Rosh Hashana with Rebbe Nachman.

The first Rosh Hashana kibbutz was initiated by Rebbe Nachman of Breslov during his lifetime. He strongly encouraged his followers to spend each Rosh Hashana with him in the town of Breslov. Hundreds of followers would gather for the holiday prayer service, festive meals, and special Torah lessons taught by the Rebbe. When asked why Rosh Hashana was so significant, Rebbe Nachman explained, "My Rosh Hashana is greater than everything. I cannot understand how it is that if my followers really believe in me, they are not all scrupulous about being with me for Rosh Hashana. No one should be missing! Rosh Hashana is my whole mission."  To one follower who said he preferred to visit the Rebbe on the Shabbat after Rosh Hashana, when he would have more space to pray, eat and sleep, the Rebbe replied, "Whether you eat or don't eat; whether you sleep or don't sleep; whether you pray or don't pray (i.e. with the proper concentration); just make sure to be with me for Rosh Hashana, no matter what!"  Elsewhere, Rebbe Nachman explained that traveling to a tzaddik on Rosh Hashana is a time-honored practice which helps to mitigate and "sweeten" Heavenly decrees at their source, at the beginning of the new year. The Rebbe also mentioned before the last Rosh Hashana of his life (in 1810) that there were people who were unable to achieve their "tikkun" (self-rectification) all year, nor was he able to help them then. On Rosh Hashana, however, these "tikkunim" could be effected.  In 1843, on the last Rosh Hashana of his own life, Nathan of Breslov ("Reb Noson"), the Rebbe's closest disciple and leader of the movement after the Rebbe's death, expounded on the meaning of Rebbe Nachman's Rosh Hashana in this way:  We see that on Rosh Hashana, Jews flock to the synagogue, to their leaders. They come from all the towns and villages to be together on Rosh Hashana. This is because the Jewish People are likened to a flock of sheep who gather around their shepherd. When the shepherd wishes to call his flock, he blows his horn. This is the reason for the blowing of the shofar on Rosh Hashana. The shepherd, the true tzaddik, is calling his "flock" together, seeking ways to help each one of them fulfill his destiny."  Rebbe Nachman died in October 1810 and was buried in the Uman cemetery. Afterwards, Reb Noson explained to the other Hasidim that Rebbe Nachman had stressed the importance of the Rosh Hashana kibbutz that year because he wanted them to continue to "be with him" for the holiday even after his death. He encouraged them to continue to gather at the Rebbe's gravesite in Uman every Rosh Hashana.

Pilgrimage established by Reb Noson.

Reb Noson arranged the first Rosh Hashana kibbutz the following year (1811) and continued to run it until his death in 1844. In the following decades, hundreds of Hasidim arrived annually from Ukraine, Belarus, Lithuania and Poland. So many joined the pilgrimage, in fact, that the local synagogue was unable to accommodate them. Fearing that people would stop attending the kibbutz, Reb Noson acquired a property, applied for a government permit, raised funds and oversaw the construction of a large Breslover synagogue in Uman in 1834. Known as the "kloyz", it housed the annual Rosh Hashana kibbutz through the 1930s.  Reb Noson once said, "Even if the road to Uman were paved with knives, I would crawl there — just so I could be with my Rebbe on Rosh Hashanah!"  In each generation, the most pious representatives of the movement were honored with leading the prayer services at the annual Rosh Hashana kibbutz. They included: Nachman Chazan, Abraham Sternhartz, Levi Yitzchok Bender, Michel Dorfman, and Itzel Korsinski.  The annual Rosh Hashana pilgrimage effectively redirected the focus of Breslover Hasidut from the town of Breslov to the town of Uman. Today, the town of Breslov is considered a side-trip for visitors to Ukraine, as the only sites of interest to Breslover Hasidim there are the graves of Reb Noson and other Breslover figures.

Under Socialism.

The Rosh Hashana pilgrimage ground to a halt with the Bolshevik Revolution of 1917, which sealed the border between Russia and Poland. Uman became a "closed city" and foreigners were strictly prohibited from entering. Rabbi Yitzchok Breiter, a Breslover Hasid in Poland who drew thousands of his countrymen closer to the Hasidut in the 1920s and 1930s, established a Rosh Hashana kibbutz in Lublin for their benefit. Hasidim who emigrated to Israel established Rosh Hashana kibbutzim in Jerusalem and in Meron (the latter at the gravesite of Rabbi Shimon bar Yochai), which continue to this day. Later, other Rosh Hashana kibbutzim were established in New York City and in Manchester, England.  Shmuel Horowitz, a native of Safed, Mandate Palestine, was the last foreign citizen to sneak across the Polish border into Russia around 1929. He participated in three Rosh Hashana kibbutzim in Uman before he was discovered and arrested for illegal entry. After spending three months in a Soviet prison, Horowitz was released with the intervention of the Chief Rabbi of Mandate Palestine, Abraham Isaac Kook, and returned in 1933.  Despite the Communist ban on public prayer gatherings, Breslover Hasidim in Russia continued to gather clandestinely every Rosh Hashana during the 1920s and 1930s. In 1934, the Soviets ostensibly granted permission for 28 Hasidim to travel to Uman for Rosh Hashana. In fact, it was a ruse to discover their identities — 16 were murdered while still in Uman and 12 were exiled to Siberia. Only four of the exiles survived. In 1936, the authorities shut down the "kloyz" built by Reb Noson and turned it into a metalworking factory.  The Rosh Hashana kibbutz was relocated to a rented apartment in 1936 and 1937. The last kibbutz before World War II was held in 1938. Twenty-seven Hasidim risked their lives to participate in this gathering.  World War II and the Holocaust decimated the numbers of Breslover Hasidim living in Russia. The Rosh Hashana pilgrimage resumed on a drastically smaller scale in 1948, when 11 Hasidim independently traveled from cities throughout Russia to Uman for Rosh Hashana. From then until the 1970s, when most of the remaining Hasidim were permitted to emigrate to Israel, only between 9 and 13 Hasidim braved the annual trip. They were often forced to change the location of their prayer services from year to year to escape discovery by the authorities.  Beginning in the 1950s, Michel Dorfman in Moscow became the official organizer of the Rosh Hashana kibbutz. Hasidim from throughout Russia would contact him for details about each year's event, and he wrote letters to others, encouraging them to continue this practice of being with Rebbe Nachman for Rosh Hashana despite the long journey and the threat of government surveillance.

International focus.

In the 1960s, when the majority of Hasidim in the Breslover movement resided outside the Soviet Union, Rebbe Nachman's gravesite began to turn from being an internal Russian destination to an international one. A young New York Hasid named Gedaliah Fleer was the first foreign citizen to enter Uman without permission in 1963, with Dorfman's help. The Soviets would only issue tourist visas to larger cities like Kiev and Odessa, not to Uman. Fleer returned to Uman in 1965 to join the Rosh Hashana kibbutz with 12 other Russian Hasidim. Fleer pretended to be from the Soviet Republic of Georgia and that he did not speak Yiddish or Russian in order to protect his identity. Had the participants known that a foreign citizen was in their midst, they would have quit the kibbutz immediately.  From the 1960s until the fall of Communist Government in 1989, several hundred American and Israeli Hasidim made their way to Uman, both legally and illegally, to pray at the grave of Rebbe Nachman. Sometimes the government issued individual tourist visas to Uman, but no one was allowed to stay in the city overnight. In 1975, however, Rabbi Herschel Wasilski, the official American representative of Breslover Hasidut, received permission to conduct a minyan at the Rebbe's gravesite on the eve of Rosh Hashana with 11 other men and spent the holiday in the city. In 1988, glasnost and continuing international pressure finally forced the Soviet government to permit 250 foreign citizens to stay in Uman over Rosh Hashana.  The next year, the fall of Communist government opened the gates entirely. Between 700 and 900 Hasidim gathered in Uman for Rosh Hashana 1989. In 1990, 2,000 Hasidim attended. Large factory sites were called into service to house the crowd. The numbers have continued to grow apace. The Rosh Hashana kibbutz in Uman surpassed the 10,000-person mark in 2000. In 2005, approximately 20,000 men and boys from all countries and all backgrounds converged on the town for the annual event. In 2008, the numbers reached 25,000.  Coordinators of the Rosh Hashana kibbutz fly in fully catered, kosher holiday meals for all participants, temporary lodgings, an infirmary and emergency medical technicians from Israel.  Despite the dormitory-style accommodations, the gathering is infused with much spiritual devotion and unity of purpose. Besides the communal prayer services, Torah classes are conducted in Yiddish, Hebrew, English, Russian, and French. A visual highlight of the Rosh Hashana kibbutz is the Tashlikh ceremony, held on the afternoon of the first day of the holiday (if the first day of Rosh Hashana falls on Shabbat, Tashlikh is postponed to the second day of Rosh Hashana). Thousands of Hasidim, dressed entirely in white, sing and dance through the streets of Uman as they make their way down to the river to perform this holiday ritual.

