Athletics career.

Between 1965 and 1973 he won two gold, five silver and one bronze medal in the AAA indoor 60 metres/60 yards, missing out on the medals only in 1970. In the 100 yards at the AAA championships he won a gold, silver, and two bronzes between 1965 and 1968. His biggest success was in winning the 60 metres at the 1966 European Indoor Games, setting the inaugural world record in the semi-final with 6.6, and equaling this time in the final.  He also competed and two European championships, 1966 in Budapest and 1969 in Athens as well as the Mexico Olympics.  He represented England in the 100 yards and 110 yards relay, at the 1966 British Empire and Commonwealth Games in Kingston, Jamaica.

Personal life.

He suffered from asthma and didn't take up athletics till he was 22. He never told the British Amateur Athletic Board of his Asthma, afraid he would miss being selected for the Mexico Olympic Games, and other overseas trips. He went on to represent Great Britain on 33 occasions, which was a record for a sprinter at that time. He also captained the British Men's Team on several occasions.  He had a very successful career in the brewing industry, retiring at the age of 65.  Kelly has always had an interest in photography, and after his retirement, his passion is wildlife. He has a keenness for British wildlife, he has however travelled to many countries, such as Kenya, Botswana, Tanzania, Namibia, India, Canada, the USA, and across Europe.

Barrie Harrison Kelly (born August 2, 1940) is a former sprinter from Bury, United Kingdom. He was a member of Bury and Radcliffe Athletic Club.

Barrie Kelly ("Barrie Harrison Kelly;" * 2. August 1940 in Bury) ist ein ehemaliger britischer Sprinter. 1966 siegte er bei den Europäischen Hallenspielen in Dortmund über 60 Meter. Bei den British Empire and Commonwealth Games in Kingston wurde er jeweils Siebter über 100 Yards und mit der englischen 4-mal-110-Yards-Stafette, und bei den Europameisterschaften in Budapest wurde er Sechster über 100 Meter und mit der britischen Mannschaft Fünfter in der 4-mal-100-Meter-Staffel.


Origins.

"Hit 'Em Up" was written and recorded at Can-Am studios in May 1996. For the song, Tupac Shakur recruited the members of the former group Dramacydal whom he had worked with previously, and was eager to work with again. Together, the rappers (along with other associates) formed the original lineup of the Outlawz. The first and third verses are performed by Shakur, while the second verse is performed by Hussein Fatal, the fourth by Yaki Kadafi and the fifth by E.D.I. Mean.  The ferocity of Shakur's raging vocals, as said by long-time collaborator and producer of "Hit 'Em Up" Johnny "J", was entirely authentic. He explained that Shakur was initially fueled by his anger against Biggie and Bad Boy Records for the belief that they had a role in the November 30, 1994 ambush and attack on Shakur. He claimed that Biggie and his crew knew of his shooting and wanted him dead. Shakur used this fury, which Johnny "J" described as "superhuman", to attack Biggie and other East Coast rappers. Johnny "J" also stated that he had never seen Shakur so angry and that the words he rapped were in no way an act, describing the recording process as the most "hard-core he had ever done." Although he was very happy with the work he had put into it and the resulting song, Johnny "J" went on to say that he had no desire to work on anything of that magnitude again.  Shakur was also enraged by Biggie's release of "Who Shot Ya?" provocatively only months after the shooting incident, and although it did not directly involve Shakur's name, he believed it was directed towards him. Shakur admitted to releasing "Hit 'Em Up" as a response to "Who Shot Ya?" In a "Vibe" interview, the rapper called out Sean "Puffy" Combs and Biggie Smalls and accused both of them of setting him up, or of having knowledge of the attack and not warning him. He also singled out businessmen James Rosemond ("Jimmy Henchman"), and Jacques Agnant ("Haitian Jack") of orchestrating the assault. Shakur announced the names of his ostensible conspirators to Kevin Powell, a journalist for "Vibe" however, to mask their true identities, "Vibe" referred to Henchman as "Booker," and Jack as "Nigel" in the published interview. Persons familiar with the interview say they used different names after the magazine received threats from Henchman. A former "Vibe" editor denied receiving threats, but neglected to explain why the magazine substituted aliases for Henchman and Haitian Jack.  Henchman promised Shakur $7,000 to duo with Lil Shawn, a rapper whom the businessman represented at that time. In a 2008 article by Philips, Henchman was implicated in organizing the assault, and was further implicated in 2012 by his long-time friend Dexter Isaac, who confessed to attacking Shakur on Henchman's orders. Isaac was confirmed as a source in Philip's earlier story as well as in Henchman's own confession, according to prosecutors at his 2012 trial.

Composition.

The lyrics in "Hit 'Em Up" were aimed primarily at Biggie and Puffy. Shakur viciously insults Biggie throughout — the first line by Shakur is "That's why I fucked your bitch, you fat motherfucker" — and threatens retaliation in the songs hook, saying "Who shot me?/But you punks didn't finish/Now you're about to feel the wrath of a menace." He also used the song as a platform to express his belief that Biggie was guilty of stealing his style of rapping, and was merely imitating his lifestyle. This notion is addressed in the verse in "Now it's all about Versace, you copied my style." He also touches topically on their early friendship with the line "Biggie, remember when I used to let you sleep on the couch?" and their subsequent fallout. Towards the end of the song Tupac disses Mobb Deep, saying "Don't one of you niggas got sickle cell or something? You fucking with me, nigga you fuck around and get a seizure or a heart attack", referring to Prodigy, a member of Mobb Deep who suffered from sickle cell disease (and would in fact later die of complications related to the disease). Mobb Deep responded by releasing "Drop a Gem on 'em", which was released shortly before Tupac's death (but pulled from airplay rotation after). "Hit 'Em Up" features much profanity, using the words "fuck" or "motherfucker" at least 35 times in the song, and was issued a Parental Advisory label.  The bassline in "Hit 'Em Up" is taken from the 1984 Dennis Edwards song "Don't Look Any Further". The chorus of "Hit 'Em Up" is a play on the chorus of Junior M.A.F.I.A's "Player's Anthem." The phrase "take money" is repeated throughout the song, which is a play on Junior M.A.F.I.A's recent release "Get Money", which is also the beat used in "Hit 'Em Up". Faith Evans, who at the time was Biggie's estranged wife, was reportedly seen with Shakur after a public breakup with Biggie. Journalist Chuck Philips spotted Faith Evans at Can Am when he interviewed Shakur a year earlier in 1995. People at the studio told the reporter that Faith Evans also contributed—that the R&B chanteuse recorded one or more "Take Money" background vocals that would appear on "Hit Em Up." In his October 1995 interview of the rapper, Philips remembered in 2012, "I was so unaware of the bi-coastal rap war that I suspected nothing when Faith Evans appeared with Shakur at Can Am. The estranged wife of Biggie was recording background vocals for "Wonda Why They Call U Bitch", a song which was at the time yet to be released. According to Shakur she had given him gifts of clothing, which he offered as proof of a relationship in an interview. Using this against Biggie in "Hit 'Em Up", Shakur continued to fuel the rumors of a sexual relationship with Evans in the song's line "You claim to be a player, but I fucked your wife." Claims of an affair with Evans appear three times in the song.  Shakur also attacked many other people associated with Bad Boy Records and with Biggie, such as Lil' Kim and Junior M.A.F.I.A. He exclaimed that their lifestyle and what they rapped about were fraudulent, and that they were not from the streets. He believed that they were only perpetuating the drama and did not understand the situation they were getting into. Bronx rapper Chino XL was also insulted for vulgar comments he made about Shakur on his song "Riiiot!". In the original recording, Shakur also insulted Jay-Z at the ending segment, but removed it after being convinced by Outlawz members that Carter had nothing to do with the conflict between Death Row and Bad Boy.

Music video.

The music video for "Hit 'Em Up" was filmed in a warehouse off Slauson Avenue near Fox Hills Mall in Los Angeles in June 3, 1996. It was filmed by the production company Look Hear Productions. Shakur raps in a white room with The Outlawz, as well as in purple-caged room and a black room with bullet holes in the background. TV monitors in the background show clips of Shakur, Puffy, and Biggie Smalls, and even clips from the video "Made Niggaz." The video featured actors who were recalled from their prior roles in the music video for "2 of Amerikaz Most Wanted" to impersonate some of those who were attacked in "Hit 'Em Up." This included Biggie, whose stand-in stares dully into the camera and sports a Kangol and jacket, similar to one Biggie would wear. During the moments where Shakur raps about his claimed affair with Evans, the Biggie impersonator crouches near the camera while Shakur yells in his face. Puffy is also impersonated, appearing with a high-top fade and leaning towards the camera, lowering and raising his sunglasses.  Like the song, the video for "Hit 'Em Up" has also been called "infamous". The pro-West Coast track's music video featured the members crushing buildings in Manhattan, which was already done in another pro-West Coast music video for "New York, New York" by Tha Dogg Pound earlier. The music video for "Hit 'Em Up" can be found on "Tupac: Live at the House of Blues" DVD.

Release and reception.

Finishing the recording of the song, Shakur felt very positively about the track, saying the "song is going to be playing in every club., every country. Deejays are calling from everywhere, wanting to get a piece of this." "Hit 'Em Up" appeared first as a B-side, on the single "How Do U Want It", by Shakur featuring The Outlawz. On June 4, 1996 under the label Death Row Records, "Hit 'Em Up" was released on compact disc, 12-inch, and a 45 RPM. The original cover for the single had Puffy's head on a snake's body, and Biggie's head on a pig's. It also appeared posthumously on several compilations, including the 2005 release of Shakur's last recorded live performance, "". "Hit 'Em Up" was also remixed on Nu-Mixx Klazzics. Upon its release, "Hit 'Em Up" received frequent radio airplay, which was attributed to the public interest in the ongoing feud and radio stations' desire to garner high ratings. However, some radio stations, such as the Los Angeles-based KPWR, refused to play it. The follow-up to "Hit 'Em Up" was the song.  "Hit 'Em Up" has been called "controversial," "infamous," "disturbing," and "brutal." Shakur's insults against virtually the entire East Coast scene of rappers were said to be ferocious. The song, along with "Dear Mama," has been viewed as one of Shakur's songs that resonated with and was spoken of the most by young people. Some felt that "Hit 'Em Up" showcased Shakur ranting and raving like a fool, and J.R. Reynolds of "Billboard" called it horrendous, noting that Shakur revealed his true colors upon recording the song. He also went on to say that although sympathetic to the shooting, "Hit 'Em Up" had "fan[ned] the flames of hatred...and affect[ed] an entire black culture's psyche"; he called the song "repugnant and unacceptable." Among associates of Shakur, it was called a "bad-luck song." Los Angeles radio director Bruce St. James called the song "the be-all, end-all, curse-word, dirty-lyric, violent song of all time." Game's manager has called it the best diss record. Documentary filmmaker Carl Weston believed that "most people in Biggie's shoes would have wanted to at least "hurt" Tupac" in a "Spin" magazine interview.  Among musicians, the song drew criticism from singer Dionne Warwick, and disapproval from fellow rappers Kool Moe Dee and Chuck D, as written in their book "There's a God on the Mic: The True 50 Greatest MCs". They felt that although Shakur was one of the most substantive rappers of that period, he had gone too far with "Hit 'Em Up," causing some of Shakur's fans to turn on him, according to the two rappers.

