, Iobates, ordered a young warrior named Bellerophon to slay the dreaded Chimera, also as a favor to a neighboring king, Proetus. Proetus wanted Bellerophon dead because his wife accused him of ravishing her, and he assumed that the warrior would perish in the attempt to kill the beast. Bellerophon set out on his winged horse, Pegasus, and emerged victorious from his battle, eventually winning not only the hand of Iobates' daughter but also his kingdom. It is this story that led art historians to believe that the Chimera of Arezzo was originally part of a group sculpture that included Bellerophon and Pegasus. Votive offerings for the Gods often depicted mythological stories. A round hole on the left rump of the Chimera might suggest a spot where Bellerophon may have struck the beast with a now-missing spear. The first known literary reference was in Homer's Iliad, and the epic poetry of Hesiod in the 8th century BCE also mentions the Chimera.

In response to questions of the statue's true meaning, Vasari wrote in his Reasonings Over the Inventions He Painted in Florence in the Palace of Their Serene Highnesses:"Yes, sir, because there are the medals of the Duke my lord who came from Rome with a goat's head stuck in the neck of this lion, who as he sees VE, also has the serpent's belly, and we found the queue that was broken between those bronze fragments with many metal figurines that you've seen all, and the wounds that she has touched on show it, and yet the pain that is known in the readiness of the head of this animal ..."The tail was not restored until 1785 when the Pistoiese sculptor Francesco Carradori (or his teacher, Innocenzo Spinazzi) fashioned a replacement, incorrectly positioning the serpent to bite the goat's horn. It is much more likely that the snake had to strike out against Bellerophon instead, since biting the head of the goat meant it was biting itself. Inscribed on its right foreleg is an inscription in the ancient Etruscan language. It has been variously deciphered, but most recently it is thought to read TINSCVIL, meaning: "Offering belonging to Tinia", indicating that the bronze was a votive object dedicated to the supreme Etruscan god of day, Tin or Tinia. The original statue is estimated to have been created around 400 BCE. In 1718, the sculpture was transported to the Uffizi Gallery and later, along with the remaining collection Cosimo I had originally seized, taken to the Palazzo della Crocetta. Court intellectuals of the time considered the Chimera of Arezzo to be a symbol of the Medici domination of the Grand Duchy of Tuscany. Its permanent residence is in the National Archaeological Museum in Florence where it was placed on brief loan to the Getty Villa for an exhibition in 2010.

The sculpture was probably commissioned by an aristocratic clan or a prosperous community and erected in a religious sanctuary near the ancient Etruscan town of Arezzo, about 50 miles southeast of Florence. The Chimera was one of a hoard of bronzes that had been carefully buried for safety sometime in classical antiquity. A bronze replica now stands near the spot of its original discovery.

The Etruscans
The  Etruscan civilization was a wealthy civilization in ancient Italy with roots in the ancient region of Etruria, which existed during the early 8th-6th century BCE and extended over what is now a part of modern Tuscany, western Umbria, and northern Lazio. The region became a part of the Roman Republic after the Roman-Etruscan Wars.

Heavily influenced by Ancient Greek culture, Etruscan art is characterized by the use of terracotta, metalworking—especially in bronze—as well as jewelry and engraved gems. Metal and bronze trinkets from the Mediterranean rapidly began to appear around Etruria. It is not clear to historians exactly when trading with the Eastern Mediterranean began, however it is clear that both Phoenicians and Greeks must have been interested in the metal ores of Etruria, causing a rise in popularity of the art trade in these regions. The Etruscans were well known for their art throughout the Orientalizing Period 700-600 BCE, The Archaic Period 600-480 BCE, and the Hellenistic Period 2nd to 1st century BCE.

The discovery
Discovered on November 15, 1553 by construction workers near the San Lorentino gate in Arezzo (ancient Arretium), the sculpture was quickly claimed for the collection of the Medici Grand Duke of Tuscany, Cosimo I, who placed it publicly in the Palazzo Vecchio in the hall of Leo X. Cosimo also placed the smaller bronzes from the trove in his own studiolo at Palazzo Pitti, where "the Duke took great pleasure in cleaning them by himself, with some goldsmith's tools," as Benvenuto Cellini reported in his autobiography. On discovery, the statue was missing the snake and its left front and rear paws. Due to its fragmented state upon discovery, the statue was originally regarded as a lion. Italian painter Giorgio Vasari tracked down the statue motif by studying Ancient Greek and Roman coins, such as a silver stater featuring an image of the Chimera, thus accurately identifying it. Eventually, it was officially identified as being a part of a larger piece illustrating a fight between the Chimera and the Greek hero Bellerophon. The sculpture was found among other small pieces that served as votive offerings to the God Tinia. This sculpture may also have served as an Etruscan religious dedication. After discovery, it began its residence in Florence, where it was moved to the Uffizi Palace in 1718. Since 1870, the Chimera of Arezzo has made its home at the National Archaeological Museum in Florence. As the sculpture made its way through the Florence museums, it increasingly attracted the attention of both artists and historians.

Iconography
Typical iconography of the Chimera myth depicts the warrior Bellerophon as he confronts the Chimera, or rides atop or alongside it. This iconography began to appear upon Greek vessels in 600 BCE. The Chimera of Arezzo presents a very detailed and complex composition that most likely was meant for display and viewing in the round. The Chimera is clearly expressing pain throughout its body. Its form is contorted, its face and mouth open in outrage as it is struck by Bellerophon. Similar to Hellenistic sculpture, the Chimera's form and body language express movement as well as the clear tension and power of the beast's musculature and evoke in the viewer a feeling of deep emotional pain and interest in the contemplation of that movement.
Clearly influenced by Mediterranean myth culture, this bronze work is evidence of the mastery that Etruscan sculptors had not only over the medium but of mythological lore. Art historian A. Maggiani gives details of a clear Italiote context by pointing out iconographic comparisons from sites in Magna Graecia such as Metaponto and Kaulonia. Italiote refers to a pre-Roman empire Greek-speaking population in southern Italy. Magna Graecia refers to the Greek colonies which were established in southern Italy from the 8th century BCE onwards. With the Italiote context in mind, these trends are a clear indication of the increasing popularity of Attic or Athens-inspired architecture and sculpture. Ancient Athenians regarded themselves among the highest of society. Their art, religion, and culture was seen as the epitome of Greek achievement. While the ancient Athenians had long since perished by this time, their work and way of life were still regarded with great fascination and there was a desire to emulate it. Historians have generally come to a consensus that the Chimera of Arezzo was produced by Italiote craftsmen in the last decades of the fifth century BCE or in the beginning of the fourth century BCE. The fact that this sculpture was a votive offering to Tinia is a reminder of the wealth and sophistication of Etruscan elites.

Methods and materials
In the 3rd millennium BCE ancient foundry workers discovered by trial and error that bronze had distinct advantages over pure copper for making artistic statuary. Bronze stays liquid longer when filling a mold due to its lower melting point. Bronze is a superior metal than copper for sculpture casting because of its higher tensile strength. The island of Cyprus supplied most of the bronze used for artistic purposes throughout the ancient Mediterranean region.

The earliest forms of Greek bronze sculptures were simple, hand-worked sheets of bronze known as sphyrelaton (literally, “hammer-driven”). Like modern clay sculpture, these metal sheets could be embellished by hammering the metal over various wooden shapes made with textures that created a desired look or depth. This was later adapted to become the technique known today as tracing. By the late Archaic period (ca. 500–480 B.C.) sphyrelaton lost popularity as lost-wax casting became the primary form of bronze sculpting. Lost-wax casting of bronze was achieved in three different ways, each with its own desired effects. The first and earliest method was solid casting, which required a model of the sculpture to be fashioned in solid wax and then carved. The second method was hollow lost-wax casting, which was created by a direct process. Finally, the third was hollow lost-wax casting by an indirect process. The model is packed in clay, and then heated in what today would be similar to a kiln to remove the wax and harden the clay. Then, the mold is inverted and metal poured inside it to create a cast. When cooled, the bronze-smith cracks open the clay model to reveal a solid bronze replica.

For smaller details, sculptors often made eyes out of glass and painted on body hair, clothing details, and skin color. Lost in antiquity, most historical knowledge of how certain bronze statues would have looked comes from studying surviving Roman marble copies.

Gallery

Exhibitions
 September 15, 2012- December 9, 2012 at the Royal Academy of Arts "Bronze"   July 16, 2009 – February 8, 2010 at the Getty Villa


Johann Friedrich von Brandt

Johann Friedrich von Brandt (25 May 1802 – 15 July 1879) was a German-Russian naturalist, who worked mostly in Russia.