The Rosh Hashana Kibbutz (; plural: kibbutzim: קיבוצים, "gathering" or "ingathering") is a large prayer assemblage of Breslover Hasidim held on the Jewish New Year. It specifically refers to the pilgrimage of tens of thousands of Hasidim to the city of Uman, Ukraine, but also refers to sizable Rosh Hashana gatherings of Breslover Hasidim in other locales around the world. In recent years the pilgrimage to Uman has attracted Jewish seekers from all levels of religious observance and affiliation, including introducing Sephardic Jews to Hasidic spirituality. This has added to Breslov's position in the Baal teshuva movement of Jewish outreach.

Le kibboutz Rosh Hashana (hébreu: קיבוץ ראש השנה « rassemblement de Roch Hachana ») est une tradition propre au hassidisme Bratslav.


Biography.

Haris Alexiou appeared in the Greek music scene in the early 1970s. Her charismatic voice, combined with a unique way of performing and a strong scenic presence, very soon led her to the top. Today she is still at the top, always working hard, always seeking new ways of expression and always giving prestige and value to the contemporary light and popular Greek music. She has worked with the most important Greek songwriters, has performed at the greatest musical theatres in all five continents and has received several important awards.  She has had over thirty of her own albums recorded, has participated in albums of other artists, either renowned or young and promising, being always open to new ways in music.

1970s.

The first important step in her career was her participation with George Dalaras in the album "Mikra Asia" ("Asia Minor") written by Apostolos Kaldaras and Pythagoras (Pythagoras Papastamatiou) in 1972. A historic album, the biggest hit of the '70s and included in "Minos-EMI's 100 Greatest Hits of the Century."  In 1973, Alexiou participates in the albums "Kalimera ilie" ("Good Morning, Sun") by Manos Loïzos and Lefteris Papadopoulos, "Byzantinos Esperinos" ("Byzantine Vesper") by Apostolos Kaldaras and Lefteris Papadopoulos and "Odos Aristotelous" ("Aristotelous Street") by Yannis Spanos and Lefteris Papadopoulos. Meeting Manos Loïzos was the beginning of a lifelong friendship and a prolific cooperation.  In 1975, her first personal album "12 'Laika' Songs" was released. One of the songs, "Dimitroula", originally sung in the 1930s' by Roza Eskenazi, has become an all-time standard. In the same year, she appears in "boites" in Plaka, imposing a new way of presenting songs, completely different from the conventional big nightclubs. It is the first year after the fall of the military junta, a time for the political songs and the revival of "rebetika" songs, and Alexiou sings traditional songs, ballads, modern songs, folk songs and rebetika.  For many years she collaborated with George Dalaras, Dimitra Galani, Vasilis Papakonstantinou and Yiannis Parios. Her concerts in stadiums and theatres, with songs written by Manos Loïzos, Lefteris Papadopoulos, Nikolopoulos, Giannis Spanos, Theodorakis, Stavros Kouyioumtzis and others, were extremely successful. Her popularity reached its peak and since then, she is "Haroula of Greece".  In 1979, the album "Ta tragoudia tis Haroulas" ("Haroula's Songs") was released. Manos Loïzos had written the music and the lyrics were written by Manolis Rasoulis and Pythagoras (Pythagoras Papastamatiou). From this album, "o Fantaros" ("The Soldier") immediately becomes a big hit, while "Ola se thymizoun" ("All Things Remind Me of You") is considered one of the most beautiful Greek ballads of all time.

1980s.

The 1980s start with two enormous hits: "Fevgo" ("I'm Leaving") and "Ximeroni" ("The Day Breaks"). "Songs of Yesterday", her album with Dimitra Galani includes ballads which fascinate the public. At the same time she records traditional and folk songs, rebetika and laika, and gives concerts both in Greece and abroad.  In 1983 she records is the album "Tsilika", a collector's item, with old rebetika songs written between 1900 and 1935.  1986 is the year of her first collaboration with composer Thanos Mikroutsikos. The album is "I Agapi ine zali" ("Dizzy with Love") with lyrics by Alkis Alkeos, Nikos Kavvadias, Andreas Mikroutsikos and Babis Tsikliropoulos The title song becomes an enormous hit. "Eleni" and "Erotikon" from the same album, are also extremely successful. The same year Haroula conquers the French public appearing in "Théâtre de la Ville", getting favorable reviews from the French press. After that, she gives concerts in Cyprus, Tunisia, Germany and many towns all over Greece.  In 1987, world-famous Greek composer Manos Hadjidakis invites her to appear in his club "Sirius" with the "Unpredictable Songs". He directs her and later he goes to the recording studio with her. In the summer of this year, she sings in Hadjidakis's concerts in many Greek towns.  In 1988 she works with "Fatme" a group of young and talented artists. She also works with Paolo Conte, a well-known Italian singer ang songwriter. They appear together at the Palace Theatre of Athens. She has two of his songs recorded with Greek lyrics by Lina Nikolakopoulou.  In 1989, "The Show in on". It is the musical show which she presents for two years, together with Dimitra Galani and Yiannis Parios, in Athens and Thessaloniki. An album with the same title resulted from this work.

1990s.

1990 begins with her second collaboration with Thanos Mikroutsikos. The album is entitled "This Cologne Lingers on for Years" with lyrics by Lina Nikolakopoulou. In October of the same year, she participates in the most important concert of the decade in Peace and Friendship Stadium of Athens. In this festive concert, called "Our Own Night", all the big names of the Greek show business are present. Yiannis Parios, Thanos Mikroutsikos, Dimitra Galani, Chris Nikolopoulos, Alkistis Protopsalti, George Sarris, George Zambetas, Lakis Lazopoulos and the legendary Melina Mercouri.  In 1991 she appears in Attikon Theatre of Athens with a special show called "In Three Acts". In the first act she sings songs by Hadjidakis, Loizos, Mikroutsikos and Bertolt Brecht and Kurt Weill. In the second act she hosts certain groups of modern Greek music and presents songs written by herself. The third act is a medley with her hits, old and new. She then presents this show in the State Theatre of Northern Greece, which for the first time accepted a Greek singer in its stage. With her concerts, sets new standards for musical shows, using state-of-the-art sound and light equipment and impressive decors. In autumn 1991, together with Costas Hadjis, presents a show directed by Mauro Bolognini at Rex Theatre in Athens and Radio City in Thessaloniki. "Alexiou Sings Hadjis" is the album that follows.  In 1992 she starts her cooperation with PolyGram, successfully presenting a new style in her songs. The album "Di' efchon" ("L'orale") with music by Nikos Antypas and lyrics by Lina Nikolakopoulou comes as something quite fresh in the Greek discography, giving a new thrust to Haroula's already long career.  In 1993 the above album is released in Japan, Belgium, France and Israel by PolyGram International. The French TV channel "MCM International" films and shows her concert at Lycabetus Theatre. The same year she travels around the world with concerts in Cyprus, the US, Canada, Israel, several European countries, finishing in Paris at the Mogador Theatre.  In 1994 her album "Hey!" is released with music by Nikos Antypas and lyrics by Lefteris Papadopoulos and Aris Davarakis. The summer of the same year, she appears in Odeon of Herodes Atticus with a show directed by Mauro Bolognini. In October, it's her first and extremely successful appearance in Japan.  In 1995, the album "88 Nefelis Street" is released. The songs of this album are all written by herself. For this album, in April 1995, at the Palais des congrès in Paris, she receives the "Prix Adami", an award given every year by Académie Charles Cros to distinguished artists. The same year, she opens Studio Nefeli where she presents her new songs, creating a new "Cafe Theatre" atmosphere. Dimitri Papajoannou is the director of the show.  In 1996, she writes then lyric for "Nefeli's Tango" on Loreena McKennitt's music. This song along with other live recordings from her concerts around the world, is included in the album "Around the World '92-'96". "Nefeli's Tango", for several months is one of the ten top songs of World Music in Europe.  In summer 1997, responding to the invitation of Olympic Games Committee "Athens 2004", she gives a concert at Pnyka Hill very close to Acropolis. Such is the success of this concert, so she has to repeat it twice at the same location.  1998 is the year of "The Game of Love", her second album with songs written only by herself. The recording took place at the Studio Guillaume Tell in Paris with Greek and foreign musicians. The same year, she tours North and South America with Nikos Papazoglou. In December she appears in Athens at Diogenis Studio which is reconstructed in order to meet the demands of the show she presented with Chris Nikolopoulos. The show is directed by Dimitri Papajoannoy again.  In October 1999, she sings along with Turkish famous female singer Sezen Aksu, both in Athens and Istanbul, for the victims of the earthquakes which afflicted the two countries that year, under the auspice of the Ministry of Culture. This cooperation is repeated in summer 2000 in Istanbul and İzmir.