Aftermath.

The song has been viewed as the turning point in the feud between Tupac and Biggie, where things were said and rapped which could never be taken back during the remainder of Shakur's life. This has led to it being dubbed as the beginning of the war between the East Coast and the West Coast, and the centerpiece in what became the most venomous battle in history of hip hop.  "Hit 'Em Up" has been studied by and with academics, and it has been used as a part of a series of lessons for building the means to communicate with younger people. Its main role in these lessons is to define anger in rap music. Biggie was shot and killed six months after Shakur's death.

Response.

From Biggie.

After hearing "Hit 'Em Up", Biggie continued proclaiming his innocence in the shooting incident. He also remarked that the song "Who Shot Ya?" was written before Shakur was shot and thus, was not about him. Regarding the lyrics aimed at his wife Faith, Biggie expressed an inability to find merit in what Shakur had claimed. He believed that Shakur intended to attack him through Faith, although he remained unsure of whether an encounter between them had occurred. Ultimately, he thought that if something had occurred it was none of his business, and that Shakur should not have publicly disclosed this information in a song. Biggie responded to this matter in a similar fashion to "Hit 'Em Up", rapping in a joint release by himself and Jay-Z in the song "Brooklyn's Finest", where he says "If Faye have twins, she'd probably have two Pacs. Get it? Tupac's?" Shortly after the release of "Hit 'Em Up", Evans went on the radio and denied that she had been with Shakur.

From other artists.

Puffy had trouble understanding the sheer rage Shakur had expressed for Biggie in "Hit 'Em Up". He also responded by reinforcing his and Biggie's innocence regarding the shooting and went on to say that prior to the incident they "were friends", and that they "would have never done nothing to hurt him." In an interview with "Vibe Magazine" concerning Shakur's allegations of Biggie and Puffy having prior knowledge of the ambush, Puffy stated:  Lil' Kim responded on the original version of her song "Big Momma Thang", which was aimed at Biggie's wife, Faith Evans, and Shakur. Junior M.A.F.I.A. recorded a music video for the song "Get Money", which has been regarded as a diss to Shakur. Biggie denies these claims, stating: "It's just a video; ain't nobody got no time to make no diss on nobody." Lil' Cease said after the release that Biggie still had love for Shakur, and even respected him. The attack on Mobb Deep came as a response for their involvement on the song "L.A L.A" by Capone-N-Noreaga, which was a retaliation to Snoop Dogg and Tha Dogg Pound's song "New York, New York" music video in which members of Tha Dogg Pound and Death Row are seen knocking down buildings in New York City. Mobb Deep responded to Shakur with the track "Drop a Gem on 'em". It was first released as a promotional single, and later appeared on their album "Hell on Earth". Lyrically, it did not specifically name Shakur, but it did allude to the shooting incident. It has also been noted for erroneously stating the cost of the assets Shakur had taken from him during the shooting incident. Bronx rapper King Sun also responded to Shakur with "New York Love (All Eyez On Sun)".

Appearances.

"Hit 'Em Up" was originally featured as a B-side on Shakur's single "How Do U Want It". In 1998, it was released on Shakur's first compilation album, "Greatest Hits." A remix of the song was featured on "Nu-Mixx Klazzics" (2003), where the intro lyrics from the originally explicit version and the main lyrics from the edited radio version. A live version of the song was included on the 2005 release of "". "Hit 'Em Up" was first released on "Death Row Greatest Hits", and was again released as a live recording on the 2004 album "2Pac Live".  In the second half of Eminem's song "Quitter", the rapper attempts to remake "Hit 'Em Up" and in itself is a diss track aimed towards Everlast. Eminem has support from D12 on his version like the Outlawz supported Shakur on the original. Khia used the song's beat and part of the hook in her song "Hit 'Em Up", which is a diss to female rappers Trina and Jacki-O. "What I Think About You" by Bow Wow uses a reinterpolation of "Hit 'Em Up" and is a diss song to fellow rapper Soulja Boy Tell 'em.  The song appears in 2Pac's Biopic, "All Eyez On Me" (2017), in which 2Pac performs the song during his 1996 House Of Blues Concert in the film as a message to Biggie, talking about having relations with Faith Evans, Biggie's wife. The film shows 2Pac sending the song to Biggie to hear along with Biggie being handed a magazine with 2Pac & Faith taking a close picture together, furthering the accusation of 2Pac taking Biggie's wife in the song. The lines 'take money' were sung by Faith Evans.

"Hit 'Em Up" is a diss song by hip hop artist 2Pac featuring the Outlawz, a group associated with him. It is the B-side to the single "How Do U Want It", released on June 4, 1996. The song's lyrics contain vicious insults to several East Coast rappers, chief among them, Shakur's former-friend-turned-rival, the Notorious B.I.G., also known as Biggie Smalls. The song was recorded in Los Angeles, California at Can Am Studios in May 1996. Reporter Chuck Philips, who interviewed Shakur at Can Am, described the song as "a caustic anti-East Coast crusade in which the rapper threatens to eliminate Biggie, Sean Combs (Puffy), and a slew of Bad Boy artists and other New York acts." The song was produced by long-time collaborator Johnny "J" and uses the bassline from "Don't Look Any Further" by Dennis Edwards and interpolates "10% Dis" by MC Lyte, "Get Money" by The Notorious B.I.G.'s group Junior M.A.F.I.A.. The video, itself described as infamous, includes impersonations of Biggie, Puffy and M.A.F.I.A. member Lil' Kim.

Hit ’Em Up ist ein Disstrack von 2Pac (Tupac Shakur), den er gemeinsam mit der Rapgruppe The Outlawz gegen seinen früheren Freund und Rapper The Notorious B.I.G. (Christopher Wallace), auch bekannt als „Frank White“ und „Biggie Smalls“, aufnahm. Der Song erschien am 4. Juni 1996 als B-Seite der Single "How Do U Want It" vom Album "All Eyez on Me". Neben Wallace wurden auch weitere Eastcoast-Rapper wie Sean Combs (damals noch Puff Daddy) beleidigt, insbesondere natürlich die Signings von Biggies Label Bad Boy Entertainment. Musikalisch verantwortlich zeichnete Produzent Johnny „J“. Im dazugehörigen Video traten Doppelgänger von Notorious B.I.G., Puff Daddy und Lil’ Kim auf. Der Track hatte große Auswirkungen auf die Entstehung der Rivalität zwischen East Coast vs. West Coast-Hip-Hop.


The games.

Opening ceremony.

The opening ceremony officially began on July 13, 1978. It was organized by Mohamed Zerguini, president of the Algerian Olympic Committee and member of the International Olympic Committee. It was attended by Lord Killanin (president of the International Olympic Committee), Mohamed Mzali (vice-president of the IOC), Masaji Kiyokawa (Vice Chairman of the IOC), the French Count Jean de Beaumont, the IOC executive members Juan Antonio Samaranch, Mohamed Benjelloun, Lamine Keita, Mohamed Abel Halim and other members and 45 presidents or representatives of the African National Olympic Committees. And finally Ignaty Novikov president of the Organizing Committees of the Olympic Games accompanied with representatives of Organizing Committees of the 1979 Mediterranean Games in Split.

Closing ceremony.

At the conclusion of the games it was known where the next games would be held as Nairobi had come forth to offer to hold the games in 1987.

Stars of the games.

Henry Rono, the Kenyan star who had already set four world records on the track in 1978 won the 10,000 meters and 3000 meters steeplechase. Filbert Bayi again took the 1500 meters gold medal. The Algeria national football team wins the gold medal of the games against Nigeria, Ghana wins the bronze medal.

Participating Nations.

The following is a list of nations that participated in the 1978 All-Africa Games: Somalia participated in the games, but not mentioned.

Results.

Athletics.

Malian discus thrower Namakoro Niaré won his third title, being the only athlete to do so. Four athletes, two male and two female, won more than one event:  Some new events were added: Decathlon and pentathlon, for men and women respectively, as well as men's 20 km road walk.

Football.

The football tournament was won by the host country Algeria.

Concerns and controversies.

Egyptian incident.

The Egyptian team, which had topped the medals table in the previous two games was called home by its government midway through the games after a brawl marred the football tournament. A fight between Libyans and Egyptians began at the end of the match after a Libyan player struck his opponent. The field became a ring between the players and leaders on both sides. It was reported that Algerian police did stop the violence. Live television broadcast the melee to Egypt. Egypt decided, as a result of these incidents, to withdraw from the competition and the Egyptian Prime minister called the team home immediately.

The meeting of Algiers.

The meeting gave those African nations associated with the Commonwealth a chance to address another brewing controversy; their proposed boycott of the 1978 Commonwealth Games which were to be held the following month in Edmonton, Canada. The discussions were fruitful and the boycott was not carried out.

The 3rd All-Africa Games – Algiers 1978 was a multi-sport event played from July 13, 1978, to July 28, 1978, in Algiers, Algeria. 45 countries from 49 independent African countries participated in twelve sports.

Die III. Afrikaspiele, bis 2012 auch Panafrikanische Spiele genannt, (franz.: III Jeux africains, engl.: 3rd All-Africa Games) fanden vom 13. Juli bis zum 28. Juli 1978 in Algier, der Hauptstadt von Algerien, statt. Houari Boumedienne eröffnete am 13. Juli 1978 im "Stade 5 Juillet 1962" von Algier feierlich die Spiele. Etwa 3.000 Athleten aus 45 von 49 unabhängigen afrikanischen Ländern nahmen an den Sportwettbewerben teil. Wie bereits in den Jahren zuvor waren Sportler aus Südafrika wegen der anhaltenden Apartheid im Land von den Spielen ausgeschlossen. Es wurden Wettkämpfe in 12 Sportarten mit 124 Entscheidungen durchgeführt. Die Mannschaften aus Tunesien, Nigeria, Algerien und Kenia gewannen die meisten Goldmedaillen.


Station origin.