Brandt was born in Jüterbog and educated at a gymnasium in Wittenberg and the University of Berlin.

In 1831 he emigrated to Russia, and soon was appointed director of the Zoological Museum of the St Petersburg Academy of Sciences. Brandt encouraged the collection of native animals, many of which were not represented in the museum. Many specimens began to arrive from the expeditions of Severtzov, Przhevalsky, Middendorff, Schrenck and Gustav Radde.

He described several birds collected by Russian explorers off the Pacific Coast of North America, including Brandt's cormorant, red-legged kittiwake and spectacled eider.

As a paleontologist, Brandt ranks among the best. He was also an entomologist, specialising in Coleoptera (beetles) and Diplopoda (millipedes).

He died in Merreküll, Governorate of Estonia.

He is also commemorated in Brandt's bat, Brandt's hedgehog, three other species of mammals, and the lizard Iranolacerta brandtii.

Works
In addition, Johann Friedrich von Brandt  concerned the continuation of the work Getreue Darstellung und Beschreibung der in der Arzneykunde gebräuchlichen Gewächse of Friedrich Gottlob Hayne.
Flora Berolinensis, sive descriptio plantarum phanerogamarum circa Berolinum sponte crescentium vel in agris cultarum additis filicibus et charis (Berlin, 1824)
Deutschlands phanerogamische Giftgewächse (Berlin, 1828)
Tabellar Uebersichi d. offizin. Gewächse nach d. Linn. Sexualsystem u. d. natürl. System (Berlin, 1829)
Medizinische Zoologie oder getreue Darstellung und Beschreibung der Thiere die in der Arzneimlttellehre in Betracht Kommen, 2 vols. (Berlin, 1829–1833), written with J. T. C. Ratzeburt
Uebersicht d. Charactere d. Familien d. offizin. Gewächse nach R. Brown, De Candolle, Jussieu,… (Berlin, 1830)
Deutschlands kryptogamische Giftgewächse (Berlin, 1838)
Deutschlands phanerogamische Geftgewächse as Abbildung und Beschreibung der in Deutschland wild wachsenden und in Gärten in freien ausdauernden Giftgewächse, nach natürlichen Familien erläutert, mit Beiträgen von P. Phoebus und J. T. C. Ratzeburg (Berlin, 1838)
Symbolae Sirenologicae quibus praecipue Rhutinae historia naturalis illustratur (St. Petersburg, 1846)
Symbolae Sirenologicae…, fasc. 2 and 3 (St. Petersburg, 1861–1868)
Mémoires de l’Académie impériale des sciences, St. Pétersbourg, 7th ser., 12, no. 1; Untersuchungen über die fossilen und subfossilen Cetaceen Europa’s mit Beiträgen von Van Beneden, Cornalia, Gastaldi, Quenstedt, und Paulson, nebst einem geologischen Anhange von Barbot de Marny, G. von Helmersen, A. Goebel und Th. Fuchs, ibid., 20, no. 1 (1873)
Ergänzungen, ibid., 21, no. 6 (1874)
Bericht über die Fortschritte, welche die zoologischen Wissenschaften den von der kaiserlichen Akademie der Wissenschaften zu St. Petersburg von 1831 bis 1879 herausgegeben Schriften verdanken (St. Petersburg, 1879)
J. F. Brandtii index operum omnium (St. Petersburg, 1876), issued as a Festschrift.
Getreue Darstellung und Beschreibung der in der Arzneykunde gebräuchlichen Gewächse wie auch solcher, welche mit ihnen verwechselt werden können. 12 Volumes, 1805–1856 (continued from Johann Friedrich Brandt, Julius Theodor Christian Ratzeburg und Johann Friedrich Klotzsch). Digital Edition by the University and State Library Düsseldorf
 Abbildung und Beschreibung der in Deutschland wild wachsenden und in Gärten im Freien ausdauernden Giftgewächse nach natürlichen Familien erläutert. Band 1: Phanerogamen Hirschwald, Berlin 1834 Digital edition by the University and State Library Düsseldorf
 Abbildung und Beschreibung der in Deutschland wild wachsenden und in Gärten im Freien ausdauernden Giftgewächse nach natürlichen Familien erläutert. Band 2: Kryptogamen Hirschwald, Berlin 1838 Digital edition by the University and State Library Düsseldorf
Untersuchungen über die fossilen und subfossilen cetaceen Europa's. Mémoires de L'Académie Impériale des Sciences de Saint-Petersbourg, Series 7 20(1):1-372 1873

Taxa described by Brandt

Genera
Hemisyntrachelus

Species
 Acipenser baerii  Brandt, 1869 (Siberian sturgeon)
 Acipenser guldenstadti Brandt & Ratzeburg, 1833 (Caspian or Russian sturgeon)
 Acipenser schrenckii  Brandt, 1869 (Amur sturgeon)
Chrysaora Fuscescens Brandt, 1835 (Pacific sea nettle)
 Emberiza bruniceps  Brandt, 1841 (Red-headed bunting)
 Emberiza cioides  Brandt, 1843 (Meadow bunting)
 Holothuria leucospilota Brandt, 1835 (black long sea cucumber)
 Idotea ochotensis  Brandt, 1851
 Lasiopodomys brandtii (Radde, 1861) (Brandt's vole)
 Ligia dilatata  Brandt, 1833 (sea slater)
Metridium farcimen Brandt, 1835 (Giant Plumose Anemone)
 Mesocricetus brandti (Nehring, 1898) (Brandt's or Turkish hamster)
 Myotis brandtii Eversmann, 1845 (Brandt's bat)
 Paraechinus hypomelas (Brandt, 1836) (Brandt's hedgehog)
 Phalacrocorax penicillatus (Brandt, 1837) (Brandt's cormorant)
 Porphyrophora hamelii Brandt, 1833 (Armenian cochineal)
 Somateria fischeri Brandt, 1847 (spectacled eider)
 Stichopus chloronotus  Brandt, 1835 (black sea cucumber)
 Trionyx maackii  Brandt, 1858 (Chinese softshell turtle)


Battle of Mullihambato

The Battle of Mullihambato was fought in present-day Ecuador during the Inca Civil War, with Atahualpa halting or possibly defeating the forces of Atoc after having previously been defeated in the battle of Chillopampa Plains. Atahualpa's forces led a counter-attack and soon faced the Huáscarans at Chimborazo, routing them and forcing the southern armies out of the north. The war did however not come to an end until the Battle of Quipaipan.

Mullihambato
Mullihambato


Uzbekistan at the 2014 Summer Youth Olympics

Uzbekistan competed at the 2014 Summer Youth Olympics, in Nanjing, China from 16 August to 28 August 2014.

Boxing

Uzbekistan qualified three boxers based on its performance at the 2014 AIBA Youth World Championships

Boys

Canoeing

Uzbekistan qualified one boat based on its performance at the 2013 World Junior Canoe Sprint and Slalom Championships.

Boys

Gymnastics

Artistic Gymnastics

Uzbekistan qualified two athletes based on its performance at the 2014 Asian Artistic Gymnastics Championships.

Boys

Girls

Rhythmic Gymnastics

Uzbekistan qualified one individual and one team based on its performance at the 2014 Asian Rhythmic Championships.

Individual

Team

Trampoline

Uzbekistan qualified one athlete based on its performance at the 2014 Asian Trampoline Championships.

Judo

Uzbekistan qualified one athlete based on its performance at the 2013 Cadet World Judo Championships.

Individual

Team

Rowing

Uzbekistan qualified two boats based on its performance at the Asian Qualification Regatta.

Qualification Legend: FA=Final A (medal); FB=Final B (non-medal); FC=Final C (non-medal); FD=Final D (non-medal); SA/B=Semifinals A/B; SC/D=Semifinals C/D; R=Repechage

Shooting

Uzbekistan qualified two shooters based on its performance at the 2014 Asian Shooting Championships.

Individual

Team

Swimming

Uzbekistan qualified two swimmers.

Boys

Table Tennis

Uzbekistan qualified one athlete based on its performance at the Asian qualifying event.

Singles

Team

Qualification Legend: Q=Main Bracket (medal); qB=Consolation Bracket (non-medal)

Taekwondo

Uzbekistan qualified one athlete based on its performance at the Taekwondo Qualification Tournament.

Girls

Weightlifting

Uzbekistan qualified 2 quotas in the boys' events based on the team ranking after the 2013 Weightlifting Youth World Championships. Later Uzbekistan would qualify 1 quota in the girls' events based on the team ranking after the 2014 Weightlifting Youth & Junior Asian Championships.

Boys

Girls

Wrestling

Uzbekistan qualified three athletes based on its performance at the 2014 Asian Cadet Championships.