2000-present.

In September 2000, the album "Whispers" is released. It includes her favourite songs performed by her and a piano only. In October, she presents these songs in Music Palace of Athens and in the ancient Epidaurus Odeon accompanied by a small musical ensemble. The same year, she founds her own record company, "Estia", in order to produce all her future ventures in discography. In December, the first album is released entitled "Strange Light". In this album she meets again songwriters with whom she has successfully worked in the past. "Strange Light" becomes "Lumiere Etrange" and is released all over Europe by Universal-France. At the same time, Haroula tours Europe giving concerts at the most prestigious theatres, conquering both audiences and critics. Her tour ends with a triumphal appearance at Theatre Olympia in Paris.  2002 is another creative year for Haroula. She appears on the Keramikos Music Hall, this time singing more "laika" songs. In this show, Lavrentis Macheritsas and other younger artists participate. The result is the album "Keramikos Live".  In 2003 the album "To the end of your heaven" went four times platinum and WORLD MUSIC AWARDS, one of the most significant institutions of the international music industry, presented Haris Alexiou with the award for The Best-Selling Greek Artist for the season 2003-2004 (2004 World Music Awards).  2004, the Olympic Games are held in Athens. Haris Alexiou, sings at the closing ceremony, along with D. Galani, Marinella, Y. Parios, G. Dalaras. In October 2004, the retrospective compilation album titled "Anthology" was released. This double CD is composed of 38 songs from her previous albums and of two new ones. Alexiou herself selected the included songs, not only choosing the most popular ones, but also bearing in mind the significance of each song for herself.  In April 2005, remastered and repackaged editions of her 16 albums under the banner of Minos EMI were released. The albums were reprinted, digitally remastered, and the new editions were meticulously designed (including the lyrics, many informative texts and original photos from the time of the first release).  In 2006, Haris Alexiou is back with "Sour cherry and bitter orange", an album depicting the traditional aspects of contemporary music. Thodoris Papadopoulos, Smaro Papadopoulou and Makis Seviloglou wrote the music and the lyrics, suggesting a return to our roots. An album that, despite its unusual content, managed to go platinum, just a few months after it was released, receiving people's recognition and love. During the summer she made a series of special appearances. Along with Dimitra Galani, she gave two concerts dedicated to Sofia Vembo at Odeon of Herodes Atticus, an event organized by Athens Festival. She gave four sold-out concerts along with Sokratis Malamas and Alkinoos Ioannidis, celebrating "Melodia" radio station's 25 years of broadcasting, at Lycabettus theatre in Athens and at "Palais des sports" in Thessaloniki. These concerts were recorded and a double CD and DVD edition will be released in March 2007. At the end of 2006 Haris Alexiou undertook a major tour around Europe, giving a series of concerts and promoting the international release of her album, "Anthology".  In early 2007, she appeared at the Athens Concert Hallfor in five concerts directed by Panos Papadopoulos. The songs were orchestrated by Kostas Papadoukas and the orchestra conducted by Alexandros Myrat. Alexiou gave three concerts under the title "Everything reminds me of you", dedicated to Manos Loizos, at the Odeon of Herodes Atticus in June 2007, participating in the celebrations for the 70th anniversary of his birth. The concerts were directed by Panos Papadopoulos Nikos Portokaloglou, the songs were arranged by Kostas Papadoukas, and the lighting was designed by Andreas Sinanos. The group "Triphonon" appeared along with her on stage. Two more concerts were given at Thessaloniki, followed by a summer tour around Greece and Cyprus along with the "Triphonon", dedicated to the great composer. On 22 October the album "Haris Alexiou - A tribute to Manos Loizos" was released, containing the live recording and video-taping of the concerts given at the Odeon of Herodes Atticus the previous June during the Athens Festival. Nikos Portokaloglou and the group "Triphonon" also appear on the album. The album was released in both a double CD and a double CD-DVD packaging by Estia recordings.  From Greece to Australia, from Russia to Africa, from America to Japan, Haris Alexiou travels around and shows the world the feeling of the Greek song. She firmly believes that the Greek song, through its poets and composers, made her love and better understand the history and the culture of her country.  In the below table, the personal albums certified gold or platinum, in descending order by sales. The reeditions' sales are not included.  A-side: "Otan pini mia gineka", H. Alexiou (H. Vasiliades, Pythagoras)

Discography.

Vinyl 45s.

B-side: "Periexomeno den exeis", Mpampis Tsetinis-Pitsa Papadopoulou (H. Vasiliades, Pythagoras) A-side: "To parasinthima", Haris Alexiou (Apostolos Kaldaras) B-side: "Oi dyo zitianoi", Yannis Parios (Ap. Kaldaras, G. Samoladas) A-side: "Tous antres tha katarasto", Haris Alexiou (G. Hadjinasios, N. Gabriilides) B-side: "Thaho tis grillies anoiktes", Haris Alexiou (G. Hadjinasios, N. Gabriilides) A-side: "Irthe i agapi (Efige i agapi)", Haris Alexiou-Tolis Voskopoulos (T. Voskopoulos, E. Lymperopoulos) B-side: "Pali monaxo to paidi", Haris Alexiou (T. Voskopoulos, E. Lymperopoulos) A-side: "Hasapiko 40", Haris Alexiou (M.Hadjidakis, N. Gatsos) B-side: "Agapi mesa stin kardia", Haris Alexiou (M.Hadjidakis, N. Gatsos) A-side: "Hasapiko 40", Haris Alexiou (M.Hadjidakis, N. Gatsos) [same as above] B-side: "Den yparxei eftyxia" Litsa Diamanti (G. Katsaros, Pythagoras) A-side: "Mais", Haris Alexiou (G. Metsikas, M. Fakinos) B-side: "Tosa kai tosa ximeromata" Haris Alexiou (G. Metsikas, M. Fakinos) A-side: "O marmaromenos vasilias", Haris Alexiou (Ap. Kaldaras, Pythagoras) B-side: "Mes stou Vosporou ta stena", [George Dalaras] (Ap. Kaldaras, Pythagoras) A-side: "Maria me ta kitrina", Haris Alexiou (V. Dimitriou) B-side: "Aspra, kokkina, kitrina, mple", Haris Alexiou (D. Moutsis, G. Logothetis) A-side: "San louloudi tsakismeno", Haris Alexiou (S. Kougioumtzis, K. Athanasiou) B-side: "Efyge to treno gia tin dysi", Haris Alexiou (S. Kougioumtzis, K. Athanasiou) A-side: "Paei paei manoula mou", Haris Alexiou (T. Soukas, Pythagoras) B-side: "To prosklitirio", Haris Alexiou (T. Soukas, Pythagoras) A-side: "Kampana tou esperinou", Haris Alexiou (A. Kaldaras, L. Papadopoulos) B-side: "Kai na ‘mouna to palikari", George Dalaras (T. Soukas, Pythagoras) A-side: "Ti talaiporia", Haris Alexiou (G. Hadjinasios, S. Tsotou) B-side: "Kai na ‘mouna to palikari", Yannis Parios (G. Hadjinasios, S. Tsotou) A-side: "Poios to kserei", Haris Alexiou (Manos Loizos) B-side: "Kalimera ilie", Kostas Smokovitis and Aleka Aliberti (Manos Loizos) A-side: "Na kseres file", Haris Alexiou (Nasos Nakas) B-side: "Stis rizes t’ ouranou", Yannis Parios (Nasos Nakas) A-side: "Dimitroula mou", Haris Alexiou (old folk song) B-side: "Pos to lene", Haris Alexiou (H. Vasiliades, Pythagoras) A-side: "Elenitsa", Haris Alexiou (old folk song) B-side: "Tsachpin", Haris Alexiou (old folk song) A-side: "Erinaki", Haris Alexiou (old folk song) B-side: "O doctor", Haris Alexiou (old folk song) A-side: "I garsona", Haris Alexiou (old folk song) B-side: "Ela pare me", Haris Alexiou (G. Sarris, L. Papadopoulos) A-side: "Esenane tha dialega", Haris Alexiou (S. Kougioumtzis, L. Papadopoulos) B-side: "Treis i ora nychta", Haris Alexiou (S. Kougioumtzis, M. Eleftheriou) A-side: "Matia mou matia mou", Haris Alexiou (S. Kougioumtzis, L. Papadopoulos) B-side: "Ta mavra koroideveis", Haris Alexiou (S. Kougioumtzis, M. Eleftheriou) A-side: "O fantaros", Haris Alexiou (M. Loizos, M. Rasoulis), from the LP "Ta tragoudia tis Haroulas" B-side: "Ksimeronei", Haris Alexiou (A. Vardis, H. Alexiou), from the LP "Ksimeronei" A-side: "Omorfe mou kosme", Haris Alexiou (Nasos Nakas-Nanopoulos) B-side: "Parapono", Haris Alexiou (Nasos Nakas-Nanopoulos) A-side: "Kokkino garyfallo", Yannis Parios and Haris Alexiou (Nikos Ignatiadis) B-side: "Lovely mandolin [Kokkino garifallo]", Yannis Parios and Haris Alexiou (Nikos Ignatiadis, S. Fassois) A-side: "Gia ta paidia", Haris Alexiou, Bessy Argiraki, Anna Vissi, Tolis Voskopoulos etc. (A. Papadimitriou, Ph. Nikolaou) B-side: " Gia ta paidia [Instrumental]", Haris Alexiou, Bessy Argiraki, Anna Vissi, Tolis Voskopoulos etc. (A. Papadimitriou, Ph. Nikolaou) A-side: "Mplexan oi grammes mas", Fatmé feat. Haris Alexiou (Nikos Portokaloglou) B-side: "Pote tha se varetho", Fatmé (Nikos Portokaloglou) A-side: "Dimitroula mou [1990 cover]", Haris Alexiou (old folk song) B-side: "Mia pista apo fosforo", Haris Alexiou (Th. Mikroutsikos, L. Nikolakopoulou), from the LP "Krataei xronia afti i kolonia" A-side: "Magissa", Haris Alexiou (N. Antypas, L. Nikolakopoulou) B-side: "Di’ Efhon", Haris Alexiou (N. Antypas, L. Nikolakopoulou) A-side: "Na ziso i na pethano [Extended New Version]", Haris Alexiou (N. Antypas, L. Nikolakopoulou) B-side: " I sinavlia", Haris Alexiou (N. Antypas, L. Nikolakopoulou) A-side: "Ei", Haris Alexiou (N. Antypas, L. Papadopoulos) B-side: "S’ Ehasa", Haris Alexiou (N. Antypas, L. Papadopoulos) A-side: "Oi filoi mou", Haris Alexiou (Haris Alexiou) B-side: "Minoraki", Haris Alexiou (Haris Alexiou)