The genesis of what would become WRR began through the efforts of local amateur radio enthusiasts belonging to the Dallas Radio Club, in conjunction with Henry "Dad" Garrett, who was Dallas' superintendent of police and fire signals. Inspired by activities at the New York City police department, Frank M. Corlett, a local district manager for the American Radio Relay League, approached the Dallas police about setting up something similar. A short notice in the December 28, 1920, edition of "The Dallas Morning News" stated that Corlett was developing a system in cooperation with Police Commissioner L. E. McGee which would be used to "notify the near-by police of the escape of prisoners and to give a description of suspects fleeing from Dallas." In early February, it was announced that the plan was now operational, consisting of nightly transmissions between 7 and 10 o'clock. The primary outlet was Corlett's Special Amateur station, 5ZC, located at his home at 1101 East Eighth Street. Two alternate sites were included: Bennett Emerson's Special Amateur station, 5ZG, located at 3720 Wendelkin Street, and John Dorea's station, 5JG, at 117 West Twelfth Street. In early June 1921, it was again announced that the daily police bulletin transmissions had been inaugurated by Corlett and Emerson.  "Dad" Garrett was also involved in the developmental work. Garrett had had an early interest in radio communication. In 1912, a fire broke out that was being dealt with by a majority of the fire department. Meanwhile, a second major blaze occurred, but because the telephone lines were down, there was a delay in alerting crews at the site of the need to deal with the second emergency. Radio was still an unperfected technology, but Garrett recognized its future potential for speeding up communication during emergencies. In May 1921, it was reported that he had installed on a fire truck a radio receiver constructed by Corlett and had successfully received transmissions sent by Emerson and Garrett's son, Charles Garrett.

WRR.

In July 1921, Bennett Emerson sold his transmitting equipment to the city for $250, and it was installed on the second floor of the Central Fire Station at 2012 Main Street, where it came under the oversight of "Dad" Garrett. On August 5, 1921, a Limited Commercial license with the randomly assigned call letters WRR was issued to "City of Dallas (Police and Fire Signal Dept.)", which authorized transmissions on the wavelengths of 400, 450 and 500 meters (750, 667 and 600 kHz), for communication with "Police and Fire Signal portable stations, general communication and broadcasting with amateur stations".  An early review of the new station noted that in addition to broadcasting police reports, it had been used for a two-way conversation between the Chief of Detectives in Dallas and Houston. WRR soon expanded its offerings beyond police and fire reports. In mid-December, it ran a telephone line to the local First Baptist Church's auditorium in order to broadcast Dr. George Truett's Sunday services. By early February 1922 the station's daily schedule included entertainment programs, featuring sports reports and weather forecasts, plus piano, vocal and saxophone solos. "Dad" Garrett's assistant, Lynn B. Henson, took on the majority of the responsibility for running the station.  From 1912 to 1927, the Department of Commerce regulated U.S. radio, and initially, there were no specific restrictions on stations broadcasting entertainment to the general public. The first formal standards were adopted effective December 1, 1921, which specified that broadcasting stations had to hold a Limited Commercial license that also authorized operation on the "entertainment" wavelength of 360 meters (833 kHz) or the "market and weather reports" wavelength of 485 meters (619 kHz). At the time this regulation was adopted a small number of stations already met the new requirements, although this did not include WRR, whose current Limited Commercial license did not have an assignment for either of the broadcasting wavelengths, and as of late January 1922 the station was reported to be broadcasting on 450 meters. In early February 1922, WRR was reported to now be on 360 meters, but it wasn't until March 13, 1922 that the station was issued a new Limited Commercial license that included an authorization to use both broadcasting wavelengths. For this reason the Federal Communications Commission (FCC) records generally list March 13, 1922, as WRR's "Date First Licensed".  In early April 1922, as WRR's focus turned toward general broadcasting, a second transmitter was installed, operating on 200 meters (1500 kHz) under the call sign of 5ZAQ, which took over the broadcasting of fire signals. The common use of 360 meters led to some unique cooperative experiments, including a June 1922 wedding where the three main participants were located at different radio station studios, with the groom broadcasting his responses over WRR, the bride's from WDAO (a short-lived station operated by the Automotive Electric Company), and the minister officiating through the "Dallas Morning News"' WFAA (now KLIF (AM)). As additional broadcasting stations were established, the joint use of 360 meters led to the need to develop timesharing agreements between the stations to avoid interference. By early July there were five local stations — three in Dallas and two in Fort Worth — and an agreement was concluded which allocated timeslots for the period from 8:45 A.M. to 10:00 P.M. on weekdays, and from 11:00 A.M. to 10:00 P.M. on Sundays. Under this plan, WRR's weekday assignments included "Weather forecast on 485 meters. Lecture and music on 360" from 12:00 noon-12:30, "Baseball, markets, music" from 3:00-3:30, "Police bulletins" from 7:00-7:15, and music from 8:30-9:00. Its Sunday schedule consisted of police bulletins at 7:00 P.M., followed by a church service at 8:00. By the end of 1922, the number of broadcasting stations licensed in the United States had ballooned to over 500. WRR stood out as one of fewer than ten stations operated by a municipality.  In 1925, it was decided that the city could not afford the expense of operating a radio station, and WRR's license was allowed to lapse, leading to its deletion in late July. However, a committee of civic leaders, headed by Edwin J. Kiest, the owner of the "Dallas Times Herald", and George B. Dealy, President of the "Dallas Morning News", raised the funds needed to revive the station, which was relicensed in October. Beginning in the mid-1920s, WRR started accepting advertising. The station became financially self-supporting and began providing surplus funds to the city government.  Over the years, the number of available transmitting frequencies was expanded. The Department of Commerce and, beginning in 1927, the Federal Radio Commission (FRC) worked to accommodate a growing number of stations, and WRR experienced a series of frequency reassignments. In late 1928, under the provisions of a major reallocation resulting from the FRC's General Order 40, WRR was assigned to full-time operation using 500 watts on a "regional" frequency, 1280 kHz. On March 29, 1941, implementation of the North American Regional Broadcasting Agreement resulted in all the stations on 1280 being shifted to 1310 kHz, which has been the dial position of WRR and its successors ever since.  In 1948, WRR launched an FM station, which was assigned the call letters WRR-FM. Initially WRR provided more popular programming, while the FM station featured classical music. In 1975, WRR became the first station in the Dallas/Fort Worth area to adopt an all-news format when it became affiliated with NBC's new "News and Information Service" network. It continued with this format even after NBC ended the service in 1977. The Dallas government eventually decided to sell WRR while retaining WRR-FM, so after nearly 57 years ownership of the station was transferred to the Bonneville International Corporation in early 1978.

KAAM.

Concurrent with the station sale, the call letters were changed as the station became the first of several incarnations of KAAM when it was owned by the same company that owned KAFM (92.5 MHz). KAAM dropped the all-news format and featured a variety of musical formats.

KTCK "The Ticket".

In 1994, the station was sold to Cardinal Communications, which changed the call letters to KTCK and adopted a sports talk format as "The Ticket". The Ticket's original lineup consisted of Skip Bayless, Curt Menefee, Mike Rhyner and Greg Williams, Chuck Cooperstein, and George Dunham and Craig Miller. Bayless was the first host to inaugurate the station's sports format. "The Hardline" (now with Mike Rhyner and Corby Davidson) and the "Dunham and Miller Show" have been part of the station's offerings since the introduction of "The Ticket" format. The sometimes controversial station has posted strong ratings in the Dallas radio market, especially its top-rated shows. Formerly owned by Susquehanna Pfaltzgraff, The Ticket was purchased by Cumulus Media on May 5, 2006.  On March 6, 2006, the station announced that it would be the flagship affiliate of the National Football League's Dallas Cowboys radio network. This resulted in a 60% ratings increase as reported by the Arbitron rating service. However, on January 23, 2009, KTCK and the Cowboys ended their three-year partnership. On January 16, 2009, The Ticket along with the Dallas Stars issued a press release naming KTCK as the new flagship station for Dallas Stars hockey for five years starting with the 2009-10 season. In 2014, this was renewed for an additional five years.  On August 7, 2013, it was announced that Cumulus Media would take over operation of rival station KESN ("ESPN 103.3"), owned by the Walt Disney Company, through a long-term LMA (local marketing agreement), with programming on both stations remaining the same. As part of this transaction, it was necessary for Cumulus to divest one of its FM stations, due to limits on the number of stations an individual entity can control in a given market. The deal was to take effect once Cumulus completed the transfer of KTDK 104.1 in Sanger, which had been simulcasting KTCK, to Whitley Media. However, the FCC disallowed the Whitley Media transfer, labeling it a straw purchase in which Cumulus would remain the de facto owner of the station, so Cumulus instead surrendered KTDK's license for cancelation. On October 7, 2013, it was announced that The Ticket would begin simulcasting on 96.7 FM, a station which, as WBAP-FM, had been simulcasting WBAP News/Talk 820 AM. The change took effect on October 21, followed by the FM station changing its call sign to KTCK-FM. (WBAP is now rebroadcast on The Ticket's former simulcast spot, KPLX 99.5 HD2).

Awards.

SportsRadio 1310 The Ticket has won many awards over the years, including the 2007 Marconi Award for "Best Sports Station in America" at the National Association of Broadcasters' annual conference on September 27, 2007. The station and various shows have been Marconi nominees in the past, but this was The Ticket's first win. The Ticket was again recognized as "Sports Station of the Year", winning a second Marconi Award in 2013. The Ticket won its third Marconi Award for "Sports Station of the Year" in 2017. The Ticket was nominated as a finalist for NAB Marconi ‘Station of the Year’ regardless of format in 2018. The winner has not yet been announced.

In popular culture.

The FX drama "Justified" made frequent use of the names of The Ticket personalities for supporting characters as writer/producer VJ Boyd is a former Dallas resident and an active fan of KTCK. Boyd continued this practice in his scripts for NBC's "The Player".

KTCK (1310 AM; "SportsRadio 1310 The Ticket") is a commercial sports talk radio station licensed to Dallas, Texas, which serves the Dallas-Fort Worth Metroplex (DFW). Its daytime power is 25,000 watts, which is reduced to 5,000 watts at night. The station's studios are located in the Victory Park district in Dallas, just north of downtown, and the transmitter site is in Coppell. The station is currently owned by Cumulus Media. KTCK's programs are simulcast at 96.7 MHz over KTCK-FM, licensed to Flower Mound, Texas.

KTCK "("The Ticket")" ist eine US-Radiostation aus Dallas, Texas. Sie gehört zu den ältesten Stationen der USA und ging am 4. August 1921 als "WRR" auf Sendung.<br> Heute ist KTCK eine Sports Talk Radio Station von Cumulus Media. Die Station ist bekannt für ihre humorvolle Moderation des Sportprogrammes. Die Studios befinden sich im Victory Park District in Dallas, während die Sender in Coppell stehen.


Early life.

Born September 15, 1980, Fort Collins, Colorado, in the United States, to parents Nicholas Woolf and author Marcy Luikart, Woolf grew up in Fairfield, Iowa. He moved with his family to Santa Barbara in 1999 where he was an active league pool player, improv theater performer, and karaoke enthusiast. He earned a degree in Early Childhood Education at City College, teaching in the Head Start program in Goleta until 2010. In 2002 when he moved to Hollywood to pursue his dream of being an actor.

Career.

In 2002, He began acting career in his musical film debut "Tap". Woolf featured in "Dead Kansas", "Insidious", "Haunting Charles Manson", and "Woggie". However, Woolf was perhaps best known for his role as The Infantata and Meep on the television series "American Horror Story".  Of his love of pre-school teaching, he said,...when you’re with children, you kind of live in a different world that doesn’t have any rules. It’s more imagination.