Key:
  - Victory by Fall.
  - Decision by Points - the loser with technical points.
  - Decision by Points - the loser without technical points.

Boys

Girls


1957 PGA Championship

The 1957 PGA Championship was the 39th PGA Championship, held July 17–21 at Miami Valley Golf Club in Dayton, Ohio. In the last PGA Championship played under the match play format, Lionel Hebert won 2 & 1 over Dow Finsterwald, who won the following year, the first as a 72-hole stroke play event.

Defending champion Jack Burke, Jr. lost in the second round to Milon Marusic, 2 & 1.

At the time, it was not yet known that this was the last at match play, the decision to switch to stroke play was announced during the November meetings.

The Open Championship was held two weeks earlier in Scotland at St Andrews; neither Hebert nor Finsterwald played in 1957 (or ever).

Format
The match play format at the PGA Championship in 1957 called for nine rounds (162 holes) in five days.
As in 1956, the two-day stroke play qualifying segment (36 holes) was eliminated; 128 players were entered in the single-elimination bracket. The PGA Championship had concluded on Tuesday since 1947; this year's schedule was modified for a Sunday final, with match play beginning on Wednesday. The first five rounds were 18-hole matches contested over the first three days, which reduced the field to four players for the weekend. The semifinals and finals were 36-hole matches played on the final two days, Saturday and Sunday.
 Wednesday – first round, 18 holes
 Thursday – second and third rounds, 18 holes each
 Friday – fourth round and quarterfinals, 18 holes each
 Saturday – semifinals – 36 holes
 Sunday – final – 36 holes

Consolation matches at 18 holes were held on the weekend to determine third to eighth places.

Past champions in the field

Final results
Sunday, July 21, 1957

Final eight bracket
In the 18-hole quarterfinals Friday, a clash of the Hebert brothers was avoided when Walter Burkemo defeated Jay Hebert 2&1, while Lionel Hebert defeated Claude Harmon by the same score. On the other side of the bracket, Dow Finsterwald defeated Charles Sheppard, 2 up, and Don Whitt defeated Dick Mayer,  2&1. In the  semifinals on Saturday, Finsterwald defeated Whitt, 2 up, and Hebert prevailed over Burkemo, 3&1.

The final match on Sunday was all-square after the first 18 holes in the morning. Hebert won the first three holes in the afternoon with birdies, but the match was back to all square after thirty holes. Hebert birdied the next three and Finsterwald matched two of them, but then bogeyed the 34th and was two down with two to play; the par-3 35th was halved with pars to end the match. Hebert earned $8,000 for the victory and Finsterwald received $5,000 as runner-up. Burkemo, the 1953 champion, defeated Whitt 3&1 to claim third place and $3,500. Finsterwald captured the title the following year in the new stroke play format; Hebert's older brother Jay won in 1960.

Consolation brackets

Final match scorecards
Morning

Afternoon

Source:


Elizabeth McGrath (artist)

Elizabeth McGrath (born in Los Angeles, California) is an American artist and singer. She is based in California who works primarily in the fields of sculpture and animation. Her work is often evocative of the darker side of life, and she has been nicknamed Bloodbath McGrath after the subject matter of her works. Along with her career in art, from 1989–1999 she was the lead singer for the hardcore band Tongue, and co-founded the fanzine Censor this. From 2000–2011 she was the lead singer of the Los Angeles-born band Miss Derringer along with her husband/songwriter Morgan Slade.

History

McGrath was born in Los Angeles and raised in Echo Park and Altadena, California.  Her mom is an immigrant from Singapore. At the age of 13 she was sent to a Fundamentalist Baptist correctional institution called the Victory Christian Academy, and credits that for much of the inspiration for her artwork. She later attended Pasadena City College.

McGrath began her career in art by making flyers for her punk band Tongue and creating a fanzine called Censor This, a collective effort with several other artists.  Her first showing was at La Luz de Jesus Gallery in Hollywood.  She currently shows at their new gallery, Billy Shire Fine Arts in Culver City, California.

McGrath contributed quotes to Girls Against Girls by author Bonnie Burton.

On November 2, 2013, McGrath was part of a four-woman show in Los Angeles called "Black Moon" with fellow female artists, Jessicka Addams, Camille Rose Garcia and Marion Peck.

Work

Books

  Everything that Creeps, 2006,
Incurable Disorder, 2013,

Exhibitions

Solo shows:

 Altarwise by Owl Light, 10 December- 14 January 2005, Billy Shire Fine Arts

 Everything That Creeps, July 5, 2002, La Luz De Jesus Gallery

Selected Group Shows:

 "HATE THE LIVING", March 25, 2007 Victory studios, Studio City
 "THE TREASURES OF LONG GONE JOHN", February 3, 2007 Grand Central Art Center in Santa Ana
 "JUXTAPOZ group art show 2006", March 24-March 25, OX-OP, Minneapolis
 "Salon Style", April 6 -May 1, the Shooting Gallery, San Francisco
 "NACHTSCHATTENGEWAECHS", February 7 - March 7, STRYCHNIN, Berlin
 "Art on the Frontier", Art Center Sarasota, Sarasota, Florida
 Monsters A GO GO, 15 October to Nov. 2004, Roq La Rue, Seattle
 Juxtapoz NYC Group art show, October 2, 2004, Fuse Gallery, New York City
 "Ghost Town", a group art show, October, Tin Man Alley, Philadelphia, Pennsylvania
 "Illuminated Delusions", September 2004, M Modern Gallery, Palm Springs, California
 "Nightmare on 18th Street", 30 October, hosted by the Pandemonium Collective, at the 18th Street Art Center, Santa Monica, California
 MF Gallery's 2nd Annual Halloween group Show, 10 September - 2 November 2004, MF Gallery, New York City
 benefit group show for the West Memphis Three, October 1, 2004, at Perihelion Arts, Phoenix, Arizona
 "Qeedrophonic", a group art show featuring the Qee figure, October 14, Tokyo
 October 2004 at Tower framing and design gallery, Sacramento, California
 00 Artists See Satan, July 3 - September 19, a group art show at the Grand Central Art Center, Santa Ana, California
 "Characters by Design", July 7-July 31, a group art show at the Grey Matters Gallery, Dallas, Texas
 "Motherhome of the Dolly Bird", July 8 – August 8 at the Shooting Gallery, San Francisco, California
 "Queedrophonic", a group art show, July 10 – August 10 at the Ox-Op Gallery, Minneapolis
 "50 Caliber", July 10 – August 10, a group show at Tower framing and design gallery, Sacramento, California
 "Rated XX Group Show", April 3, 2004, Ox Op, Minneapolis
 "The Rawk Art Show", March 10, 2004, Gallery Lombardi, Austin, Texas
 "Sirens", March 6, 2004, C-Pop Gallery, Detroit, Michigan
 7th Annual Group Show, March 5, 2004, La Luz De Jesus Gallery, Hollywood
 "In Honor of the Beheading of St. Valentine", February 7, 2004, Copro/Nason Fine Art Gallery, Culver City, California
 "Big Men in Little Cars", January 10, 2004, Tin Man Alley, Philadelphia, Pennsylvania
 "Toy Show", November 2003, MF Gallery, New York City
 "The Greatest Album Covers that Never Were", October 11, 2003, Track 16 Gallery, Santa Monica, California
 "The Haunted Doll House", October 4, 2003, co-curated by Liz Mcgrath, Copro/Nason Fine Art Gallery, Culver City, California
 "Paintings and Sculptures with Helen Garber", September 13, 2003, Roshambo Winery, Healdsburg, California
 "Woodstock Tattoo and Body Arts Festival", September 5, 2003, Hawthorn Gallery Modern Art Visionary Exhibit, Woodstock, New York
 "Cruel and Unusual: A Benefit for the West Memphis Three", September 6, 2003, Six Space Gallery, Los Angeles, California
 "Rude G! Murder Mystery Mayhem: A Fundraiser for Rude Guerrilla Theater Company", September 13, 2003, Rude Guerrilla Theater Company, Santa Ana, California
 "High On Life: Transcending Addiction", October 3, 2002 - August 2003, The American Visionary Art Museum, Baltimore, Maryland
 "Vicious Delicious and Ambitious", June 2, 2003, FUSE GALLEY, New York City
 "Ed Big Daddy Roth Tribute", July 12 – 29 August 2003, Copro/Nason Fine Art Gallery, Culver City, California
 "Feathered Friends", July 3, 2003, MOTEL, Portland, Oregon
 "Lovely: A Benefit Group Show for 'Youth Speaks'", 2 August 2003, Club 6, San Francisco, California
 "Vicious Delicious and Ambitious", May 2, 2003, Perihlion Arts, Phoenix, Arizona
 "Experimental Toy Skeleton", April - May 2003, Covivant, Tampa, Florida
 "Sci-Fi Western", 23 January 2003, 111 Minna Gallery, San Francisco, California
 "Pirate Booty: The Art of Mates & Wenches", December 7, 2002, Six Space Gallery, Los Angeles, California
 "Uncommercial Art by Commercial Artists", November 9, 2002, La Luz De Jesus Gallery, Hollywood
 "Alive and Well AIDS Alternatives", November 9, 2002, La Luz De Jesus Gallery, Hollywood
 "Juxtapoz Exhibition", October 26, 2002, Track 16 Gallery, Santa Monica, California
 "The Scintillating Six", June 1, 2002, Bink Gallery, Portland, Oregon
 "Circus, Carnival, Freaks and Oddities", April 6, 2002, C-POP Gallery, Detroit, Michigan
 "Clown Oil and Snake Eyes", December 1, 2001, Copro/Nason Fine Art Gallery, Culver City, California
 "The Frankenstein Surf Shack", 19 October 2001, Roq La Rue, Seattle, Washington
 "Commercial Artists Doing Non-Commercial Art", March 2, 2001, La Luz De Jesus Gallery, Hollywood
 "Milk Blood", February 2, 2001, La Luz De Jesus Gallery, Hollywood
 "The Definitive Retrospective", December 2, 2000, Copro/Nason Fine Art Gallery, Culver City, California
 "Metro Madness", September 16, 2000, Copro/Nason Fine Art Gallery
 "Intoxication Show", April 2000, The Laboratory, Los Angeles
 "Commercial Artists Doing Non-Commercial Art", March 2000, La Luz De Jesus Gallery
 "Low Brow Art", February 2000, The Art and Culture Center of Hollywood, Hollywood, Florida
 "Leeteg Tribute Show", December 1999, Copro/Nason Gallery
 "Group Show", November 1998, Huntington Beach Art Center Gallery, Huntington Beach, California
 "Kittens 'N' Cads", December 1998, Merry Karnowsky Gallery, Los Angeles
 "Hollywood Satan", December 1998, Mark Moore Gallery, Santa Monica, California
 "Best of the West", October 1998, 001 Gallery, Hollywood