Haris Alexiou (, ; born 27 December 1950 in Thebes, Greece as Hariklia Roupaka,, ) is a Greek singer. She is considered one of the most popular singers in Greece and has been commercially successful since the 1970s. She has worked with important Greek songwriters and composers, has performed at top musical theatres all over the world, and has received several awards. She has recorded over thirty albums and has been featured on albums of other musicians. On 14 March 2010 Alpha TV ranked Alexiou as the first top-certified female artist in Greece in the phonographic era (since 1960), "Chart Show: Your Countdown" and the Number 3 overall ranking with regards to the sale of the personal albums certified Gold or Platinum in Greek discography since 1970, behind the male singers George Dalaras and Yiannis Parios. Eight of her personal albums released between 1977 and 2003 have surpassed 1.5 million sales, the only Greek female singer to do so.

Háris Alexíou (en grec :, pouvant aussi être transcrit en Kháris Alexíou ou Cháris Alexíou), née Haríklia Roupáka () le à Thèbes en Grèce, est une chanteuse grecque.


Rise.

Musa ibn Musa was descendant of Cassius, who converted to Islam after the Muslim conquest of Iberia. His father, Musa ibn Furtun, appears in scattered accounts of the late 8th century, and was apparently assassinated in Musa's youth. His mother, whose name is unknown, was also mother by another husband of Basque chieftain Íñigo Arista, Musa's half-brother. Musa's early years are obscure, although he is presumed to have supported the Basques against the Franks in the Second Battle of Ronceveaux, a battle generally credited as giving birth to the nascent Kingdom of Pamplona. Likewise it is claimed that in 839 his son Furtun ibn Musa led a campaign that resulted in a rout of the "king of the "Gallaecians"", "Loderik" or "Luzriq" and he leveled the defenses of Álava.

Rebellion.

It is in 840/41 that we first hear of Musa ibn Musa himself. In response to attacks on the lands of his half-brother, Íñigo Arista, and the expulsion of kinsman Abd al-Jabbar ibn Qasi by the brothers Abd Allah and Amir ibn Kalayb, governors respectively of Zaragoza and Tudela, Musa and Íñigo rose in rebellion against emir Abd ar-Rahman II. This led to a reprisal campaign under the leadership of the emir's son, Mutarrif, and general Abd al-Wahid ibn Yazid Iskandarani. In 842, Musa was in charge of the vanguard of the emir's army marching against Cerdanya, but believing himself mistreated by the commanding general, Musa again rebelled and along with his nephew, García Íñiguez of Pamplona, defeated a Cordoban army. Musa ibn Musa and Íñigo Íñiguez again joined forces to ambush and capture one of Abd ar-Rahman's commanders in 843, al-Harit, but the consequence was a massive military response from Córdoba, led by the Emir in person, resulting in the defeat of the allies and the taking of slaves in the vicinity of Pamplona. A second retaliatory expedition in 844 inflicted a further defeat, in which Fortún Íñiguez, the premier soldier of Pamplona, was killed and Musa and Íñigo barely escaped, while hundreds of the Pamplona nobility defected to the Cordoban side.  Musa submitted and in November led his troops to Seville, helping to defeat a large army of Viking raiders who had sacked the city. However, he again rebelled the next year. When Muhammad, son of Abd ar-Rahman, took Tudela, Musa submitted, offered his sons as hostages and went to the emir's court. In 846 Musa again was forced to submit, this time to the emir's son Hisham, but Abd ar-Rahman was again forced to launch punitive campaigns against Musa in 847, and in 850 when Musa and Íñigo again joined in rebellion, Musa's son Isma'il ibn Musa playing a critical role in the uprising.  Throughout this time, Musa faced opposition from within his family. Ibn Hazm reports that his brother, Yunus ibn Musa, remained loyal to Córdoba, and joined with the sons of their uncle Zahir ibn Fortun to fight Musa ibn Musa for most of his life, about 30 years.

Third King of Spain.

The Islamic year 237 (851/2) proved critical for Musa ibn Musa. In this year his half-brother and repeated ally in rebellion, Íñigo Arista, died, as did the emir, Abd er-Rahman II. Musa also gained a great victory in a two-day battle, defeating Basque or Gascon forces near Albelda. The next year, Musa's control over his territories and his links to the emirate were formalized, the new emir, Muhammad, naming Musa "Wāli" of Zaragoza and governor of the Upper March of Al-Andalus. The next decade marked the height of his power. He would control Zaragoza, Tudela, Huesca and Toledo, forming what was, in effect, a Taifa state stretching from Nájera to Zaragoza and Calatayud, and viewed as equivalent to the emirate of Córdoba and the Kingdom of Asturias, Musa being referred to as “The Third King of Spain”.  In 854, Toledo rebelled, supported by Ordoño I of Asturias and García Íñiguez, and the emir Muhammad launched a punitive campaign which ended in the Battle of Guadalacete, Musa apparently participating on Córdoba's behalf. The next year(855) Musa led a Cordoban attack on Álava, in the southeastern section of the Kingdom of Asturias, and in 856 he launched an independent expedition against Barcelona and Terrassa. Apparently in 859, Musa's son Lubb ibn Musa ibn Qasi was appointed "Wali" of Toledo, and the same year, Musa permitted a Viking force to pass through his lands to attack Pamplona, where they captured Musa's nephew and former ally García Íñiguez and ransomed him for either 70,000 or 90,000 gold dinars. This further soured relations between the kinsmen, and García joined with Ordoño in an assault on Musa's lands, which led to a second battle at Albelda. The Christians divided their forces, besieging the town and pursuing Musa’a army to a refuge on Mount Laturce. They dealt Musa a crushing defeat, killing his son-in-law, an otherwise unknown Basque prince García, and forcing Musa to flee. This victory would be remembered in Christian sources in the form of the legendary Battle of Clavijo.

Decline and Death.

The Christian victory at Albeda led to the end of Musa's autonomy. In 860, emir Muhammad removed Musa as "wali" and governor, and personally led an army through Musa’a lands on a month-long punitive campaign against Pamplona which resulted in the capture of prince Fortún Garcés of Pamplona. In 861, Muhammad required Musa to play a subservient role in a campaign against Barcelona. The next year, 862, saw Musa trying to re-exert his power, directing a military show of force against his son-in-law, the Berber Azraq ibn Mantil ibn Salim (). Musa attacked Guadalajara, but received several wounds, being unable to mount a horse. He withdrew to Tutila, where he died 26 September 862.