Personal life.

Woolf suffered from a condition called pituitary dwarfism diagnosed at an early age. He stood at 4 feet 4 inches (1.31 meters) as an adult.

Honors.

Two weeks before he died Woolf was honored in Moscow for his contributions to the horror genre at the Russian Horror Film Awards.

Death.

Woolf died February 23, 2015 at age 34 from a stroke resulting from a head injury he received in a traffic accident while crossing the road. He was struck by the side-view mirror of a passing car in Los Angeles, California. Woolf later died at Cedars-Sinai Medical Center located in Los Angeles.  He is survived by his father Nicholas Woolf, his mother Marcy Luikart, sister Kathryn Woolf, his stepmother Sarajane Woolf, stepfather Ralph Luikart, and stepsister Heather Luikart.

Benjamin Eric Woolf (September 15, 1980 – February 23, 2015) was an American film and television actor. He is known for his roles in "American Horror Story" and seasons, in which he played Infantata and Meep, respectively. He was also a pre-school teacher.

Benjamin Eric Woolf (* 15. September 1980 in Fort Collins, Colorado; † 23. Februar 2015 in Los Angeles, Kalifornien) war ein US-amerikanischer Schauspieler. Bekannt wurde er durch seine Rollen als "Meep" und "Infantata" in zwei Staffeln der Fernsehserie "American Horror Story".


Fort.

In 1667 the French government built a small fort on the island of Petit Bé. Construction on the present fort began in 1689.  The fort was part of the defenses that Vauban designed to protect Saint-Malo from British and Dutch fleets. The defensive works included the walls of Saint Malo, Fort National, Fort Harbourg, Fort de la Conchée, and the forts of Cézembre and Pointe de la Varde; these last two have been destroyed.  Construction began under the direction of the engineer Siméon Garangeau. The fort was still under construction in at the time of the British attack on Saint-Malo in November 1693. When an Anglo-Dutch force attacked Saint-Malo again in 1695, the fort helped repel the attack.  The fort consists of a horseshoe-shaped battery on the seaward side that has 19 embrasures for guns. In 1695 it held nine guns; two years later it was armed with 15 guns, including four 48-pounders and six 36-pounders, as well as two mortars. A garrison of 177 men manned the fort and served its guns. On the landward side the fort consisted of two half-bastions that flank the entrance, which is a few metres above the level of the rocks. The bastions are loopholed for muskets to enable the defenders to resist attempts to scale the defences. Several different plans were advanced for a demi-lune outwork in front of the entrance but in the end none was built. Cross-fire from Petit Bé and Fort Harbourg in Dinard protected the estuary of the Rance. The fort was finally finished in 1707.  The French army occupied the fort until 1885. Later, the army turned the fort over to the city of Saint-Malo. It became a "Monument historique" in 1921, but was neglected until 2000, when the city gave it to a non-profit organization rent-free to renovate it and prepare it for tourism. Under the direction of Alain-Etienne Marcel, the fort has been restored. Brush was removed from the embrasures, some of which received period cannons. The cistern had to be emptied of garbage and it now retains storm water fed into it from the restored roof of the barracks building.

Petit Bé is a tidal island near the city of Saint-Malo, France, close to the larger island of Grand Bé. At low tide one can walk to the island from the nearby Bon-Secours beach.

Petit Bé (auch Petit Bey) ist eine Gezeiteninsel () im Ärmelkanal vor Saint-Malo, die bei Ebbe vom Festland aus über ihre Nachbarinsel Grand Bé zugänglich ist.


Biography.

White was raised in Duluth, Minnesota by his mother and an aunt. His father was killed in combat while serving in the Pacific theater during World War II. White stated in a 2009 Motherboard interview that his interest in the human brain started in high school when his biology teacher admired his dissection of a frog cranium and told White that he should become a brain surgeon.  White began his undergraduate studies at the University of St. Thomas before entering the University of Minnesota Medical School in 1949; he later transferred to Harvard Medical School in 1951, where he earned his medical degree "cum laude" in 1953. White had ten children with his wife, Patricia Murray, a nurse he met at Peter Bent Brigham Hospital while completing his surgical internship and residency. A devout Roman Catholic, Dr. White was a member of the Pontifical Academy of Sciences. He attended mass regularly and prayed before performing surgeries.  Throughout his career, White performed over 10,000 surgical operations and authored more than 900 publications on clinical neurosurgery, medical ethics and health care. He received honorary doctorates from John Carroll University (Doctor of Science, 1979), Cleveland State University (Doctor of Science, 1980), Walsh University (Doctor of Humane Letters, 1996) and the University of St. Thomas (Doctor of Sciences, 1998). White received invitations worldwide to speak, lecture and share his medical expertise. He was a consultant to the Burdenko Institute of Neurosurgery in Moscow and was the only foreign member of both Russian and Ukrainian Academies of Medical Science. He lectured extensively in the U.S., Russia, China and Europe. White also became an adviser to Pope John Paul II on medical ethics. He established the Vatican's Commission on Biomedical Ethics in 1981 after his appointment to the Pontifical Academy of Sciences. Under White's leadership, the Commission influenced the church's stance on brain death and in vitro fertilization.  He nicknamed himself Humble Bob. White founded Metro's neurosurgery department. Many people know him for being the leading target for protesters. A PETA activist went as far as to call him "Dr. Butcher" and described his experiments as "epitomizing the crude, cruel vivisection industry." For 40 years, White was a neurological surgery professor at Case Western Reserve University medical school, a well-liked teacher and an acclaimed surgeon. He was one of the best known neurosurgeons in the United States, notably for his head transplant experiments on rhesus monkeys. White died at his home in Geneva, Ohio on September 16, 2010 at age 84 after suffering from diabetes and prostate cancer.

Research.

In 1970, after a long series of preliminary experiments, White performed a transplant of one monkey head onto the body of another monkey. Because the surgery included severing the spine at the neck, the subjects were paralyzed from the neck down. After the surgery, because the cranial nerves within the brain were still intact and nourished by the circulatory system from the new body, the monkey could still hear, smell, taste, eat and follow objects with its eyes.  Ultimately, immune rejection caused the monkey to die after nine days. Dr. Jerry Silver, an expert in regrowing severed nerves, called White's experiments on monkeys, "fairly barbaric."  During the 1990s, White planned to perform the same operation on humans and practiced on corpses at a mortuary. It was hoped he could do head transplant surgery on the physicist Stephen Hawking and the actor Christopher Reeve. The continuation of White's work in head transplantation research and application has been discussed recently in the neurosurgical literature by Dr. Canavero; the feasibility of spinal cord reconstruction and cephalo-spinal linkage in humans has received recent support by a German study.

Robert Joseph White (January 21, 1926 – September 16, 2010) was an American neurosurgeon best known for his head transplants on living monkeys.

Robert Joseph White (* 21. Januar 1926 in Duluth, Minnesota; † 16. September 2010 in Geneva, Ohio) war ein US-amerikanischer Neurochirurg. Er ist bekannt für seine Kopftransplantationen an lebenden Rhesusaffen. Er lehrte und wirkte als Neurochirurg in Cleveland.


College career.

Odum played college basketball at Indiana State University, with the Sycamores, from 2010 to 2014. He led the Sycamores to a 4-yr record of 79–55 (.590), a MVC title and 4 post-season tournament berths (1x NCAA, 2x NIT, 1x CiT).  He currently stands 6th in career scoring (1,568 pts), 13th in career rebounds (617), 2nd in assists (603), 3rd in steals (204), 1st in games played (134), made free throws (590), games started (131) and minutes played (4,199).

Professional career.

After going undrafted in the 2014 NBA draft, Odum played on the Indiana Pacers' Orlando Summer League team. He then played on the Sacramento Kings' Las Vegas Summer League team.  Odum began his pro career with the Greek League club PAOK for the 2014–15 season, choosing to sign with the Greek club, rather than take his chances at that particular time in an NBA training camp, despite a couple of offers from NBA teams.  After leading PAOK to a 3rd-place finish in the Greek League, Odum signed with Medi Bayreuth of Germany for the 2015–16 Bundesliga season. Odum was one of the best players of the team and was then committed by the Franconian rival s.Oliver Würzburg for the 2016–17 Bundesliga season.  On July 13, 2017, Odum signed with Turkish club Banvit. On November 17, 2017, he left Banvit and signed with Russian club Nizhny Novgorod for the rest of the 2017–18 season.  On November 13, 2017, Odum signed with Promitheas Patras B.C. in Greece. On March 4, 2019, Odum left Promitheas Patras and signed with Pistoia Basket 2000 in Italy.

Awards and accomplishments.

College.

Portsmouth Invitational Tournament (2014) Under Armour All-Select Tournament Team

Jacob Andrew "Jake" Odum (born February 11, 1991) is an American professional basketball player who last played for Pistoia Basket 2000 of the Italian Lega Basket Serie A (LBA). He is a 6 ft 4 in (1.93 m) tall point guard-shooting guard.

Jake Andrew Odum (* 11. Februar 1991 in Terre Haute, Indiana) ist ein US-amerikanischer Basketballspieler, der nach dem Studium in seiner Heimatstadt professionell Basketball in Europa spielt. Nachdem Odum zunächst in Griechenland aktiv war, spielte er in der deutschen Basketball-Bundesliga für medi Bayreuth, bevor er zur Basketball-Bundesliga 2016/17 zum Ligakonkurrenten s.Oliver Würzburg wechselte.


History.

Some records state that there was a building of some construction on the site of the castle in 1130 and used by Roger De Mowbray. The earliest extant building on the site is the ruin of a quadrangular castle, probably begun in 1327 by Geoffrey Scrope, which was reputedly demolished in the Civil War. His son, Henry continued the building work. The last mention in records of the castle are in 1660.  Surveys revealed that the part of the southeast tower (Kitchen Tower) remained, as did the foundations for the south and west walls. The north and eastern structures of the old castle now lie beneath ground level. Mason markings are still visible, including the faded arms of the Scrope family. The castle, the old Gatehouse located west of the present day Garden Cottage and the remains of the old castle walls are all listed monuments. This castle was replaced by a manor house, which was rebuilt in the 19th century and then rebuilt again following destruction by fire in 1918.  The castle was part of the manor of the Scrope family until 1520, when it passed to Elizabeth, the daughter of Thomas Scrope, wife of Sir Ralph Fitz Randolph. It then passed again via his daughter, Agnes, to her son Christopher Wyvill, son of Ripon MP, Sir Marmaduke Wyvill. After this it passed to the Crown in 1577, before coming into the hands of the Constable family. They held it until 1768 when it was purchased briefly by William Chapman who sold it the Turton family. Upsall castle is part of the Upsall and Roxby estates owned by the Turton family. The present owner of the castle is Gerald Turton.

Legends.