XTE J1118+480

XTE J1118+480 is a low-mass X-ray binary in the constellation Ursa Major. It is a soft X-ray transient that most likely contains a black hole and is probably a microquasar.

Discovery
XTE J1118+480 was discovered using the All-Sky Monitor on the Rossi X-Ray Timing Explorer satellite after it detected an outburst from the system on March 29, 2000. XTE is the standard designation for objects discovered by this satellite. It is also catalogued as 2MASS J11181079+4802126 in Two-Micron All Sky Survey catalogue of infrared objects, and has been given the variable star designation KV Ursae Majoris.

April–June outburst
Much of what is known about XTE J1118+480 comes from data collected during the outburst in March 2000. The Rossi X-Ray Timing Explorer and the Advanced Research and Global Observation Satellite observed a quasi-periodic oscillation (QPO) from XTE J1118+480 as it evolved. The QPO is comparable to QPOs of other black-hole candidates.

Properties
The compact object in XTE J1118+480 has a mass greater than , so it is too massive to be a neutron star. The characteristics of radio emissions from XTE J1118+480 (Fender et al. 2001) suggest that it is a microquasar.

Strangely, the companion star has a metal-rich composition of various metals such as magnesium, aluminium, calcium, iron, and nickel. Because of this observation, the black hole most likely was not formed from direct collapse of a massive star, but rather from the supernova of a metal-rich star. The two objects in the binary system were probably not born together as a supernova would likely eject the companion from the system.

The most likely theory as to how the black hole became part of the binary system is that XTE J1118+480 was formed in the central galactic halo. The black hole primary was the result of a "kick" from the supernova explosion of a massive star in the early galaxy and travelled through the galaxy and into the central galactic halo, becoming a binary system with its present-day companion. If this theory is true, it may help to explain the supernova mechanism. The black hole in XTE J1118+480 is one of the only known examples of a black hole kick.


MRPS6

28S ribosomal protein S6, mitochondrial is a protein that in humans is encoded by the MRPS6 gene.

Mammalian mitochondrial ribosomal proteins are encoded by nuclear genes and help in protein synthesis within the mitochondrion. Mitochondrial ribosomes (mitoribosomes) consist of a small 28S subunit and a large 39S subunit. They have an estimated 75% protein to rRNA composition compared to prokaryotic ribosomes, where this ratio is reversed. Another difference between mammalian mitoribosomes and prokaryotic ribosomes is that the latter contain a 5S rRNA. Among different species, the proteins comprising the mitoribosome differ greatly in sequence, and sometimes in biochemical properties, which prevents easy recognition by sequence homology. This gene encodes a 28S subunit protein that belongs to the ribosomal protein S6P family. Pseudogenes corresponding to this gene are found on chromosomes 1p and 12q.


Auroratone

Auroratone films were produced by the Auroratone Foundation of America Inc. in Hollywood, Los Angeles, California. The films showed crystal-like abstract color patterns that changed and blended with each other. The patterns were produced by using crystallizing chemicals and polarized light, which were then synchronized to a variety of recorded musical tracks. The process was developed by English psychologist and scientist Cecil Stokes, who was the founder and technical director of the company. Stokes was issued patent 2292172 on August 4, 1942, for "Process and Apparatus for Producing Musical Rhythm in Color".

The films were combined into a thirty-minute-long color movie entitled Music In Color.  The first films were presented to the public in 1940 in San Diego and were then shown at various theaters in the United States and Canada.

The name "Auroratone" was suggested by Father Bernard Hubbard, the "Glacier Priest", who characterized the process as the nearest thing to the natural Aurora Borealis which he had ever seen.

The known films include:
 "Claire de Lune" (Claude Debussy) played by Andre Kostelanetz and his orchestra
 "Going My Way" sung by Bing Crosby and accompanied by Lt. Col. Edward Dunstedter, AAF, on the organ
 "The Lost Chord" featuring a solo organ by Lt. Col. Edward Dunstedter, AAF
 "Home on the Range" sung by Bing Crosby with an accompaniment on organ
 "I Dream of Jeannie With the Light Brown Hair" (Stephen Foster) featuring an organ solo by Lt. Col. Edward Dunstedter, AAF
 "Ave Maria" (by Franz Schubert) sung by Bing Crosby with an organ accompaniment
 "Now The Day Is Over" sung by Bing Crosby
 "When You Wish Upon a Star" sung by Bing Crosby
 "When the Organ Played 'Oh Promise Me'" sung by Bong Crosby with an organ accompaniment by Lt. Col. Edward Dunstedter, AAF
 "Adeste Fidelis" sung by Bing Crosby
 "American Prayer" by Ginny Simms
 "The Lone Star Trail" sung by Bing Crosby
 Prelude to "Lohengrin" by the Philadelphia Symphony Orchestra
 "The Lord’s Prayer" sung by John Charles Thomas with music by Albert Hay Malotte
 "Moonlight Sonata" played by Miss April Ayres
 "None But the Lonely Heart" by Lawrence Tibbett
 "The Old Rugged Cross" sung by the All-Girl Orchestra and Choir, directed by Phil Spitalny
 "Silent Night" sung by Bing Crosby

The films were used as an experimental aid to the treatment of psychiatric patients, in particular war veterans.  Some of these films were made available in August, 1945 to researchers Herbert E. Rubin and Elias Katz at Crile General Hospital in Cleveland, Ohio.  Bing Crosby was involved with these films due to his being a shareholder in the foundation and his interest in the rehabilitation of veterans.

The Auroratone film process was considered as an application that would be incorporated into jukeboxes.

A restored version of "When the Organ Played 'Oh Promise Me'", taken from a 16 mm film, is viewable on YouTube.


Adam Ward (baseball)

Adam Ward is an American college baseball coach and former catcher. Ward is the head coach of the Charleston Southern Buccaneers baseball team.

Playing career
Ward attended Hanahan High School in Hanahan, South Carolina. Ward played for the school's varsity baseball team. Ward then enrolled at the Clemson University, to play college baseball for the Clemson Tigers baseball team.

As a freshman at Clemson University in 2006, Ward didn't appear in a single game.

As a sophomore in 2007, Ward had a .000 batting average, a 1.000 on-base percentage (OBP) appearing in 3 games and having just a single plate appearance.

In the 2008 season as a junior, Ward hit .375 while making one start and driving in 1 run.