Family.

Musa ibn Musa is reported by the "Códice de Roda" to have married a daughter of his half-brother Íñigo Arista. She was not his only wife, as he also married a cousin Maymuna (), daughter of his paternal uncle Zahir ibn Furtun and mother of his younger son Isma'il. No source reports the mother of his other sons: Lubb, Mutarrif and Furtun. He had at least two daughters; Auria (, "Awriyah"), wife of Basque prince Garcia, killed at Mount Laturce, and by him having a son Musa ibn Garshiya; and another daughter, "the most beautiful girl in Al-Andalus", married to Azraq ibn Mantil.

Legacy.

The death of Musa led to a decade-long disappearance of the family from the political scene but it returned to rule over a shrinking territory for another half-century. However, their position between the growing powers of the caliphate to the south and the Christian principalities to the north proved untenable, and after three generations of varied success, the leaders of the family, Musa's great-great grandsons, were displaced, exiled or killed by the end of the 920s and the last vestiges of Musa's principality disappeared. His pseudo-autonomy from a Córdoba unable to maintain direct control foreshadowed the Muwallad rebels of the early 10th century and the later Taifa kingdoms.

Musa ibn Musa al-Qasawi (Arabic: موسى بن موسى القسوي) also nicknamed "the Great" (Arabic: الكبير, Al-Kabīr) (born "circa" 790 – 26 September 862) was leader of the Muwallad Banu Qasi clan and ruler of a semi-autonomous principality in the upper Ebro valley in northern Iberia in the 9th century.

"Pour l’empereur du Mali, voir Moussa II" Musa II, également appelé "Musa ibn Musa" ou "Muza II" ( - Tudela 862) est l'un des personnages les plus remarquables de la famille des Banu Qasi. Il était le fils de Musa ibn Fortún et d’Oneca.


Early life.

Born in Darmstadt, Hessen, Germany in 1669, George Louis of Hesse-Darmstadt was the third son of Louis VI, Landgrave of Hesse-Darmstadt. After the early death of his father, he was raised by his mother Elisabeth Dorothea of Sachsen-Gotha. In 1686 he undertook a "Grand Tour" through France and Switzerland.  As youngest son, he had little chance of becoming Landgrave, and therefore he was destined for a military career.

Military career.

First he fought against the Turks under Prince Eugene of Savoy. He was present at the Battle of Mohacs. Then he joined William III of Orange in the Irish campaign. After his return he converted to Catholicism and became "Generalfeldwachtmeister" (equivalent to major-general) in the Austrian Army in 1692, at the age of 23. Then he fought against the French in the Nine Years' War. In 1695 he was sent by the Emperor to Spain at the head of an army-unit of 2,000 German soldiers to help defend Catalonia against superior French army and navy forces.  In 1697 he defended Barcelona which was under siege by Vendôme by land and admiral D’Estrées by sea. Finally the city surrendered after a siege of 52 days. This was ordered from Madrid and against the will of prince George Louis.

Later life.

After the war he was honoured in Spain and made a knight in 1697 of the Order of the Golden Fleece. After the withdrawal of the French, he became Viceroy of Catalonia, being recorded in the Spanish official records as Jorge de Darmstadt. He learned some Catalan and initiated some reforms, making him quite popular in the region. In 1699 he was appointed "General der Kavallerie" (General of Cavalry).  But in 1700 King Carlos II died and was succeeded as king by the French Philip V. Prince George Louis was replaced in 1701 by a pro-Bourbon Viceroy: Luis Antonio Tomás Fernández de Portocarrero, and he returned to Austria. There, he was ordered by the Emperor Leopold to negotiate an alliance with England and Portugal to support the claims to the Spanish throne of Leopold's son, the Archduke Charles.  After the start of the War of the Spanish Succession he was appointed the head of the Austrian troops supporting Archduke Charles's cause in Spain. In January 1704, Admiral Sir George Rooke with Prince George on board sailed from Lisbon for Barcelona, hoping it would declare for Archduke Charles. This proved false and the fleet returned to Lisbon after a brush with French naval forces heading to Toulon. On 31 July upon the suggestion of Prince George and under his command, 1,800 Dutch and English Marines were landed near Gibraltar, took the fortress along with Sir George Rooke, Admiral of the Fleet (1702-1704) and defended it successfully against a Spanish-French siege, holding off repeated attacks. Following the arrival of Allied reinforcements and supplies, enabling Prince George to take the offensive, the siege was abandoned in April 1705. He left Gibraltar and took command of the conquest of Barcelona and was killed on 13 September, storming the citadel of Montjuich.  His body was embalmed and buried in the Església dels Josepets de Gràcia. His heart was sent in 1711 to Darmstadt, where it remains in the Stadtkirche today. He is known by the Catalans as "Príncep Jordi" (Prince George). A street in Barcelona was named after him: "Carrer del Príncep Jordi".

Prince George Louis of Hessen-Darmstadt (1669 – 13 September 1705) was a Field Marshal in the Austrian army. He is known for his career in Habsburg Spain, as Viceroy of Catalonia (1698–1701), head of the Austrian army in the War of the Spanish Succession (1701–1705) and governor of Gibraltar in 1704. He was killed during the Siege of Barcelona the following year. He was known in Spanish as Jorge de Darmstadt and in Catalan as Jordi Darmstadt.

Le Prince George-Louis de Hesse-Darmstadt ( - ) à Montjuïc était un Feldmarschall de l'armée autrichienne, vice-roi de Catalogne (1698-1701), chef de l'armée autrichienne pendant la guerre de Succession d'Espagne (1701-1705), vainqueur de Gibraltar en 1704, Gouverneur de Gibraltar. Il est aussi connu sous le nom de "Jorge de Darmstadt" (en espagnol) et ou "Jordi Darmstadt" (en catalan).


VirusScan Enterprise.

McAfee also produces an enterprise-level product named VirusScan Enterprise: McAfee has designed this for use on larger networks designed to make management of antivirus software on multiple computers easier. Unlike the home-user edition, the Enterprise edition consists of a client application for networked computers, and a server application, which the system installs updates and configures settings for all client programs. Clients can be controlled using the included ePolicy Orchestrator (ePO), which is a unified console that can control VirusScan and other McAfee products.

VirusScan for Mac.

In November 2008 McAfee announced VirusScan for Mac 8.6. (Earlier versions used the name Virex, developed by HJC Software.) Key changes in VirusScan 8.6 included Leopard Compatibility, a universal binary package that ran on both Intel and PowerPC-based Macs, On access scanning and Apple Mail support.

Controversies.

Poor independent test results.

In tests by Virus Bulletin and additional independent consumer-organizations, McAfee VirusScan has not fared well, frequently failing to detect some common viruses.  A review of VirusScan 2006 by CNET criticized the product due to "pronounced performance hits in two of our three real-world performance tests" and some users reviewing the same product reported encountering technical problems.  Some older versions of the VirusScan engine use all available CPU cycles.

Customer support criticisms.

Reviewers have described customer support for McAfee products as lacking, with support staff slow to respond and unable to answer many questions.

2010 reboot problem.

On April 21, 2010, beginning approximately at 2 PM GMT, an erroneous virus definition file update from McAfee affected millions of computers worldwide running Windows XP Service Pack 3. The update resulted in the removal of a Windows system file (codice_1) on those machines, causing machines to lose network access and, in some cases, to enter a reboot loop. McAfee rectified this by removing and replacing the faulty DAT file, version 5958, with an emergency DAT file (version 5959) and has posted a fix for the affected machines in its consumer "KnowledgeBase".

2012 update issues.

An August 2012 update to McAfee antivirus caused the protection to become turned off and users to lose internet connections. McAfee was criticized for not notifying users promptly of the issues when they learned about it.

Current standing.

McAfee, though well-known, continues to have mixed reviews by industry sources, and the company has prepared a 2015 release series to address current market conditions. This repositioning includes voice and facial recognition authentication for cloud-based data security.

McAfee VirusScan is an antivirus program created and maintained by McAfee, Inc. (formerly known as Intel Security, and Network Associates prior to that). It is not available as a standalone package, but is included in McAfee LiveSafe, McAfee AntiVirus Plus and McAfee Total Protection. Additionally, BSkyB and McAfee have previously produced a "Sky Broadband" branded version of VirusScan, offered free to Sky Digital customers upon broadband modem installation. McAfee LiveSafe integrates antivirus, firewall and anti-spyware/anti-ransomware capabilities.

McAfee VirusScan est un logiciel antivirus pour les systèmes d'exploitation Windows, Mac, Linux et Unix édité par la société américaine McAfee.