John Constable, who resided at the castle in 1610, was a supporter of the Royal cause during the Civil War. The 19th-century writers William Grainge and John Gilbert Baker noted that he reportedly left a curse on any owner of Upsall who should prove disloyal to his king and country. The writers also recounted a folklore story of a man who dug under a bush at Upsall Castle, finding a pot of gold; later on, a stranger revealed to him that there was another pot of gold buried under the first, which he then dug up as well.

Upsall Castle is a fourteenth-century ruin, park and manor house in Upsall, in the Hambleton district of North Yorkshire, England.

Upsall Castle ist eine Ruine einer Burg aus dem 14. Jahrhundert und ein Herrenhaus mit Park im Dorf "Upsall" im Distrikt Hambleton der englischen Verwaltungseinheit North Yorkshire.


History.

Early.

The earliest parts of the building to survive were built by a member of the Denys family. The hall, which is 30 ft x 20 ft and has 5-foot-thick walls, has been dated by the form of decoration around the doorways to the early to mid-14th century. In 1416, a licence for a chapel at the house was granted by Bishop Stafford, and it has been speculated that the room over the porch was used for this.  During the late 15th century the hall was remodelled and it is clear that some of the work was based on that already done at nearby Weare Giffard Hall; identical carving on the porches of both buildings shows that the same mason was employed for at least part of the work. The main improvement, though, was the construction of a fine four-bay hammerbeam roof to the main hall, again clearly influenced by, though somewhat less ornate than the one at Weare Giffard. The hammer-beams are supported on carved stone corbels representing figures, one of which holds a shield displaying the arms of the Denys family (three battleaxes). Sitting on the ends of the hammer-beams were a series of ten carved sitting heraldic beasts, each around two feet tall.  A few alterations were made during the late 16th century, such as the addition of a staircase to the left of the porch, and the insertion of a large window into the hall to the right of the porch. The last male member of the Denys family of Orleigh was Anthony Dennis (died 1641), to whom a mural monument survives in the Orleigh Chapel in St Mary and St Benedict's Church, Buckland Brewer. When he died in 1641 he left three daughters as co-heiresses and they conveyed the property to trustees in 1661. In 1684 the trustees sold it to John I Davie (died 1710), a prominent tobacco merchant from Bideford.

Davie family.

John I Davie died in 1710 and is commemorated by a large mural monument in the Orleigh Chapel of St Mary's Church, Buckland Brewer. his son and heir, Joseph Davie (died 1723), embarked on a series of improvements to the interior. These included, in the hall, the installation of an ornamental fireplace, and the addition of fire buckets decorated with the Davie arms and the date 1721 — they remained in place until the early 20th century. Other additions made at this time included a new inner hall accessed from newly created doors by the side of the fireplace, and rainwater heads on the east front of the building, which bear the Davie arms as well as those of Pryce, which refer to Joseph Davie's wife, Juliana Pryce, who died aged 28 in 1720. Joseph himself died in 1723, but the building stayed in the Davie family until 1807, when it was in the ownership of Joseph Davie Bassett, who built Watermouth Castle and moved there. In that year Orleigh Court was either sold, or according to local tradition, lost in a game of cards, to Major Edward Lee.

Lee, Speke and Rogers.

After Edward Lee's death in 1819, the house passed to his nephew, the politician John Lee Lee (1802-1874), who did not live there but let it to his sister and her husband, William Speke. Born at Orleigh in 1827 was their son John Hanning Speke, the celebrated explorer who discovered the source of the River Nile. From 1845 the house was occupied by other tenants: In 1869 Orleigh was sold to Thomas Rogers, who employed the architect J. H. Hakewill to make extensive changes to the house, including the replacement of most of the windows, including a new oriel window in the porch, complete reworking of the north range and the addition of a wood-panelled dining room. Hakewill also built two Mock Tudor lodges in the grounds. Orleigh was inherited by his son William Henry Rogers (born 1868), who made a few alterations to it, such as replacing some of the dry-rot infested panelling in the hall with 16th-century decorated panels which he had discovered in a loft over the stables, and which he surmised had been removed from the original dining room.  William Henry Rogers was an antiquarian and he included a history of Orleigh Court in a booklet about Buckland Brewer, published in 1938. However, by 1939 he had sold the house, which was then converted into multiple occupation until after World War II when it was left empty and decaying. In 1952 it was made a listed building, but remained empty until 1982, when work began to convert it into apartments. In 1986 the owner attempted to sell by auction at Sotheby's the ten 15th-century wooden animal carvings that had decorated the hammer-beams, but their provenance was investigated and they were deemed to be fixtures of a listed building, so they were returned and the owner was prosecuted. As a result of this incident the listing status of the building was increased to Grade I. As of 2011, the building is divided into a number of apartments and is surrounded by eight acres of communal grounds.

Orleigh Court is a late medieval manor house in the parish of Buckland Brewer about 4 miles (6.4 km) south-west of Bideford, North Devon, England. It is a two-storeyed building constructed from local slate stone and has a great hall with a hammer-beam roof, installed in the late 15th century.

Orleigh Court ist ein Herrenhaus in der Gemeinde "Buckland Brewer", etwa 6,5 Kilometer südwestlich von Bideford in der englischen Grafschaft Devon. Das spätmittelalterliche Haus ist ein zweistöckiges Gebäude aus örtlich vorhandenem Schiefergestein und hat einen Rittersaal mit Hammerbalken-Gewölbe aus dem Ende des 15. Jahrhunderts.


Constitution of May 3, 1791.

The Constitution of May 3, 1791 was adopted as a "Government Act" (Polish: "Ustawa rządowa") on that date by the "Sejm" (parliament) of the Polish–Lithuanian Commonwealth. It has been called "the first constitution of its type in Europe" and the world's second oldest constitution.  It was designed to redress long-standing political defects of the Polish–Lithuanian Commonwealth. The Commonwealth's system of "Golden Liberty", which conferred disproportionate rights on the nobility, had increasingly corrupted the Commonwealth's politics. The Constitution sought to supplant the existing anarchy fostered by some of the country's magnates with a more democratic constitutional monarchy. It introduced political equality between townspeople and nobility ("szlachta") and placed the peasants under the protection of the government, thus mitigating the worst abuses of serfdom. The Constitution abolished pernicious parliamentary institutions such as the "liberum veto", which at one time had put the Sejm at the mercy of any deputy who might choose, or be bribed by an interest or foreign power, to undo the legislation adopted by that Sejm.  The adoption of the May 3 Constitution met with hostile political and military responses from the Commonwealth's neighbors. In the Polish–Russian War of 1792 (sometimes called the "War in Defense of the Constitution"), the Commonwealth was attacked by Catherine the Great's Imperial Russia allied with the Targowica Confederation, a coalition of Polish magnates and landless nobility who opposed reforms that might weaken their influence. The Commonwealth's ally Prussia, under Frederick William II, broke its alliance, and the Commonwealth was defeated. In the end, the Constitution of May 3 remained in force for little more than one year. Despite the Commonwealth's defeat in the Polish–Russian War and the ensuing partitions which eliminated the Commonwealth, the May 3 Constitution remained for more than 123 years a beacon in the struggle to restore Polish sovereignty. In the words of two of its co-authors, Ignacy Potocki and Hugo Kołłątaj, it was "the last will and testament of the expiring Country."

History.

The sketch of the work was presented in the cycle "History of Civilization in Poland".  Matejko began work on the painting in the middle of January 1891, to coincide with the centenary of the Constitution. Although the painting was not finished until October, by May 3 it was sufficiently advanced to be shown at the anniversary exhibition in Sukiennice, Kraków. On April 7, 1892, Matejko transferred the painting to Prince Eustachy Stanisław Sanguszko, marshal of Galician Sejm in Lwów, and it was displayed in the Sejm building (now the main building of the Lviv University). This painting was one of the last works by Matejko, who died in November 1893.  In 1920, two years after Poland regained independence, the painting was moved to Kraków, where from 1923 it was displayed in the building of the Polish Sejm. The painting was hidden by the Polish resistance during World War II, when Poland was occupied by the Germans. After the war the painting was transferred to the National Museum in Warsaw, and occasionally displayed in the Sejm building. Since 1984 the painting has been in the collection of the Royal Castle in Warsaw, where Matejko himself declared he would like the painting to be shown. The painting is displayed in the anteroom of the Chamber of Senators, where the Constitution was adopted. The painting was restored in 2007.

Significance and historiography.

The painting is one of Matejko's best known works and today it is commonly seen as one of his masterpieces, an "education in national history." However, it was less well received by his contemporaries, with turn-of-the-century reviews criticizing it for being "too crowded" and with unclear composition; supporters of Matejko's previous works were much more guarded in their praise of this painting.  Matejko's technique in this painting was subtly but noticeably different compared to his other paintings; authors Wrede "et al". attribute this to Matejko's exploration of new techniques, but note that contemporary critiques saw this departure from his old style as the weakening form of the dying master, and did not applaud the changes. They also note that Matejko usually dedicated two years to paintings of that size; this one was completed in less than a year, during a period in which Matejko was working on other projects and suffering from stress and depression. Matejko himself was not fond of the 18th century and the Polish Enlightenment, remarking that he "would rather prefer to paint any other century". He felt compelled, however, by the anniversary of the Constitution to create an artwork commemorating the event, which he recognized as historically significant.  Matejko commonly identified the characters in his paintings with a written legend, but he did not create one for the "Constitution". Consequently, some characters in the painting have not been identified. A partial legend was written by Matejko's secretary, Marian Gorzkowski, and even though it provides a list of 39 characters, Wrede "et al". write that his "chaotic description" is not very helpful. Modern analysis has been done by Polish historians Jarosław Krawczyk and Emanuel M. Rostworowski.

Content.

The painting, set in the late afternoon of May 3, 1791, shows the procession of deputies from the Royal Castle ("background"), where the Constitution has just been adopted by the Great Sejm, to St. John's Collegiate Church ("left", now an archcathedral), where a "Te Deum" will be sung. The procession moves down St. John's Street ("ulica Świętojańska"), surrounded by enthusiastic Warsaw residents and visitors. The deputies are protected by soldiers.  While the procession was an actual historic event, Matejko took many artistic liberties, such as including persons who were not in fact present or had died earlier. He did so because he intended the painting to be a synthesis of the final years of the Commonwealth. He also felt that there was no real historic moment or location that fully captured the spirit of the Constitution, and so he, the artist, needed to create such a moment.

Center.