As a senior in 2009, Ward had a .167 batting average, a .375 on OBP and appeared in 6 games.

Coaching career
Once Ward was out of college, he accepted the volunteer assistant coach for the Liberty baseball team. Ward spent two seasons at Liberty, helping the team to a school record 43 wins in 2010.

In 2011, Ward was hired as an assistant for Stuart Lake's staff on the Charleston Southern Buccaneers baseball team.

On January 26, 2017, Ward was named the interim head coach of the Buccaneers. After a 22–29 season, Charleston Southern named Ward their permanent head coach on May 11, 2017.

Head coaching record


August Wilhelm Hartmann

August Wilhelm Hartmann  (November 6, 1775 – November 15, 1850) was a Danish composer.


Visa requirements for Montenegrin citizens are administrative entry restrictions by the authorities of other states placed on citizens of Montenegro. As of 2 July 2019, Montenegrin citizens had visa-free or visa on arrival access to 122 countries and territories, ranking the Montenegrin passport 47th in terms of travel freedom (tied with the passport of Marshall Islands) according to the Henley Passport Index.
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Visa requirements map

Visa requirements

Dependent, disputed or restricted territories
Visa requirements for Montenegrin citizens for visits to various territories, disputed areas and restricted zones:


521 Brixia

Brixia (minor planet designation: 521 Brixia) is a minor planet orbiting the Sun that was discovered by American astronomer Raymond Smith Dugan on January 10, 1904. The name derives from Brixia, the ancient name of the Italian city of Brescia.


Melba (film)

Melba is a 1953 musical biopic drama film of the life of Australian-born soprano Nellie Melba, written by Harry Kurnitz and directed by Lewis Milestone for Horizon Pictures, marking the film debut of the Metropolitan Opera's Patrice Munsel.

Plot
Based on the life of Dame Nellie Melba, the film traces the career of Melba (Patrice Munsel) from the time she left Australia, traveling to Paris to receive vocal training, meets a new suitor, and debuts her talent in Brussels.  As her success grows, her former suitor from Australia arrives in Monte Carlo, convinces her to marry him, but then finds himself placed in the position of being "Mr. Melba".  When he leaves her to return to Australia, Melba remains in Europe to continue singing.

Cast
 Patrice Munsel as Nellie Melba
 Robert Morley as Oscar Hammerstein I
 John McCallum as Charles Armstrong
 John Justin as Eric Walton
 Alec Clunes as Cesar Carlton
 Martita Hunt as Mathilde Marchesi
 Sybil Thorndike as Queen Victoria
 Joseph Tomelty as Thomas Mitchell
 Beatrice Varley as Aunt Catherine
 Theodore Bikel as Paul Brotha

Production

Development
In January 1952, upon completion of the Melba story treatment by Harry Kurnitz, producer Sam Spiegel and his attorney flew to London with the script in-hand to acquire film rights for her story from Melba's estate.

In May 1952, Spiegel reported that the film was to be shot on locations in Australia and Britain with Patrice Munsel cast as Nellie Melba.

Upon release of the information, representatives of the J. Arthur Rank organization expressed surprise, as they had themselves been planning a film about Melba.  They had hoped to get Marjorie Lawrence for their own film and, when unable to do so, had even considered using actual recordings Melba's voice dubbed over that of an actress. They decided to put their plans on hold until they could find a suitable singer/actress for the lead role.

In June 1952 Spiegel announced the film would be made as the first in a four picture deal he had with United Artists. Munsel's casting was announced in July.

One of Speigel's early choices for director was Charles Vidor. In July 1952, Spiegel flew to Paris to speak with him.

Spiegel then hired Edmond Goulding as director.  Pre-production for the film was being done in Paris, and Patrice Munsel and her husband arranged a second honeymoon in that city.

At one stage Lewis Gilbert was going to direct.

When problems arose with Goulding, Speigel fired him and hired Lewis Milestone to direct.

The change of directors disheartened Munsel, as she had been looking forward to working with Goulding, and she found Milestone to be "more traffic cop than auteur". She had also anticipated a script that would allow her to play Melba as the "gutsy, difficult, strong-minded" person she really was, and was disappointed that the Kurnitz script "was essentially a plot-less, soft-centered love story built around a long string of opera sequences."

Shooting
Filming started in August 1952.

By September 1952, Patrice Munsel had recorded all her songs for the film, and plans were being made to construct "Australian" sets on the Wiltshire plains.  While Munsel's voice impressed critics, she did not resemble Dame Melba, with the biggest contrast being her American accent. When asked of her role, Munsel stated  "We are not attempting to re-create Melba.  We are simply paying tribute to her as a great singer in a way that will bring popular entertainment to the masses."

Theodore Bikel wrote in his autobiography that because of Milestone's background, this was a felicitous choice by Sam Spiegel, as Milestone was an award-winning director with a great touch.  There was however, a growing frustration between Spiegel and Milestone, both on set and off.  After months of filming with growing tensions, and three days before the last scene was to be shot, a confrontation between the two caused Milestone to walk of the set and not return.

Critical response
The New York Times reported that the film was essentially one song after another and, listing the numerous works that were shared in the film, wrote "Even though jumbled together in an excessive, haphazard way, this massive mélange of mighty music is the meager salvation of the film."  The reviewer, Bosley Crowther, offered that, while the task of portraying the life of Nellie Melba was laudable as a concept, the "storybook tale of an opera singer that Harry Kurnitz has put together is a mere offense to the taste and credulity of an average numskull, and it is assembled and played with little more sense."  They disapproved of the plot which portrayed Melba as "silly and vapid", whose character then "comes out flat and gauche".  The offered the storyline was "sticky and banal" and "overloaded with such obvious twaddle about ambition and success."

Conversely, Spokesman-Review felt the film was a "worthy climax to her [Patrice Munsel] spectacular opera and concert career." They wrote that of the many films that attempted to adapt opera to the film media, this one is the best. They acknowledged that while the film was "broadly sentimental", it was appealing.  And that even though the storyline did not factually follow the life of Nellie Melba, "it suggests its glory and glamour and completely enthralls the audience." They write that "Munsel is magnificent", and that even while not being photogenic in the Australian shot scenes depicting Melba's life as a cowgirl, once Melba is brought to Europe, "she is most attractive." Listing the many songs sung by Munsel, they made note of the attending audience applauding each, and wrote "Her singing is magnificent, and she is an actress of sufficient poise to carry complete conviction."  The praised the supporting cast and Lewis Milestone's craftmanship as a director.

Munsel later joked " "If I had seen me in Melba, I never would have hired me to do anything."

Soundtrack
 "Ballet music", from the opera Robert le Diable, composed by Giacomo Meyerbeer
 "Comin' Through the Rye", words by Robert Burns
 "Ave Maria", composed by Johann Sebastian Bach and Charles Gounod
 "O luce di quest' anima", from Linda di Chamounix', composed by Gaetano Donizetti, libretto by Gaetano Rossi
 "Serenade", composed by Charles Gounod
 "Caro nome", from Rigoletto, composed by Giuseppe Verdi, libretto by Francesco Maria Piave
 "The Mad Scene", from Lucia di Lammermoor, composed by Gaetano Donizetti, libretto by Salvadore Cammarano
 "Chacun le sait", from La fille du régiment, composed by Gaetano Donizetti, libretto by Jules-Henri Vernoy de Saint-Georges and Jean-François Bayard
 "Una voce poco fa", from Il barbiere di Siviglia, composed by Gioachino Rossini, libretto by Cesare Sterbini
 "O soave fanciulla", from La Bohème, composed by Giacomo Puccini, libretto by Giuseppe Giacosa and Luigi Illica
 "Voi che sapete", from Le nozze di Figaro, composed by Wolfgang Amadeus Mozart, libretto by Lorenzo da Ponte
 "Aria", from Faust, composed by Charles Gounod, libretto by Jules Barbier and Michel Carré
 "Vissi d'arte", from Tosca, composed by Giacomo Puccini, libretto by Giuseppe Giacosa and Luigi Illica
 "Brindisi", from La traviata, composed by Giuseppe Verdi, libretto by Francesco Maria Piave
 "O pur bonheur", from Roméo et Juliette'', composed by Charles Gounod, libretto by Jules Barbier and Michel Carré
 "On Wings of Song", composed by Felix Mendelssohn-Bartholdy
 "Dreamtime", composed by Mischa Spoliansky, lyrics by Norman Newell
 "Is This the Beginning of Love?", written by Mischa Spoliansky


Hydarnes II

Hydarnes II (, Old Persian: Vidarna), son of Hydarnes, was a Persian commander of the Achaemenid Empire in the 5th century BC. His father was one of the seven conspirators against Gaumata.