Background.

Jay Farrar, Jeff Tweedy and Mike Heidorn began their musical careers in the 1980s playing in a garage band, The Plebes. After a few gigs, creative differences between the members led to the development of a punk rock sound for the band. As punk rock was unpopular in the St. Louis region, the band changed their style to blues-rock and renamed themselves Uncle Tupelo. At this point, they stopped performing covers and began to write their own songs.  The band discovered a musical niche around Washington University in St. Louis, where bands such as Brian Henneman's Chicken Truck performed in a similar style. The trio recorded its first professional tracks in Champaign, Illinois with future Chicago punk producer Matt Allison. The demo tape, "Not Forever, Just for Now", contained early versions of several songs that would later appear on their debut album, including "Train", "Whiskey Bottle", "Flatness", "Screen Door", and "Before I Break".  That demo, as well as the band's rigorous touring schedule, attracted the attention of several music scouts. Record labels initially were wary of signing the band whom they perceived as straddling "the divide between the countrified punk of early 1980s such as Green on Red, Jason & the Scorchers, and X—none of whom had bum-rushed the charts—and the Pacific Northwest grunge of Mudhoney and Nirvana, which was still years from breaking out commercially". However, the influential "CMJ New Music Report" gave the demo tape a favorable review in 1989, praising its "mature, developed, seriously thought-out songwriting". This review prompted New York City-based distributor Dutch East India Trading to provide funding for the band to record an album on their Giant Records label, shortly before the label was renamed to Rockville Records.

Recording.

Six months before signing a full contract with Giant/Rockville, Uncle Tupelo recorded the tracks for "No Depression" over ten days in January 1990 at Fort Apache South, a musician-run studio in the Roxbury neighborhood of Boston, Massachusetts. As the trio could not afford the cost of recording at a twenty-four track studio in nearby Cambridge, they settled on the cheaper Fort Apache studio. The album cost US$3,500 to produce, $1,000 of which went to in-house producers Sean Slade and Paul Q. Kolderie. The band was interested in working with Slade and Kolderie after hearing their production of Dinosaur Jr.'s album "Bug". The producers allowed Farrar to use the same 1961 Gibson Les Paul guitar that J. Mascis used on "Bug", which gave the power chords on "No Depression" a richer tone.  Slade and Kolderie suggested that the band deemphasize the roots rock influences heard on "Not Forever, Just for Now" and convinced them to replace the harmonica parts with pedal steel guitar. For this, Slade and Kolderie recruited guitarist Rich Gilbert of Human Sexual Response for the recording. The tracks were recorded using little overdubbing; only a few banjo and acoustic guitar parts were later added to the songs. At the suggestion of Slade and Kolderie, "No Depression" was recorded on eight-track, so "the music would compress and "jump" off the tape during playback". The recording sessions occurred before Uncle Tupelo officially became affiliated with Giant Records, so there was little input from the label.  Lyrically the songs reflected the band members' experiences growing up in Belleville. Farrar and Tweedy romanticized tales about unemployment, alcoholism, and the feeling of living in a small town in an effort to emulate the profundity of songwriters such as Woody Guthrie. Musically, "No Depression" was influenced by the start-stop musical pattern of the Minutemen. The cover of the album features a blurry photo of the band, taken by J. Hamilton, reminiscent of the albums released on Folkways Records.

Promotion and reception.

"No Depression" was released by Rockville Records on June 21, 1990. The promotional tour for the album began at Cicero's Basement, a St. Louis bar associated with Washington University. The tour took Uncle Tupelo to both the East Coast and the Southwestern United States. Missouri radio stations KDHX and KCOU frequently played tracks off the album. By March 1991, "No Depression" had sold over 15,000 units, a hit by independent record standards. The proceeds from the album recuperated the $3,500 cost of the album, but Rockville refused to pay the band any royalties. Farrar and Tweedy later successfully sued Rockville CEO Barry Tenenbaum to attain the royalties. The surprise success of the album prompted Columbia Records to pay the band to record additional tracks with Slade and Kolderie at Fort Apache Studio in the summer of 1990, but the results were not released. "Rolling Stone" did not publish a review of the album upon its initial release, although the magazine later featured Uncle Tupelo in an article about rising stars alongside The Black Crowes. "Rolling Stone" later called the album "one of the loudest, loneliest wails in recent memory to arise from the Midwest's recession-plagued plains". Robert Christgau dismissed the album as a "dud".  After the lawsuit with Tenenbaum, Farrar and Tweedy received the rights to their first three albums (including "No Depression"), which were previously held by Rockville. In 2003, Uncle Tupelo remastered and re-released "No Depression" with six bonus tracks through Legacy Records, a Sony Music label. Among the bonus tracks were cover versions of the Flying Burrito Brothers' "Sin City", the Carter Family's "Blues Die Hard", and The Vertebrats' "Left in the Dark". The liner notes for the re-release featured an article written by Mike Heidorn about Uncle Tupelo's early days and the creation of "No Depression". Upon re-release, AllMusic referred to the album as "Uncle Tupelo's landmark opening salvo", praising its "undeniable electricity" and remarking that it brought "new life" to the fusion of country and punk rock. "Rolling Stone" critic Tom Moon lauded "the band's impressive songwriting range", but noted that the bonus material was "pleasant but unconsequential". "Pitchfork" gave the re-issue an 8.4 rating out of 10, proclaiming ""No Depression" is a significant record".  "No Depression" is cited by RealNetworks as one of the most important albums in the alternative country genre. This was partly due to the success of the alternative country periodical "No Depression", which took its name partly from the album. Due the impact of the album on alternative country, "No Depression" is sometimes used as a synonym for the genre. AllMusic critic Jason Ankeny noted that the album helped the band "kick-start a revolution which reverberated throughout the American underground". In 1999, "Spin" listed the album as one of the "Top 90 Albums of the 90s".

Track listing.

Original release.

All songs written by Jay Farrar, Jeff Tweedy, and Mike Heidorn except as indicated.

No Depression is the first studio album by alternative country band Uncle Tupelo, released in June 1990. After its formation in the late 1980s, Uncle Tupelo recorded the "Not Forever, Just for Now" demo tape, which received a positive review by the "College Media Journal" in 1989. The review led to the band's signing with what would become Rockville Records later that year. The album was recorded with producers Sean Slade and Paul Q. Kolderie at Fort Apache Studios, on a budget of US$3,500.

No Depression, sorti en, est le premier album studio du groupe de country alternative Uncle Tupelo. Après sa formation dans les années 1980, Uncle Tupelo enregistre la maquette "Not Forever, Just for Now" qui reçoit une critique positive de la part du College Media Journal en 1989. Cette critique amène le groupe à signer un contrat avec la maison de disques Giant Records qui deviendra plus tard Rockville Records. Cet album est enregistré avec les producteurs Sean Slade et à Fort Apache Studios avec un budget de.


Career and Family.

Not much is known about the early years. One of the earliest mentions of Tia is on a block now in the University of Chicago Oriental Institute (no. 10507). Tia and a man named Amenwashu are shown before King Seti I and the then crown-prince Ramesses II. Habachi conjectured that Amenwashu was Tia's father, but there is no evidence to support this idea. The identification of the man Tia on the Chicago stela with the official Tia is based on the rarity of the name. It is not known when Tia married Ramesses's sister Tia.  Tia had several honorific titles including hereditary prince and governor, seal-bearer of the King, sole companion, overseer of the secrets of the royal palace, favorite of the Horus in his palace, eyes of the King, and ears of the King. Tia's executive titles include, King's scribe, fanbearer on the right of the King and his most common title: overseer of the treasury in the Temple of Usermaatre Setepenre in the Domain of Amun.  A limestone block shows Tia and Tia in the presence of Queen Tuya. This scene likely comes from the tomb in Saqqara is now in the Royal Ontario Museum (no 955-79-2). Tuya is said to be a God's Wife and a King's Mother. Tia is clearly stated to be the King's sister and this scene shows that she was indeed the sister of Ramesses II.

Tomb at Saqqara.

Tia and Tia are best known from their tomb at Saqqara which was placed between the tomb of the 18th Dynasty general Horemhab (the later king) and the "overseer of the treasuries" Maya, the latter had the same title as Tia. The tomb is not very well preserved. The main entrance was on the east side. There was a first courtyard and a second one that was adorned with columns. At the back there were chapels and at the very back a small pyramid.  The outer courtyard of the tomb contained two smaller tomb-chapels. One of the chapels belonged to Iurudef, while the name of the owner of the second chapel is not known. A stela of an official belonging to the household of Tia, named Panakhtenniut, was found nearby. There is, however, no evidence that he was the owner of the chapel.  Tia was already known from several objects before his tomb was discovered. A "pyramidion" reached England in 1722 and was brought there from Alexandria. It is only known from old drawings, but they are good enough to read the name and titles.  Tia was once buried in a set of three coffins. There was a wooden inner, anthropoid coffin, a middle granite, anthropoid coffin and an outer, wooden, rectangular coffin. The coffins were only found in small fragments.