The painting is centered on the Sejm marshal Stanisław Małachowski (1), who is wearing a white, French-inspired costume. Małachowski holds the marshal staff in his left hand and in his right hand, he triumphantly raises the text of the Constitution. Although the historical document was titled "Ustawa rządowa" (Government Ordinance), Matejko chose to make the title page of the document as portrayed in his painting more explicit—and at the same time put the name of the painting right in its center. He is carried by deputies Aleksander Linowski of Kraków (2) (on his right) and Ignacy Zakrzewski of Poznań (3) (on his left). Their significance is that Kraków and Poznań are principal cities of two major regions of Poland: Lesser Poland and Greater Poland, respectively. Under Małachowski's right hand there is a figure with a bandaged head holding a flag; this is Tadeusz Kościuszko (4), and his head wound is a reference to the battle of Maciejowice, which took place during the Kościuszko Uprising in 1794, three years after the event depicted in the painting. To the left of Kościuszko, is a figure identified by Wrona "et al". as Prince Adam Kazimierz Czartoryski, although this is disputed by other sources.  Another figure, to the right of Małachowski, is being carried; he is Kazimierz Nestor Sapieha (5), marshal of the Lithuanian confederation and the second Sejm marshal. He is dressed in more traditional Polish clothing. Between Małachowski and Sapieha, the head of Julian Ursyn Niemcewicz (6), a well-known writer, is visible. He appears to be carrying Sapieha. The other figure carrying Sapieha, to his right, is Michał Zabiełło (7).  In the lower center of the painting, Matejko shows a scene that took place in the Royal Castle. Jan Suchorzewski (8), deputy from Kalisz and an opponent of the Constitution, has fallen to the ground, holding his young son with one arm; his other hand, holding a knife, is held by Stanisław Kublicki (9), standing to his right. Kublicki was a deputy from Inflanty, a supporter of the townsfolk and peasant causes, and of the Constitution. The artist here alludes to Suchorzewski's unsuccessful attempt to prevent the king from signing the Constitution, during which he threatening to kill his own son to save him from the "slavery of the Constitution". A deck of cards has fallen out of Suchorzewski's pocket, a reference to the manner in which he was bribed by the anti-Constitution Russian ambassador Otto Magnus von Stackelberg and hetman Branicki; Suchorzewski suddenly started winning large sums of money in games, despite his poor skills as a gambler. Branicki (10) can be seen standing between the king and Suchorzewski, dressed in a Russian uniform, foreshadowing the rank of general he received several years later in the Russian Army. In reality Suchorzewski, like most of those opposed to the Constitution, refused to participate in the procession.  Notable figures in the center of the painting, to the left of Małachowski, include other supporters of the Constitution. Priest Hugo Kołłątaj (11) is the most prominent, gesturing in disdain at Suchorzewski. Several other figures in the vicinity are described in sources, but their precise location is unclear, or the sources contradict one another. The priest holding the Bible (12) is probably Feliks Turski, although some identify him as Tymoteusz Gorzeński. The figures to the right of Kołłątaj represents the Grand Lithuanian Marshal, Ignacy Potocki (13), and perhaps Adam Kazimierz Czartoryski (14) (although some sources identify Czartoryski elsewhere in the painting, in the vicinity of Kościuszko). Surrounding Kołłątaj are likely the priest Scipione Piattoli (15) and Tadeusz Matuszewicz or Matusiewicz (16).

Left.

On the stairs of the church, King Stanisław August Poniatowski (17) is ascending. Matejko was not very fond of Poniatowski, and he portrayed him in a rather pompous posture, with his hand extended to be kissed, and in the company of numerous pretty ladies, supporting his reputation as a "lady's man". Poniatowski's inclusion in the procession is one of Matejko's artistic liberties, as he had arrived at the church before the procession. A woman hands him a laurel wreath (18); sources have identified her as the Courland princess Dorothea von Medem (Dorothea Biron) or Róża z Martynkowskich, wife of former Warsaw mayor Jan Dekert. Behind her (leftmost in the group of two women, with only her face showing) stands Elżbieta Grabowska (19), the king's mistress and mother of his children. Bowing at the church doors is the former mayor of Warsaw, Jan Dekert (20). He is accompanied by his daughter Marianna (in a yellow dress, facing away from the viewer) taking a prominent position near the king (38). Dekert's inclusion in the painting is another example of Matejko taking liberties with history, as he died in October 1790; he was an important burghers figure associated with the Free Royal Cities Act, which was incorporated into the Constitution.  Behind the king, holding his hands to his head, is Prince Antoni Stanisław Czetwertyński-Światopełk (21), another opponent of the Constitution, known for being on a Russian payroll. Below him is another opponent of the Constitution, Antoni Złotnicki (22). An anonymous black-clad French royalist (23) is shown looking terrified at the scene, seeing another revolution in the making. He raises his hand over the king's head.  In the group of people gathered below the king, in another acknowledgement of the burghers' importance, is burgher Jan Kiliński (24), one of the leaders of the Kościuszko Uprising. To his right, at the edge of the crowd, is the priest Clemens Maria Hofbauer (25), who ran an orphanage and a school in Warsaw and is canonized as a saint in the Catholic church.

Right.

To the right of Sapieha are reformer Stanisław Staszic (26) and, with his hand around Staszic, Andrzej Zamoyski (27), author of the Zamoyski Codex, an earlier attempt to reform the state. To the left of Staszic, the head of bishop of Smoleńsk, Tymoteusz Gorzeński (28), is visible in the crowd. Beneath Staszic and Zamoyski, with an outstretched hand, is Kazimierz Konopka (29), Kołłątaj's secretary and one of the Polish Jacobins; Konopka has a French blue-white-red flower in his hat and a czekan, an ax- and hammer-like weapon, in his hand. Above them is an unnamed Eastern Orthodox priest (30); the figure on his right (31) is either Paweł Ksawery Brzostowski, pioneer of agricultural reforms, or Józef Stępkowski, a less progressive figure. This line of figures ends with Antoni Tyzenhauz (32), Lithuanian official and reformer. To the right of Zamoyski is an unnamed peasant (33). His passive attitude is seen as a representation of the unconcerned attitude of Polish peasantry towards the reforms.  To their right is the king's nephew, prince Józef Poniatowski (34), in the uniform of the light cavalry of the Duchy of Warsaw and riding a grey horse. The uniform is another instance of foreshadowing; Poniatowski became the commander-in-chief of the Duchy's army and died during the Battle of Leipzig. At the time of the passing of the Constitution, he was the commander of the Warsaw garrison, and is shown keeping an eye on the procession, with his soldiers lined up and guarding the street. To his right, partially obscured by Poniatowski's horse's head, is Stanisław Mokronowski (35), deputy, general, and future leader of the Kościuszko Uprising in Lithuania.  At the very bottom right corner, two Polish Jews are on the edge of the scene; the younger (36) one is usually described as enthralled by the events, watching them with hope, but most analysis focuses on the older man (37), whose hand is making a "Sy, git" ("that's good") gesture. Interpretation of this figure varies; while some suggest that he express his interest and support for the Constitution, which he sees as a promise of further reforms that will improve the situation of the Jews—the Constitution had not addressed them in any significant way—others put him, or both of the Jews, among the opponents of the Constitution, describing them as frowning and disturbed, gleefully anticipating the end of the Commonwealth, or at least concerned with the liberal reforms. The latter interpretation can be also supported by the fact that Matejko tended to portray Jews in his paintings in negative roles.

List of characters.

Historians have positively identified a number of characters. This is the list of characters portrayed on the painting and indicated with numbers on the associated guide picture:  Several more figures have been identified by historians as likely present in the painting, but their exact location is unknown, and they are also not present on the guide picture:

Notes.

a The painting does not have one dominant title, either in Polish or English. It is referred to variously, with different renderings of the name of the Constitution of May 3 (such as "The Constitution of the 3rd May", "The Third of May Constitution" or "Constitution of 3 May 1791",) or in an even more elaborate fashion. For example, Reddaway calls it "King Stanislaw Augustus entering Warsaw Cathedral after the passing of the reformed Constitution of 1791".

The Constitution of May 3, 1791 () is an 1891 Romantic oil painting on canvas by the Polish artist Jan Matejko. It is a large piece, and one of Matejko's best known. It memorializes the Polish Constitution of May 3, 1791, a milestone in the history of the Polish–Lithuanian Commonwealth and the high point of the Polish Enlightenment.

Die Verfassung vom 3. Mai 1791 (poln.: "Konstytucja 3 Maja 1791 roku") ist ein Historiengemälde von Jan Matejko aus dem Jahre 1891. Es entstand anlässlich der Hundertjahrfeier zur Verfassung vom 3. Mai 1791 und will keine fotografische Darstellung der wirklichen Begebenheit sein, sondern eine Synthese der letzten Jahre der Adelsrepublik Polen-Litauen, um den Geist der Verfassung zu erfassen. Das Gemälde ist eines der zuletzt gemalten und heute bekanntesten Werke Matejkos.


Zimbabwean cricket team in the West Indies in 2006

Simbabwische Cricket-Nationalmannschaft in den West Indies in der Saison 2006

One-Day Matches.

First ODI (29 April).

Brian Lara's first match in his third spell as captain ended in victory, as Zimbabwe mustered 151 in their 50 overs, and four West Indian bowlers got two wickets each. Despite Runako Morton recording a duck, West Indies made it to the target with five wickets and 11.4 overs to spare, as Lara top scored with 40, the second highest total of the match. However, according to Cricinfo reporter Will Luke, West Indies "rarely looked in complete control". For Zimbabwe, Blessing Mahwire bowled seven overs and conceded 14 runs with six wides, while Prosper Utseya picked up a career best three for 35. In the first innings, Justice Chibhabha hit a half-century in his second ODI.

Second ODI (30 April).

Despite another half-century from Justice Chibhabha, this time worth 12 runs more than in the first ODI, Zimbabwe's total of 144 was seven lower than in the first ODI. West Indies had batted first, making 242 for 9 after Chris Gayle, Ramnaresh Sarwan and Shivnarine Chanderpaul all passed 40, while five Zimbabwean bowlers got at least one wicket each. Jerome Taylor then took four wickets as Zimbabwe fell for 144, with Elton Chigumbura (13) and Tawanda Mupariwa (16) joining Chibhabha with double figure scores.

Tour Match: Zimbabwe v University of West Indies Vice Chancellor's XI (3 May).

University of West Indies Vice Chancellor's XI won by 5 wickets  Piet Rinke hit 113 for the Zimbabweans in the 13-a-side match, and Brendan Taylor and Charles Coventry also took half-centuries. For the University of West Indies' XI, Ryan Hinds and Xavier Marshall, who had both played internationals for West Indies before, made scores of 117 not out and 54 respectively, and C. Walton anchored the chase with 67 as the hosts won with 23 balls to spare.

Third ODI (6 May).

Match abandoned without a ball being bowled.

Fourth ODI (7 May).

West Indies sealed at least a draw in the series after a convincing 82-run victory over Zimbabwe in Georgetown. The West Indies handed a debut to 25-year-old opener Sewnarine Chattergoon but he disappointed in front of his home crowd scoring only 9. But a few players did play a part in the massive total of 333/6 set by the West Indies. Shivnarine Chanderpaul top scored with 93 off 82 balls (7 fours & 4 sixes), and there were also half-centuries from Runako Morton (79 off 90) and captain Brian Lara (56 off 45). This set Zimbabwe an unlikely 334 target, and sure enough struggled. Fidel Edwards bowled Piet Rinke with the first ball of the innings, and also took the scalp of Zimbabwean captain Terry Duffin with the 4th ball of that over, leaving Zimbabwe at one run for two wickets, but steady knocks from Justice Chibhabha, Vusi Sibanda and Elton Chigumbura got the Zimbabweans past 100. But they weren't scoring quickly enough, and after their allotted 50 overs, came up 82 runs short, with Edwards the pick of the bowlers. This was also the last international match at the Bourda ground:

Fifth ODI (10 May).