During the reign of Xerxes I, Hydarnes was one of the commanders for the Second Persian invasion of Greece in 480 BC.  He was appointed as the leader of the 10,000-man contingent of "Immortals", while his brother Sisamnes commanded the levy of the Aryans.

On the first day of the Battle of Thermopylae, Hydarnes led the Immortals against the phalanx of Spartans under Leonidas I, but an attempt to break through failed.  On the second day, a local resident named Ephialtes betrayed the Greeks by telling the Persians about a hidden goat path around Thermopylae.  This enabled Hydarnes and his Immortals to pass behind the Spartans, Thespians and Thebans and, as a result, defeat them.

After the Persians were defeated at the Battle of Salamis, Xerxes I decided to return to Asia leaving a large army under Mardonius which wintered in Thessaly.  Hydarnes wanted to stay at the side of the king and go back with him to Asia.  So Xerxes tasked Hydarnes with the responsibility of getting the Persian army back over the Hellespont to Asia.   After this, nothing further is reported about Hydarnes.


Somme Cup

The Somme Cup is a rugby trophy first won by a New Zealand Army team, known as the Trench Blacks, during World War One in 1917. It is claimed that around 60,000 people watched the match, which was won 40-0 by the New Zealand team.

The cup depicts a soldier throwing a grenade, and was created by Georges Chauvel in 1917, a French sculptor in the French Army at the time.

The cup has been in a private collection since it was first won in the War.

In September 2015 the New Zealand Defence Force's rugby team, the Defence Blacks, played a commemorative match against a French team in Paris.

In early 2016, the cup was put on display at the National Army Museum in Waiouru, as part of an exhibition about rugby during World War One.


Star Dojran

Star Dojran () is a village in the southeastern part of North Macedonia. It is the seat of the municipality of Dojran. Star Dojran means "Old Dojran" in Macedonian.

Demographics
According to the 2002 census, the settlement had a total of 363 inhabitants. Ethnic groups in the village include:
Macedonians 255
Turks 57
Serbs 32
Romani 9
Albanians 6
Aromanians 1
Others 3


Norbert Pallua

Norbert Pallua  (born 21 January 1952 in Bruneck, Alto Adige) is a surgeon noted for contributions to plastic surgery, including facial reconstruction using flaps, regeneration, and burn rehabilitation.

Works
He treated Sergei Filin for facial burns after the latter's acid attack. He was head of the Department of Plastic Surgery, Hand and Burns Surgery at the Uniklinikum Aachen until July 2017.


César Injoque

César Injoque (born 1913, date of death unknown) was a Peruvian sports shooter. He competed in the 50 m pistol event at the 1948 Summer Olympics.


Kahurabad-e Sohrabi

Kahurabad-e Sohrabi (, also Romanized as Kahūrābād-e Sohrābī) is a village in Howmeh Rural District, in the Central District of Kahnuj County, Kerman Province, Iran. At the 2006 census, its population was 544, in 92 families.


Warton with Lindeth

Warton with Lindeth was a civil parish and township in the north of Lancashire, England, from 1866 to 1935. It had an area of . It was abolished on 1 April 1935, when  formed the new civil parish of Warton and  were added to the civil parish of Silverdale (created 1866).

In John Marius Wilson's Imperial Gazetteer of England and Wales (1870–72), Lindeth was described as "a hamlet in Warton parish, Lancashire; 4 ½ miles NW of Carnforth".


Alaa Mayhoub

Alaa Mohammed Mayhoub (born 19 January 1963) is an Egyptian football midfielder who played for Egypt in the 1990 FIFA World Cup. He also played for Al-Ahly S.C.


Steven Byess

Steven Byess is an American orchestral conductor.

Early career
Byess attended Georgia State University, receiving a Bachelor of Music Degree in classical performance and jazz studies, and Cleveland Institute of Music, from which he received Master of Music degree. While there he studied with Louis Lane and Carl Topilow in the area of conducting. He also attended the Pierre Monteux Memorial School for Conductors. Byess was an assistant to conductor Robert Shaw at the Shaw Institute in Souilliac, France.

Recent work
Byess conducts symphony orchestras and opera companies, also working in the genres of Broadway, jazz and television. He has served as an Associate Music Director of the Ohio Light Opera for over 20 years, where he has conducted over 500 performances and 65 diverse operas, operettas, and musical theater works.

Byess is the Music Director of the Tupelo Symphony Orchestra  and serves as Cover Conductor for the Detroit Symphony Orchestra, Music Director for the Arkansas Philharmonic, Opera Conductor for the Cleveland Institute of Music and California State University, Los Angeles.

With the Ohio Light Opera, Byess is featured on 17 CD recordings by Newport Classic, Albany Records, and Operetta Archives. In the summer of 2007, Byess conducted Bernstein's Candide at the Pine Mountain Music Festival and Puccini's La bohème in Tel Aviv at the International Vocal Arts Institute. In November and December 2007, Byess conducted his third U.S. tour with the Sinfonia Chamber Orchestra from Krakow, Poland.

Byess was chosen by Walt Disney World Entertainment to conduct the 2000 NFL E*TRADE Super Bowl Halftime show.

Current Calendar

He is in demand for a full variety of concert conducting activities. Most recently he was selected by the Portland Columbia Symphony Orchestra as Music Director and Conductor.

Other interests
Byess wrote and co-directed the PBS children's presentation Count On It!.


The Slow Wonder

The Slow Wonder is the debut solo album by A. C. Newman, who is better known as the frontman of The New Pornographers and Zumpano. It was released in 2004 on Matador Records and Last Gang Records.

Reception

The Slow Wonder was met with generally positive reviews, with a Metacritic rating of 80 out of 100 based on 21 reviews. Brandon Stosuy of Pitchfork said the album "fits together for a taut 34 minutes without lags or rough spots" and could be "viewed as collection of singles." Tim Sendra of AllMusic wrote that standout tracks such as new wave sound of Secretarial combined with the sunny power pop of "Miracle Drug" or "On the Table" makes "[The Slow Wonder] essential". In another positive review, Rolling Stone said "Newman pens melodies that seem to have sprung from the collective unconscious and then encases them in bright, lush power-pop arrangements."

There were a handful of less than positive views on the album. Alternative Press said the album "sounded like demos" Newman was preparing for a future release. Although Anthony Miccio of The Village Voice wrote "uptempo grins like "On the Table" make denying the pleasantness of it all impossible," he proceeded in criticizing it for just being "pop," and being "just something to zone out to."

The song "On the Table" was featured on the television program The O.C., and appeared on its official soundtrack.

Track listing
 "Miracle Drug" – 2:19
 "Drink to Me, Babe, Then" – 3:32
 "On the Table" – 3:57
 "Most of Us Prizefighters" – 2:28
 "The Battle for Straight Time" – 3:58
 "Secretarial" – 2:35
 "Come Crash" – 3:03
 "Better Than Most" – 2:33
 "The Cloud Prayer" – 2:28
 "The Town Halo" – 3:11
 "35 in the Shade" – 3:22
 "Homemade Bombs in the Afternoon" (Japanese edition bonus track, Also available on iTunes)

Personnel
Musicians
 A.C. Newman – vocals, guitars, bass, melodica, recorder, tambourine, drum programming (8)
 Shane Nelken – piano, autoharp
 Fisher Rose – drums (3, 5, 6, 10, 11)
 Pete Bourne – drums (1, 2, 4, 7, 9)
 Megan Bradfield – cello
 Shaun Brodie – trumpet
 Sarah Wheeler – vocals
 John Collins – bass
 David Carswell – ebow guitar

Production
 John Collins - production
 Howard Redekopp - mixing


Makj

Mackenzie Johnson, better known by his stage name Makj (stylized as MAKJ), is an American DJ. He has released a number of singles as a solo artist since 2012, as well as a large number of collaborative singles with artists such as Hardwell, Lil' Jon, and M35. Since 2013 Makj has performed at large festivals such as Electric Zoo, Voodoo Experience, Coachella, and a main stage slot at TomorrowWorld. In March 2014, Billboard named him one of the Top 10 Artists to Watch at Ultra Music Festival. Also in 2014 he was named No. 63 in the Top 100 DJs list put out by the DJ Magazine Awards. Makj is the host of the radio show Revolution Radio on Clear Channel’s Evolution channel.

Biography
Mackenzie Johnson was born in 1990 in San Luis Obispo, California. By his teens, he was living in China while pursuing a career as a professional race car driver. At age fifteen, he became interested in DJing, and he purchased a set of Technics 1200 Turntables. By age 17, he had returned to the United States, where he found himself invited to perform at local events in his hometown. He had a number of lessons with DJ AM, who trained Makj on scratching.