Chapel at Kafr el-Gebel.

Not all materials mentioning Tia and Tia comes from the tomb in Saqqara. Ahmed Mahmoud Moussa discovered a funerary chapel at Kafr el-Gebel which is located to the south of the Giza Pyramid Plateau at the edge of the desert. In Chapel G a stela showing Ramesses II before Osiris and the deified Seti I. A lower register of the stela depicts Queen Tuya followed by Tia and Tia before the goddess Isis and Ahmose (or a statue of the King).

Inscriptions.

The 1997 excavation report contains a list of known inscriptions associated with Tia and Tia. Below is a small sample of those inscriptions. These inscriptions are also mentioned in Kenneth Kitchen's Ramesside Inscriptions or are otherwise notable.

Tia was an ancient Egyptian high official under king Ramses II. His main title was that of an overseer of the treasuries. Tia was married to a woman with the same name, the princess Tia who was sister of Ramses II.

Tia est le fils d'un noble de haut rang nommé Amonouahsou. Il est le beau-frère et tuteur du jeune Ramsès et a d'importantes fonctions sous son règne : "Gardien du Trésor" et "Gardien du château d'Amon".


History.

The State of Las Bela was founded in 1742 by Jam Ali Khan I. His descendants ruled Las Bela until 1955 when the state became part of West Pakistan. The statement of Ghulam Qadir Khan the last Jam of Las Bela on signing the accession was:  For a period of three years between 3 October 1952 and 14 October 1955, Las Bela was part of the Baluchistan States Union but retained internal autonomy. In 1955, Las Bela was incorporated into the new province of West Pakistan and became part of Kalat division. In 1962, the area of Las Bela was detached from Kalat division and merged with the former Federal Capital Territory to form the division of Karachi-Bela. When the provincial system was changed in 1970, Las Bela became part of the new province of Balochistan.

Demographics.

The main ethnic groups in Las Bela are Baloch and Sindhis. The population was mainly Muslim Baloch and Sindhis but there was a small population of Hindus.

Geography and climate.

Las Bela has a hot, dry tropical desert climate. It is only a few degrees north of the Tropic of Cancer. The sea breezes though make the weather less extreme than inland Balochistan, where in the summer.

Rulers.

The hereditary rulers of Las Bela were styled as Jam Sahib. The Samma Dynasty took the title of Jam, the local equivalent of "King" or "Sultan".  Prominent members of the family after the end of the princely state included:

Las Bela () was a princely state in a subsidiary alliance with British India (later a princely state of Pakistan) which existed until 1955. The state occupied an area of in the extreme southeast of the Balochistan region, with an extensive coastline on the Arabian Sea to the south. Las Bela was bordered by the princely states of Kalat and Makran to the north and west. To the east lay the province of Sind and to the southeast lay the Federal Capital Territory around the city of Karachi.

Las Bela était un État princier des Indes, province de Baloutchistan pakistanais. Conquise par les Britanniques, Las Bela fut le siège d'une principauté dirigée par un souverain qui portait le titre de "saheb" et qui subsista jusqu'en 1955.


Origins.

Historically, alterable objects of art have existed since the Renaissance, for example, in the Triptych "The Garden of Earthly Delights" by Hieronymus Bosch or in the so-called "alterable altarpieces", such as the Isenheim Altarpiece by Matthias Grünewald, or Albrecht Dürer's Paumgartner altarpiece, where changing motifs could be revised in accord with the changing themes of the ecclesiastical calendar.

20th century.

Beginning in the first half of the 20th century, a number of contemporary artists sought to incorporate kinetic techniques into their work in an attempt to overcome what they saw as the predominantly static nature of art. Alexander Calder's mobiles are among the most widely known demonstrations of physical dynamism in the visual arts, in which form has the potential to continually vary through perpetual motion, sometimes even without the agency of the human hand. Jean Tinguely's efforts to create a self-destructive art machine constitute perhaps the ultimate expression of art's mutability, in this case by taking the form of its total eradication. Victor Vasarely postulated in his "Manifest Jaune" in 1955 in Paris that works of art should feature the properties of being multiplicable and repeatable in series. More recently, the notion that visual art need not be conceived solely in terms of perpetually fixed objects is embodied in performance and installation art by virtue of their unfolding and temporary qualities.

Industrial design and architecture.

Modularity enters the modern artistic repertory largely through the disciplines of industrial design and architecture. Belgian architect Louis Herman De Koninck led a team of countrymen in creating one of the first modular product systems in their Cubex kitchen series of 1932. The series consisted of standardized and industrially produced components that could be combined and arrayed in limitless combinations to accommodate almost any size kitchen. New York designer Gilbert Rohde crafted several lines of modular casework for the Herman Miller Corporation in the 1930s and 40s; like De Koninck, Rohde standardized the units in dimensions, materials and configurations to facilitate mass production and interchangeability. His Executive Office Group (EOG) line, launched in 1942, was a similarly ground-breaking systems approach to office furniture. Just a year before Eero Saarinen and Charles Eames had jointly produced a suite of modular domestic furniture for the Red Lion Company, a result of a competition held by the Museum of Modern Art in New York. In 1950 Herman Miller brought out the EAS Storage Unit series by Charles and Ray Eames, a very successful modular shelving and wall unit system that remains in production today.  The module enjoys a long history in the realm of architecture. In antiquity architects utilized the module primarily as a unit of measurement guiding the proportions of plan and elevation. The Roman author and architect Vitruvius deployed the modular method in his descriptions of the classical orders and the composition of buildings in his treatise "Ten Books on Architecture", the only complete text on architecture to survive from antiquity. Architects of the Renaissance perpetuated the Vitruvian system in their resurrection of the classical orders, a tradition which continues to the present day. Among modern architects, the module is frequently employed as a design and planning tool.

Modular constructivism.

Architecture and modular sculpture intersected starting in the 1950s in the work of Norman Carlberg, Erwin Hauer and Malcolm Leland. All three received commissions to design perforated architectural screens built out of repetitive modular motives cast in concrete. Non-structural, the screens were used on building exteriors to divide space, filter light and create visual interest. Their work has come to be described as modular constructivism, reflecting both its compositional methodology and its architectural context. Each created stand-alone modular-themed sculptures into the 1960s and after as well.

Modularity in the fine arts.

Robert Rauschenberg's "White Painting" of 1951; consisting of just four equal white squares, with its geometry of interlocking forms, is among the earliest statements of modularity as an autonomous subject of art. Rauschenberg explored this theme that same year in a three- and seven-panel format; the linear array of rectangular panels in these versions suggests their potentially infinite replication. The cool abstraction of these canvases presages the emergence of modularity as a full-fledged topic of minimalist art in the 1960s. Tony Smith, Sol LeWitt, Dan Flavin and Donald Judd are among this school's most prolific exponents during the period. In particular, the work of Smith is key to understanding the transformation of modularity from a compositional and production tool into a broadly investigated artistic theme in its own right.  Smith began his career as an architectural designer. To further his education he apprenticed himself on some projects by Frank Lloyd Wright for a couple of years starting in 1938. From Wright he learned to utilize modular systems in generating architectural designs in two-dimensional plans as well as in three-dimensional applications, such as the development of building sections and interior built-ins. As an architect, Wright himself was part of a centuries-old continuum stretching back through Vitruvius to Greco-Roman antiquity in which the module was utilized to proportion built and sculpted form. In the case of Wright, the interest in modular design also may have derived from his familiarity with modular practice in traditional Japanese architecture (such as "tatami").  Wright's Hanna House of 1937 is a clear example of the master's facility with modern modular design in multiple dimensions. Its striking angled forms are built up from the individual hexagonal modules that define the floor plan and various vertical elements. Wright's use of the hexagon here is by no means an arbitrary aesthetic choice, but an example of how he rooted his architecture in nature by drawing from its forms and principles – the interlocking hexagonal cells of the bee's honeycomb being nature's most perfect representation of modular design. Not surprisingly, this project is sometimes referred to as the "Honeycomb House".  Smith would employ the hexagon and other elemental geometries in his own architectural practice and again in the sculpture he began to fabricate in the early 1960s. Freed from the programmatic and extensive structural requirements of his architectural work, Smith's sculptures are three-dimensional extrusions of modular form with no ostensible pragmatic purpose beyond aesthetic contemplation.  Significantly, Smith himself did not manually fabricate the final version of his sculptures. Instead, he outsourced their production to skilled ironworkers in foundries and industrial facilities, who worked off his drawings and models to manufacture the designs. In part this reflects Smith's training as an architect, who customarily designs and documents but does not construct his art. It further reinforces the idea of modular art as a generative system in which the arrangement of pre-determined formal units – rather than wholesale imaginative invention – defines the creative act. Finally, it is consistent with the notion implicit in modularity that the supply of modules in a modular system must be infinite, that is, that they be industrially rather than artisanally produced, for the system to be realized. (Bees in a honeycomb are essentially operating as an industrial enterprise insofar as the production of cells is without end.)  The work of Smith and the minimalist school constitute the most far-ranging exploration of modularity in art before the millennium. However, neither it nor the explorations of movable and alterable art in the preceding centuries synthesized the two central features of modular art. Mobiles and other kinetic pieces were not modular, and the modular work of the mid-century Minimalist artists was, with a few exceptions, not changeable.