It was first ever day-night game in west-indies.

The 2006 international cricket season started with controversial ICC members Zimbabwe touring the West Indies for a series of seven One Day International matches. Because Zimbabwe recently pulled out of playing Test matches, the tour had to be rescheduled which meant the two Test matches were turned into limited overs games, bumping them up from the original five. After Zimbabwe's decision to leave Test cricket at the start of 2006, the West Indian Cricket Board had reconsidered the tour, but without any other team to play they had to appease both sponsors and fans. Although the teams lie next to each other in the ICC ODI Championship, West Indies holds 89 points in eighth place, 47 more than the tourists' 42 in ninth.

Die Tour der simbabwischen Cricket-Nationalmannschaft in die West Indies in der Saison 2006 fand vom 29. April bis zum 14. Mai 2006 statt. Die internationale Cricket-Tour war Bestandteil der Internationalen Cricket-Saison 2006 und umfasste sieben ODIs. Die West Indies gewannen die Serie 5–0.


Life.

Born in Edgbaston, Birmingham, the son of a designer and embosser of metal, Onions early came under the influence of A. J. Smith, the headmaster of the King Edward VI Camp Hill School, where Onions received his first contact with lexicography. He obtained a London BA in 1892 and an MA in 1895, both while attending Mason College (which later became the University of Birmingham).  James Murray invited Onions to join the staff of the Oxford English Dictionary at Oxford in 1895, and in 1914 he began independent editorial work with his own assistants. His "Shakespeare Glossary" was published in 1911; he co-edited "Shakespeare's England: an account of the life and manners of his age" (2 volumes; 1916) and, in 1933, he co-edited the OED Supplement with William Craigie. Following the death of William Little in 1922, he assumed the editorship of the "Shorter Oxford English Dictionary".  Onions served as a fellow and librarian of Magdalen College, Oxford. He was president of the Philological Society from 1929 to 1933 and was elected a Fellow of the British Academy in 1938. On completion of the "OED", the universities of Oxford, Leeds, and Birmingham conferred honorary degrees upon him. Onions was appointed a Commander of The Most Excellent Order of the British Empire in 1934. In 1945 he succeeded R. W. Chambers as honorary director of the Early English Text Society and worked to extend its publishing program. He was editor of "Medium Aevum", the journal of the Society for the Study of Medieval Languages and Literature, from its inception in 1932 to 1956. Onions' last twenty years were largely devoted to completing "The Oxford Dictionary of English Etymology" (1966), which treated over 38,000 words and went to press just prior to his death.  For much of his life, Onions suffered with a stutter. In 1907 he married Angela Blythman (1883–1941), and they had seven sons and three daughters. During World War I, Onions served in British naval intelligence where his knowledge of German proved a significant asset.

Charles Talbut Onions (C. T. Onions) (10 September 1873 – 8 January 1965) was an English grammarian and lexicographer and the fourth editor of the "Oxford English Dictionary".

Charles Talbut Onions (* 10. September 1873 in Birmingham; † 8. Januar 1965) war ein britischer Lexikograph und Anglist. Er war 1933 mit William Craigie (1867–1957) Herausgeber des ersten Supplements des Oxford English Dictionary (OED) und davor vierter Herausgeber des OED.


History.

18th Century.

The first Beloselsky Belozersky Palace was built on Nevsky Prospekt in 1747 for Prince Mikhail Andreevich Beloselsky (1702–1755) during the reign of Elizabeth of Russia; the building, far smaller than it is today, was designed in the French style with a large private garden and a launch onto the canal, stuccoed and painted in imitation of Parisian limestone. Inherited by his son - Prince Alexander Mikhailovich Beloselsky (1752–1809) - it was he that bought a plot of land in 1800 which allowed the building to be greatly extended. Prince Alexander Mikhailovich was a close friend, supporter and devoted servant of Paul I of Russia. Due to the relationship between the two, Paul I allowed the revival of, in 1800, the ancient title of Prince of Belozersk. It was from then on that the family would be known as the Beloselsky-Belozersky Белосельский-Белозерский. The Rurikid princely double name Beloselsky Belozersky is also given to their palace.  Alexander Mikhailovich' second wife, Anna Grigorievna (born Kozitskaya; her father was Secretary of State to Catherine II, Gregory Vasilievich Kozitsky; he was also rector of Moscow University. Anna Grigorievna's portrait by the well-known French and Russian court portrait painter Élisabeth Louise Vigée Le Brun is in Washington DC's National Museum of Women in the Arts) was an heiress of a great fortune through her mother, Ekaterina Ivanovna Myasnikova (major south Urals area metals and mining heiress from the Myasnikov-Tverdychev families, e.g. Yuryuzan, Ust-Katav, Katav-Ivanovsk, Nizhnyi Tagil, Beloretsk). This allowed further purchases of land in St. Petersburg, including the Krestovsky island as well as further additions to the Beloselsky Belozersky palace.  The palace passed down the family line to Esper Alexandrovich Beloselsky Belozersky (son of Alexander Mikhailovitch) who died at a young age. His widow, Princess Elena Pavlovna Beloselskaya Belozerskaya (née Bibikova) was the owner of the palace until the majority of Konstantin Esperovich Beloselsky Belozersky (the only son of Esper Alexandrovich and Elena Pavlovna).  It was from Elena Pavlovna that the palace gained its present lavish appearance. In addition to the Beloselsky Belozersky wealth, stemming from their south Urals metal works, Elena Pavlovna also inherited a fortune from her own family, the Bibikovs (and from her father's mother, born Tatiana Jakovna Tverdychev, whose father was the brother of the original Urals mining and metals entrepreneur Ivan Borisovich Tverdychev, the founder of the same above noted Urals' fortune and originator of the Tverdychev-Myasnikov's family partnership). She decided to update and reconstruct the palace to suit her taste. She had the old building knocked down and had a new palace built (1846–48) designed by Andreas Stackensneider the court architect of Nicholas I of Russia. In order to do this, the princess had to petition Emperor Nicholas I for permission to commission his services. She got permission from the Emperor and the palace was the only private commission of Stackenscheider in the city. The princess remarried to Prince Vasili Viktorovich Kochubey, son of Viktor Kochubey, and grandson of the first Prince Kotchubey, Viktor Pavlovich (See: Elena Pavlovna Kotchubey\Princess Kotschubey as painted by Franz Xavier Winterhalter, 1805–1875, located in The Walters Art Museum Baltimore, Maryland USA).

19th Century.

Upon the reconstruction and opening of their famous palace to the public, the Beloselsky Belozersky Palace gained a reputation as being one of the most lavish palaces in Russia and also as being the venue of the most lavish balls and concerts in St. Petersburg. Elena Pavlovna also gained the reputation as the best hostess in St Petersburg - a role which would later be taken on by Grand Duchess Maria Pavlovna of Russia, a daughter-in-law of Alexander II of Russia.  The present palace is said to look similar to the nearby Rastrelliesque Stroganov Palace which is further up the Nevsky Prospect, on the corner of Moika canal. David Jensen was asked to produce a replica of it. After their major renovations in 1847-48, the palace — complete with piano nobile, concert hall, Van Loo paintings, and palace church — acquired a dazzling Rococo appearance.  When the son of Princess Elena Pavlovna, Prince Konstantin Esperovich Beloselsky Belozersky gained his majority he inherited the palace and lived there with his wife (née Nadezhda Dimitrievna Skobeleva) and their many children. More often living at their estate on Krestovsky Island (Krestovsky Ostrov), where they had renovated a grand manorial home to a small palace and where they could enjoy country living inside of St. Petersburg and as the vast Beloselsky Belozersky Palace was a huge drain on the family resources, they decided to sell their Nevsky Prospect palace.  The palace was put up for sale around the time of the engagement of Grand Duke Sergei Alexandrovich of Russia to Princess Elisabeth of Hesse and the Rhine in 1883. The couple, who needed a suitable residence in the city, found the building and it was made their principal residence after its purchase by Sergei Alexandrovich. It was he who gave the palace its present red exterior.  Under the ownership of Grand Duke Sergei Alexandrovich, the palace had yet another extensive remodelling and the interior was redone. The redecorating included adding a vast library and a Slavic revival chapel. The couple never had children of their own, but their Il’yinskoye estate was usually filled with parties that Elizabeth organized especially for children. They eventually became the foster parents of Grand Duke Dmitri Pavlovich of Russia and Grand Duchess Maria Pavlovna, Sergei’s niece and nephew through his younger brother.

20th Century.

Grand Duke Sergei Alexandrovich was a radical conservative and his policies made him a polarizing figure. As the governor of Moscow he became victim of the violence of the 1905 uprisings in Moscow, one of the earliest concerted efforts by revolutionaries and leftist organizations fomenting unrest and uprising against the Romanov policies. Sergei Alexandrovich was assassinated by a terrorist bomb at the Kremlin on February 17, 1905. The palace was then the property of his widow who became a nun in 1909. She went to live at the Marfo-Mariinsky Convent and willed the palace to her ward Grand Duke Dmitri.  During the First World War, from January 1916 until January 1918, the palace was the base of the Anglo-Russian Hospital, a voluntary British Red Cross hospital set up to treat Russian soldiers. It was staffed by British doctors and nurses, and led by Lady Muriel Paget and Lady Sybil Grey (they also established field hospitals in Volhynia, Bukovina and the Carpathians, in today's Ukraine). Grand Duke Dmitry sold it on the eve of the Russian Revolution; two years later it was nationalised and went on to house a regional Soviet until 1991, when it was designated a municipal cultural centre. the Rococo interiors of the palace sustained considerable damage during World War II; they were restored to their original state in 1954 and now host chamber concerts for small audiences. It now also hosts a large wax works exhibition.  Fire broke out inside the palace's roof early on 28 February 2012. Russian news media, television and sightseers reported this. Apparently, the damage was contained and the only damage was to the attic and the main areas of the palace were untouched. Concerts and special events still take place in the palace, as has been the case since the building became the property of the city of St. Petersburg.

Beloselsky Belozersky Palace (Russian: Дворе́ц Белосе́льских-Белозе́рских; also known before the Revolution as the Palace of the Grand Duchess Elizabeth Fyodorovna, the Sergei Palace, and the Dmitry Palace) is a Neo-Baroque palace at the intersection of the Fontanka River and Nevsky Prospekt in Saint Petersburg, Russia.

Der Belosselski-Beloserski-Palast () ist ein Palast in Sankt Petersburg in Russland. Im Gebäude befinden sich heute das Museum für die Entwicklung der Demokratie im modernen Russland sowie Sitze von Behörden und Unternehmen. Außerdem werden im Haus Konzerte veranstaltet.