In late 2013, Makj embarked on his first major US tour, traveling the country with Bingo Players and Bassjackers. After a time playing small venues, he began to attend festivals as well. Since 2013, he has performed at festivals such as Electric Zoo Festival, Voodoo Experience, Coachella, a main stage slot at TomorrowWorld, Northern Lights Festival, Euphoria Festival, Webster Hall, and Ruby Skye. In March 2014, Billboard named him one of the Top 10 Artists to Watch at Ultra Music Festival. He toured Europe in 2014 with his "Let’s Get Fucked Up Tour," then traveled North America with his "Peyote Tour." Plans for an Asian tour were also announced.

He has released a number of singles as a solo artist since 2012, as well as a large number of collaborative singles. He has collaborated with artists such as Showtek, Lil Jon, and DJ Kura. In 2013, he released a collaborative single with Hardwell entitled "Countdown" which peaked at No. 1 on Beatport within three days. He has also released music on Hysteria Records, Doorn Records, Diffused Records, and Juicy Music, among others. In late 2014, he released his track "Generic," which had earlier debuted at the Ultra Festival in Miami. Several of his original songs have charted in the Beatport Top 10.

Makj has been a guest judge for the Campus DJ contest, and he is the host of a radio show on Clear Channel’s Evolution channel, with the show also streaming at iHeartRadio and 101.7 Boston.

Awards and nominations

Singles

As lead artist

Other singles

 2011: Parallax (with Kura and dBerrie)
 2012: Crunch
 2012: Croche
 2012: Galaxy / Old Memories (with Kura)
 2013: Conchy
 2013: Hold Up
 2013: Springen
 2013: Hakaka
 2013: Revolution (with M35)
 2014: GO (Showtek Edit) (with M35)
 2014: Generic
 2014: Ready (with Deorro)
 2015: Lose Your Mind (with Deorro)
 2015: Ante Up (with Deorro)
 2015: Get Whoa (featuring Fly Boi Keno)
 2015: On & On (with Kenze)
 2017: Knock Me Down (with Max Styler featuring Elayna Boynton)
 2017: Space Jam (with Michael Sparks featuring Fatman Scoop)
 2017: Too Far Gone (featuring Matthew Santos)

Remixes
 2012: Nari & Milani featuring Maurizio Gubellini - Unbelievable (with Robbie Rivera)
 2012: Drop the Lime - No Sleep For The Wicked
 2013: Trinidad James - All Gold Everything
 2013: Nervo and Ivan Gough featuring Beverly Knight - Not Taking This No More
 2013: Federico Scavo and Robbie Rivera - Jump
 2013: Sound of Stereo - Zipper
 2013: Sandro Silva featuring Jack Miz - Let Go Tonight
 2014: Benny Benassi featuring Gary Go - Let This Last Forever
 2015: O.T. Genasis - CoCo
 2016: Rae Sremmurd - Black Beatles
 2016: MADLY - Work Me
 2017: Ed Sheeran - Shape of You
 2017: Future - Mask Off
 2017: Steve Aoki featuring Lil Yachty and Migos - Night Call (with Steve Aoki)
 2019: Goody Grace featuring Blink-182 - Scumbag

Further reading

Makj at Allmusic
Makj at Discogs


Latifundium

A latifundium is a very extensive parcel of privately owned land. The latifundia (Latin: latus, "spacious" and fundus, "farm, estate") of Roman history were great landed estates specializing in agriculture destined for export: grain, olive oil, or wine. They were characteristic of Magna Graecia and Sicily, Egypt, Northwest Africa and Hispania Baetica. The latifundia were the closest approximation to industrialized agriculture in Antiquity, and their economics depended upon slavery.

During the modern colonial period, the European monarchies often rewarded services with extensive land grants in their empires. The forced recruitment of local laborers allowed by colonial law made these land grants particularly lucrative for their owners. These grants, fazendas (in Portuguese) or haciendas (in Spanish), were also borrowed as loanwords, Portuguese latifúndios and Spanish latifundios or simply fundos.

Agrarian reforms aimed at ending the dominance of the latifundia system are still a popular goal of several national governments around the world.

Ancient Rome
The basis of the latifundia in Spain and Sicily was the ager publicus that fell to the dispensation of the state through Rome's policy of war in the 1st century BC and the 1st century AD. As much as a third of the arable land of a new province was taken for agri publici and then divided up with at least the fiction of a competitive auction for leaseholdings rather than outright ownership. Later in the Empire, as leases were inherited, ownership of the former common lands became established by tradition, and the leases became taxable.

The first latifundia were accumulated from the spoils of war, confiscated from conquered peoples beginning in the early 2nd century BC. The prototypical latifundia were the Roman estates in Magna Graecia (the south of Italy) and in Sicily, which distressed Pliny the Elder (died AD 79) as he travelled, seeing only slaves working the land, not the sturdy Roman farmers who had been the backbone of the Republic's army. Latifundia expanded with conquest, to the Roman provinces of Mauretania (modern Maghreb) and in Hispania Baetica (modern Andalusia).

Large villa rustica holdings in Campania, around Rome, in Cisalpine Gaul (the modern Po Valley) and in  Gallia Narbonensis were the base for a self-sufficient economy, similar to the haciendas of Latin America. They produced oil, wine or garum for export. The practice of establishing agricultural coloniae as a way to compensate Roman soldiers created smaller landholdings, which would then be acquired by large landowners in times of economic distress. Thus the direction, over time, was towards the consolidation of landholdings into larger units.

Latifundia could be devoted to livestock (sheep and cattle) or to the cultivation of olive oil, grain, and wine. However, in Italy, they did not produce grain. Rome had to import grain (in the Republican period, from Sicily and North Africa, in the Imperial era, from Egypt). Ownership of land, organized in the latifundia, defined the Roman Senatorial class. It was the only acceptable source of wealth for senators, though Romans of the elite class would set up their freedmen as merchant traders, and participate as silent partners in businesses from which senatores were disqualified.

The latifundia quickly started economic consolidation as larger estates achieved greater economies of scale and senators did not pay land taxes. Owners re-invested their profits by purchasing smaller neighbouring farms, since smaller farms had lower productivity and could not compete, in an ancient precursor of agribusiness. By the 2nd century AD, latifundia had replaced many small and medium-sized farms in some areas of the Roman Empire. As small farms were bought up by the wealthy with their vast supply of slaves, the newly landless peasantry moved to the city of Rome, where they became dependent on state subsidies. Overall, the latifundia increased productivity. Free peasants did not completely disappear: many became tenants on estates that were worked in two ways: partly directly controlled by the owner and worked by slaves and partly leased to tenants. It was one of the greatest levels of worker productivity before the 19th century. Such consolidation was not universally approved of, as it consolidated more and more land into fewer and fewer hands, mainly Senators and the Roman emperor. Efforts to reverse the trend by agrarian laws were generally unsuccessful. Pliny the Elder argued that the latifundia had ruined Italy and would ruin the Roman provinces as well. He reported that at one point just six owners possessed half of the province of Africa, which may be a piece of rhetorical exaggeration as the North African cities were filled with flourishing landowners who filled the town councils.

But then again, Pliny the Elder was very much against the profit-oriented estates described in the writings of Columella. His writings can be seen as a part of the 'conservative' reaction to the profit-oriented new attitudes of the upper classes of the Early Empire (Martin 1971
).

Ancient Greece
The landscape of the Greek mainland does not lend itself to large estates. Olive oil and wine for trade were typically produced by many small groves and vineyards, concentrated in fewer hands at the presses and shipping ports. The grasslands of Thessaly and Macedon were pasture for grazing horses. Meat was not a staple in Mediterranean diets.

During the Hellenistic period, latifundia were typical of the export-oriented agriculture of coastal Syria and the Ptolemaic Kingdom in Egypt.

Europe
In the collapse of the Western Roman Empire, the largely self-sufficient villa-system of the latifundia remained among the few political-cultural centres of a fragmented Europe. These latifundia had been of great importance economically, until the long-distance shipping of wine and oil, grain and garum disintegrated, but extensive lands controlled in a single pair of hands still constituted power: it can be argued that the latifundia formed part of the economic basis of the European social, however there is no evidence of this. The gift of a villa, or of a series of them, owned by a powerful patron was at the basis of all the great monasteries and abbeys founded in Western Europe until the time of Charlemagne, when the land-gifts, significantly, tended to be of forest instead.