Early life.

Robert Lucky was born in Pittsburgh, Pennsylvania, and went to high school in Mt. Lebanon, Pennsylvania. He studied electrical engineering at Purdue University, graduating with a BSEE in 1957. He stayed on at Purdue and was granted an MSEE in 1959. Continuing at Purdue he did his PhD research under John C Hancock, writing a thesis on simultaneous amplitude modulated and phase modulated digital communication. In his thesis he derived two-dimensional signal constellations that are similar to those used in the quadrature amplitude modulation (QAM) systems commonly used in high speed digital communications today. He received his PhD from Purdue in 1961.

Career.

Lucky joined Bell Labs in 1961, where his initial assignment was in the Data Theory Department under William R Bennett. In 1964 he made his best known invention, the adaptive equalizer, and in the years to follow he was promoted a number of times, becoming in 1982 the executive director of the communications sciences research division. This division comprised essentially all of the Bell Labs research on wireless, optical systems, and other communications systems topics, as well as some of the Bell Labs research on physics and computer science. Two Nobel Prizes were won by researchers in the division.  Lucky left Bell Labs in 1992 and joined Bellcore, the research laboratory for the divested Bell Telephone companies, where he was corporate vice president, responsible for management of research. A few years later Bellcore was sold to SAIC (Science Applications International) and renamed Telcordia Technologies. Robert Lucky retired from Telcordia in 2002.

Adaptive equalizer.

In the early 1960s the highest speed for modems on telephone lines was 2400 bits per second. Higher speeds were not possible because of intersymbol interference. Each dialed connection would have a different distorting effect on the series of pulses sent to convey digital information, smearing successive pulses and entangling them, resulting in errors in detection.  Lucky invented a way to adaptively undo the smearing effects by automatic adjustment of a variable filter, using a tapped delay line with adjustable gains at each tap. The equalizer used a steepest descent algorithm to minimize distortion. It was initially trained by a series of known pulses, but during actual data transmission it relied upon decision-directed adjustment, which assumed that decisions about pulses were largely correct and could be used for reconstruction of the ongoing error.  The first adaptive equalizer, in 1964, used 13 adjustable gains, each set by 8 relays. The rack of equipment was about 5 feet high. Its use immediately made possible data transmission at 9600 bits per second – four times the highest previously attainable speed.  Shortly thereafter, the relays were replaced with transistor switches, then in succeeding years the equalizer was implemented with a special purpose integrated circuit. Today adaptive equalization is built into almost every modem and is simply a subroutine in the instruction program for an embedded microprocessor.

Advisory positions.

Throughout his career, Lucky has been heavily involved in advisory and participatory roles in engineering societies, universities, and government. In the IEEE he has been editor of the "Proceedings of the IEEE", president of the Communications Society, and executive vice president of the parent IEEE. His government service included being chairman of the United States Air Force Scientific Advisory Board, chairman of the Federal Communications Commission Technological Advisory Council, chairman of the statutory visiting committee of the National Institute of Standards and Technology, and membership on the Defense Science Board. He also has been active with the National Academy of Engineering and on the advisory boards of a number of universities.

Honors and awards.

Among his honors, Lucky has been awarded four honorary doctorate degrees, the 1987 Marconi Prize, the 1995 IEEE Edison Medal, and the 1998 Golden Jubilee Award for Technological Innovation from the IEEE Information Theory Society. He was elected to the National Academy of Engineering and to both the American Academy of Arts and Sciences and the European Academy of Sciences and Arts.

Writings.

He is the author (with J Salz and EJ Weldon) of a textbook, Principles of Data Communications (McGraw-Hill, New York, 1965). He wrote a popularized account of information theory in Silicon Dreams (St Martins Press, New York, 1989). A compilation of his essays was published under the title Lucky Strikes Again (Wiley/IEEE Press, 1992).  Since 1982 he has written a bi-monthly column, Reflections, in IEEE Spectrum Magazine, which features his essays on technology and engineering culture.

Later career.

Since retirement in 2002, Lucky has been a member of the Defense Science Board, chairman of the board of ANSER, Inc., a member of the Laboratory Operations Board of the United States Department of Energy, chairman of Marconi Society, and a member of advisory board of TTI/Vanguard. The governor of New Jersey appointed him to the Authority for the Redevelopment of Fort Monmouth, and he was elected chairman of that Authority.

References.

Prepared from biographical information supplied by Robert Lucky in March, 2011.

Robert Wendell Lucky (born January 9, 1936) is an electrical engineer, inventor, and research manager who worked at Bell Labs and Telcordia Technologies. He is best known for his writings and speeches about technology, society, and engineering culture. Bob is a Fellow of the IEEE and a member of the National Academy of Engineering. He is also a member of TTI/Vanguard's advisory board.

Robert W. Lucky (* 9. Januar 1936 in Pittsburgh) ist ein US-amerikanischer Elektroingenieur. Lucky studierte Elektrotechnik an der Purdue University mit dem Bachelor-Abschluss 1957 und dem Master-Abschluss 1959. Zwei Jahre später wurde er 1961 bei John C. Hancock an der Purdue University promoviert. Seine Dissertation war über digitale Kommunikation mit gleichzeitiger Phasen- und Amplitudenmodulation, die Ideen der Quadraturamplitudenmodulation vorwegnahm. Ab 1961 war er an den Bell Laboratories, wo er zunächst im Data Theory Department von William R. Bennett war. 1964 erfand er dort den "Adaptive Equalizer". 1982 wurde er Direktor der Abteilung Forschung über Kommunikationssysteme. 1992 verließ er Bell Labs und ging zu Bellcore (ab 1994 Telcordia Technologies), wo er Corporate Vice President war, zuständig für Forschungsmanagement. 2002 ging er in den Ruhestand.


Traditional accounts.

Traditional accounts ascribe different reasons for this battle. The most famous is the story about the copying of a book belonging to Saint Finnian by Columcille.  According to tradition, sometime around 560, the Irish abbot and missionary Saint Columba became involved in a quarrel with Saint Finnian of Movilla Abbey over a psalter. Columba copied the manuscript at the scriptorium under Saint Finnian, intending to keep the copy. Saint Finnian disputed his right to keep the copy. Thus, this dispute was about the ownership of the copy (whether it belonged to Saint Columba because he copied it or whether it belonged to Saint Finnian because he owned the original). King Diarmait mac Cerbaill gave the judgement, "To every cow belongs her calf, therefore to every book belongs its copy."  Columba disagreed with King Diarmait's ruling against him and reportedly instigated a successful rebellion of the Uí Néill clan against the King. The battle was claimed to have caused around 3,000 casualties.  Another traditional reason given for the battle concerns the violation of sanctuary. The Annals Of Tighernach for the year 559, record the death of Curnan son of Aed, son of Eochaid Tirmcharna by Diarmait mac Cerbaill, while Curnan was 'ar comairce Coluim chilli - under Colum Cille's protection'. This Curnan was the son of Aed, the king of Connacht. That Diarmait had violated the sanctuary of the termonn at the Columban monastery of Kells is given as the reason for the battle.  Either way, as a monk who had taken up arms, Colmcille faced judgement for his deeds. It said that the judgement resulted in Columba leaving his homeland for Scotland, where he founded Iona Abbey in 563. The sentence stipulated he was to win as many souls to Christianity as had been lost in the battle. The Chronicles of Iona state that "In the second year after the battle of Cul-drebene, the forty-second year of his age, Columba sailed away from Ireland to Britain wishing to be a pilgrim for Christ."

Modern investigations.

However, these later versions have been disputed by modern scholarship on several grounds, particularly as early mentions of the battle do not refer to the book incident. It may have been a dynastic battle between the Cinel Cairbre and Diarmait Mac cerbaill who had wrested the kingship at Tara from them after the death of Tuathal Maelgarb.

Further reading.

Betha Colmcille, Manus O'Donnell

The battle of Cúl Dreimhne (also known as the "Battle of the Book") took place in the 6th century in the túath of Cairbre Drom Cliabh (now Co. Sligo) in northwest Ireland. The exact date for the battle varies from 555 AD to 561 AD. 560 AD is regarded as the most likely by modern scholars. The battle is notable for being possibly one of the earliest conflicts over copyright in the world.

Die Schlacht von Cúl Dreimhne – auch als "„Schlacht des Buches“" bekannt – fand im tuath des Cairbre Drom Cliabh in Irland statt. Der Ort des Geschehens ist vermutlich identisch zum heutigen Cooldrumman () in der Civil Parish Drumcliff ("Droim Chliabh") im heutigen County Sligo. Das Datum des Kampfes wird unterschiedlich überliefert: Es variiert zwischen 555 und 561 nach Christus. Die Schlacht, die rund 3000 Tote und Verletzte gefordert haben soll, ist als eine der ersten Auseinandersetzungen auf dem Gebiet des Urheberrechts bekannt.


Taxonomy.

The Shansei vole was first described in 1908 as "Myodes shanseius" by the British zoologist Oldfield Thomas, the type locality being Chao Cheng Shan in Shanxi Province. It is often regarded as a subspecies of the grey red-backed vole ("Myodes rufocanus"). However the molar teeth in adults do not have roots which sets it apart from that species and tends to associate it with "Eothenomys" species, though the fur length, texture and colour pattern are more like "Myodes" than "Eothenomys". The Shansei vole is allopatric to the royal vole ("Myodes regulus") of the Korean peninsula with which it forms a species complex.

Description.

The Shansei vole is similar in appearance to the grey red-backed vole but the reddish-coloured back is rather less rufous and the grey sides are more of an ochre-grey. The underparts are greyish-buff and the tail is brown above and white below. The upper surfaces of the feet are brownish-white. The eyes are small and the ears are small and rounded. The molar teeth do not have roots in adults, a fact that distinguishes this vole from the grey red-backed vole. The Shansei vole has a head-and-body length of and a tail length of.

Distribution and habitat.

The Shansei vole is endemic to China where it occurs in the southern part of Gansu, northern part of Sichuan, northern part of Shanxi, northern part of and in the provinces of Shaanxi, Hebei, Beijing, Inner Mongolia, Henan and Hubei. It is usually found in woodland and forests.

Behaviour.

The Shansei vole is largely nocturnal. Its diet consists mainly of grasses, green leaves and stems, and to a lesser extent it feeds on seeds.

Status.

The Shansei vole has a wide range and is assumed to have a large total population. It is present in several national nature reserves. The population trend is unknown, but no specific threats have been identified and the International Union for Conservation of Nature has assessed its conservation status as being of "least concern".

The Shansei vole ("Myodes shanseius") is a species of rodent in the family Cricetidae. It is found only in north-central China where its habitat is forests.

Die Shanxi-Rötelmaus ("Myodes shanseius") ist eine Nagetierart aus der Gattung der Rötelmäuse ("Myodes") innerhalb der Wühlmäuse (Arvicolinae). Sie kommt im in Teilen der Volksrepublik China vor.