Italy
In the 6th century, Cassiodorus was able to apply his own latifundia to support his short-lived Vivarium in the heel of Italy. Shortly thereafter, Monte Cassino was founded in a former Imperial villa. But in the 10th century, Cluny Abbey in nearby Burgundy was founded on a gift of the Duke of Aquitaine's chase (hunting forest).

In Sicily, latifundia dominated the island from medieval times. They were abolished by sweeping land reform mandating smaller farms in 1950–1962, funded from the Cassa per il Mezzogiorno, the Italian government's development fund for southern Italy (1950–1984).

Spain
In the Iberian Peninsula, the Castilian Reconquista of Muslim territories provided the Christian kingdom with sudden extensions of land, which the kings ceded as rewards to nobility, mercenaries and military orders to exploit as latifundia, which had been first established as the commercial olive oil and grain latifundia of Roman Hispania Baetica. The gifts finished the traditional small private ownership of land, eliminating a social class that had also been typical of the al-Andalus period.

In the Iberian peninsula, the possessions of the Church did not pass to private ownership until the ecclesiastical confiscations of Mendizábal (), the "secularization" of church-owned latifundia, which proceeded in pulses through the 19th century.

Big areas of Andalusia are still populated by an underclass of jornaleros, landless peasants who are hired by the latifundists as "day workers" for specific seasonal campaigns. The jornalero class has been fertile ground for socialism and anarchism. Still today, among the main Andalusian trade unions is the Rural Workers Union (Sindicato Obrero del Campo), a far-left group famous for their squatting campaigns in the town of Marinaleda, Province of Seville.

Polish–Lithuanian Commonwealth
Following the Union of Lublin in 1569, large expanses of land in Ukraine came under the control of the Polish Crown, which allowed for their exploitation by the Polish nobility. Over the course of the 17th century, these lands came to be mainly concentrated in vast estates, now commonly referred to as Latifundia, which were owned by a small number of magnate families which came to be the dominant political and social group in the commonwealth. These estates were diminished following the Cossack uprisings of the 17th century and largely disappeared following Russia's annexation of the Lithuanian lands of the Polish–Lithuanian Commonwealth at the close of the 18th century.


Forest School Camps

Forest School Camps (FSC) is an organization that is aimed primarily at children between the ages of 6 and 17. FSC has camps running throughout the year, the main ones lasting 13 nights during late July and August, with one week and weekend camps at Easter and during the spring and early summer.

Being a volunteer run organization, it relies on cultural/social bonds and enthusiasm from participants for support and staffing rather than monetary incentive. Many, though by no means all, volunteers have 'grown up' in the organisation. FSC is designed to give children, including those who have never camped before experiences, life skills and social skills.

FSC is an English charity registered with the Charity Commission for England and Wales in the United Kingdom, number 306006.

Culture and history
FSC was originally formed in 1947 by a group of former students and teachers from a radical educational scheme called "Forest School" that started in 1930 in the New Forest. The school later moved to Whitwell Hall  in Norfolk, but the building was requisitioned at the start of World War II and the school had to close.

Forest School had connections with a diverse range of cultures such as the Woodcraft movements, Native Americans cultures and the Quakers. FSC has developed its own distinct culture with traditions and internal practices. Many of the traditions have developed out of physical necessity, such as Rally (a meeting of everyone on the Camp where they discuss what is going to happen through the day), Clan (a vertical age sub-group of the lodge that prepares the meals for the day) or the Arise song, though others sprang forth from cultural and aesthetic bases, such as Merrymoot, or the Camp Songs.  The camp songs are sung round a big camp fire and are a great way to have fun and a bit of a laugh.

The end of a main standing camp is usually marked by two major events, Merrymoot and Lodge Common Council.

Merrymoot is an expanded camp fire session, where the whole camp gathers to entertain one another with sketches and improvisations as well as many of the traditional songs.

Lodge Common Council is a formal occasion, usually on the final night, where the entire camp gathers round a special fire. This is traditionally octagonal in shape, and may be some five feet high, though in practice the shape is more commonly rectangular. Before lighting the fire, a few coals from the previous year are added to the fire, which is then lit in front of the whole body of the camp.

Once the fire is burning, campers will review the camp and may suggest changes in activities or emphasis for the following year.

Groups
People on camp have traditionally been separated into the following groups, although some experimental camps have varied this arrangement:

Pixies - Children who are too young to go alone and must be accompanied by a parent or relative
Elves - Children between the ages of 6 and a half and 8.
Woodlings - Children between the ages of 9 and 11.
Trailseekers - Children between the ages of 12 and 13.
Trackers - Children between the ages of 14 and 15.
Pathfinders - Children between the ages of 16 and 17.
Pixie parents- the parent or relative looking after a pixie
Waywardens - Adults who require special attention due to disabilities
Staff - Adults who care for the children and co-operatively run the whole camp. With the exception of camp chiefs (who are in overall charge of the entire camp) and caterers (responsible for food), staff are split into groups that look after the different age groups. In each group there is also a group chief.

Generally FSC age groups are based on school year rather than birthday. As most camps take place before September, this means it is possible to have campers whose ages do not exactly fit with the groupings listed above (e.g. 15-year-old Pathfinders).

From 2007, as a trial, the age groups have been amended slightly (to those given above), increasing the age range slightly in the lower groups, and reducing it for the pathfinders, to allow the camps to accommodate slightly more older children without distorting the number in each age group. As a high percentage of children who begin camping with FSC fall in love with camp and want to stay on until their final year, when they participate in a coming of age ceremony, when the pathfinder age group previously encompassed ages 15, 16 and 17, there were always more applications from pathfinders than spaces for them to fill. The change in age groups has compensated for this and now more children are able to continue camping into their final year.

Camps

Each camp has a different agenda and model, set by tradition and the Camp Chief. There are several different identifiable types:

 Standing camps
 These are set in regularly used locations, at sites generally used for many years, and where a relationship has been built up with the landowners. Sites may be on remote hill farms among mountainous country, or on land in lowland areas. Most camps are in this format and children need to attend at least 2 of these camps to experience FSC life before being able to try activity camps as below. A variety of standard and novel activities take place on these camps, and they can be exciting and challenging, but they are less demanding physically than some of the mobile and activity camps. They may have a theme or special interest depending on the interests of the camp leaders and staff.

Both basic and more advanced camping skills are learnt during Standing Camps, particularly during the first part of the camp. These skills are consolidated by the 'hike', during which each age group walks with its staff away from the site for two, three or four nights, taking just their essential camping gear with them. The distance travelled and the time away from the main camp depend on the age of the children in the group.

 Mobile camps
 These camps generally do not have a single fixed campsite. They move on most days and are based around walking in lowland or mountain environments, cycling, canoeing or other activities. Whilst most mobiles are based in the United Kingdom some are based abroad.

Semi-mobile camps
Semi-mobiles are essentially Mobiles, however may either have a site on which they spend a period of time before beginning the journey or have a fixed location (often known as a base camp) from which small trips are made most days.

 Caving camps
 These camps are usually based in a caving hut with day adventures out into local caves. These camps often include a day of overground exploration. Recent camps have taken place in parts of the UK such as the Mendips, Devon, Yorkshire and South Wales. Caving camps are often described by those who frequent them as part of the "real heart of FSC", with the same people attending them year after year, and strong friendships being built up.

 Conservation and Skills camps
 These are a special form of standing camps focused on a particular work project, usually an environmental project of some sort. These camps restricted to over 16s or over 18s depending on their nature and leaders.

 Associate Camps
 These are run and organised by FSC associates, usually parents of child campers, but can also include staff from children's camps. They are generally shorter weekend camps, and do not follow exactly the same structure as standard child camps, but are similar in ethos and are open to family groups, children are cared for by their own parents/guardians rather than staff.

FSC Glee
One part of FSC camps is the communal singing and sharing of traditional and contemporary songs. A campfire is often held in the evening where people are encouraged to sing. FSC song books are also printed every few years, these contain some of the more common songs sung on camps. A virtual version of these books is available at the FSC glee website. A few songs unique to FSC such as the Poll Tax song have been written by members and remain part of the oral tradition.

Primary sources
The historical records of the Forest School Camps are held in the Archives of the community Institute of Education, University of London and a full catalogue can be found on-line.


Brodie–Trendelenburg percussion test

The Brodie–Trendelenburg percussion test is a medical test to determine valvular incompetence in superficial veins. A finger is placed over the lower (distal) part of the vein being examined. The upper (proximal) part of the vein is then tapped (percussed). If the impulse is felt by the finger placed at the lower end, it indicates incompetence of valves in that vein.

The test is used as part of the examination of varicose veins. It is named after Sir Benjamin Collins Brodie and Friedrich Trendelenburg.

External links