Theory in the 21st century.

Co-creativity.

A school of thought coming out of the United States emphasizes modular art's alignment with the post-industrial character of 21st century culture and its contrast with traditional notions of art. Core characteristics of post-industrialism, as largely defined by the theorist Daniel Bell in his 1973 book "The Coming of Post-Industrial Society", include the emergence of a service economy in place of a manufacturing one; the social and economic pre-eminence of the creative, professional and technical classes; the central place of theoretical knowledge as a font of innovation; the strong influence of technology on daily life; and high levels of urbanization.  Modular art appears to synchronize perfectly with several of these criteria. For example, its manual changeability opens up the possibility of co-creative art, in which the collector or user collaborates with the originating modular artist to jointly determine the appearance of the work of art. This presupposes the existence of creative people capable of and interested in serving such a role – a demographic evolution that was already underway in Bell's time and that has since been studied in works like Richard Florida's "Rise of the Creative Class" (2002).  Co-creation is closely associated with mass customization, a production model that combines the opportunity for individual personalization with mass production. Modular art and mass customization share a commonality in their synthesis of two opposing qualities. On the one hand, as previously stated the very concept of modularity implies a limitless supply of identical modules such as only industrial production can provide; on the other hand, the ability of the individual to re-arrange these modules in the work of art based on aesthetic criteria re-injects a subjective and purely human dimension into the creative act.  Mass customization is itself only made possible with the advent of computers and a type of software known as a configurator. A configurator is a software tool used by the buyer to configure a product from the options made available by the vendor. Applied to the purpose of composing a work of modular art onscreen, it can greatly facilitate the design of a modular assembly by allowing the user to study multiple design options more quickly and in far greater depth than by using analog methods. Once the design is established a computer file is then sent over the air to a manufacturing facility where robotically controlled equipment produces the object according to its specifications. Not only does this computer-aided manufacturing (CAM) allow for the customization of mass-produced objects, it also enables a much higher level of precision and fit – qualities critical for modules to be physically joined together. Bell's identification of technology as a central axis of post-industrial life is underscored in the intertwining of the digital with the physical realization of modular art.

The de- and re-constructive approach in Europe.

In Europe, where the 1960s Minimalist school of modular art was often seen as a principally American phenomenon, the discussion of modularity often focuses on its changeability. For example, the mutability of art is a core principle of Arte Povera, a contemporaneous movement that emerged in Italy which holds that works of art "should not be seen as fixed entities", but as objects of change and movement to "include time and space in a new manner. At stake is the issue of transferring the phenomenology of human experience" into the arts.  More recently, the artist Leda Luss Luyken has produced modular paintings, composed of movable painted panels set in steel frames. Luss Luyken has dubbed her work "ModulArt". In her work, changing the configuration of a modular painting constitutes a form of motion, offering the spectator alternative views and alternative interpretations, and thus aligning the work more closely than a static object to the dynamism of physical human experience. Art historian and theorist Denys Zacharopoulos called this "a new way of motion in painting". The concept of modular art allows the user to de-compose and to re-compose a work of art that is already completed by re-arranging its parts, thus providing numerous possibilities for ever newer pictures not yet imagined. The original painting can be re-contextualized ad libitum and ad infinitum.

Modular artists and their work.

Visual artists.

Working in the 1950-60s in Manchester (UK), American artist Mitzi Cunliffe developed sculptures consisting of multiple blocks about twelve inches square which she put together in a variety of combinations to give a sculptured effect on a large scale. She referred to them as "modular sculptures". The University of Manchester and the University of Manchester Institute of Science and Technology (UMIST) acquired some of these works, although there are no references to them in published accounts of her work.  Sculptor and ceramicist Malcolm Leland designed in 1954 a similar modular sculpture system based on a single 23-inch tall module that could be stacked vertically by means of a centering pin; the module has a generally biomorphic, curvilinear outline that yields an undulating silhouette when multiple modules are placed on top of each other. The technique of stacking repetitive elements in the round recalls Constantin Brâncuși's "Endless Column" of 1938.  Starting in the 1970s, Leland's contemporary Norman Carlberg produced groups of square framed prints which he placed together on a wall in a tight grid, each print conceived as an independent module. The viewer is then invited to rotate or reposition them to generate new composite images. The abstract quality of the prints enhanced the creative possibilities of their re-orientation insofar as they are non-directional and geometrically inter-related.  Greek-born conceptual artist Leda Luss Luyken, who was initially trained as an architect, has been exploring modularity in the medium of painting since the 1990s. In her work standardized canvas panels are mounted as modules onto a steel frame within which they can be moved and rotated.  In the U.S. Moshé Elimelech created what he has called "Cubic Constructions". These are multiple groupings of approximately three-inch cubes set inside pockets in a framed shadow box. On each cube he applies paint in fields of bright color and abstract pattern with precise, controlled brush strokes. Like Carlsberg, Elimelech then invites the viewer to reposition any or all of the cubes to display one of their six sides, each of which is painted in a different pattern. Exhibiting since the 1980s, Elimelech shows primarily in California galleries, and has work represented in several museum design stores as well.  Another portfolio of interactive modular art comes out of Studio for A.R.T. and Architecture, a New York-based firm headed by Donald Rattner. Rattner has designed modular art in the media of wall sculpture, rotational paintings, tapestries, artist's wallpapers and artist's books. To bring his work and those of other "modulartists" to the marketplace, Rattner founded A.R.T. (art-rethought), an art storefront focused on co-creative and modular work. In his writings Rattner has emphasized the post-industrial aspect of the most recent trends in modular art, coining the term "New Industrialism" to denote mass customization, production on demand, open innovation, co-creative design, tele-fabrication, robotics and other computer-driven technologies that are re-defining how things are made in the global marketplace.

Composers.

Modularity in music can be seen as bringing two key elements of musical composition and film into the world of painting: variation of a theme and movement of and within a picture. For this very reason the contemporary composer Minas Borboudakis has dedicated the third part of his trilogy ROAI III for piano and electronics to the modular methodology.  Italian composer and arts theoretician Stefano Vagnini has developed a theory of open-source composition based on modular aggregation. The concept of a musical work of art being something closed, limited and immobile disappears in favor of a process of numerous aggregations that allow a composition to become infinite in principle. Several such compositions were performed in Europe, South America, Asia and in North America and discussed through conferences in Europe. The approach is being academically discussed at the University of West Georgia and the Carrollton Cultural Arts Centre in the USA. Writer, painter, and art theorist Gian Ruggero Manzoni described the modularity of Vagnini's compositions as "circular like the existence, his works are not finished, but merely stimulus for new voices".

Modular art is art created by joining together standardized units (modules) to form larger, more complex compositions. In some works the units can be subsequently moved, removed and added to – that is, "modulated" – to create a new work of art, different from the original or ensuing configurations.

ModulArt désigne des œuvres d’art qui se composent d’un nombre d’éléments plus petits, standardisés (les modules) pour créer une surface ou un objet plus large et complexe. Les modules sont librement interchangeables de telle façon de pouvoir assembler – ou "moduler" – une nouvelle œuvre d’art, différente de la configuration d’origine.


Transport.

Traffic to Budapest from Western Hungary enters the city in this district; a main road, Budaörsi út is the direct continuation of motorways M1 and M7. Three bridges on the Danube are located in the district; the bridges Liberty, Petőfi and Rákóczi/Lágymányosi connect the district to the neighboring 5th and 9th districts on the Pest side.  Kelenföld Railway Station, the fourth largest railway station of Budapest is in the district. Most of the trains heading to Western Hungary and Western Europe pass through the station (including commuter trains to the agglomeration). The district also has a smaller station, the Albertfalva station.  Kelenföld Railway Station is also the terminus for Metro Line M4; the line, opened in 2014, is the first of the Budapest Metro to serve the district, where it has 5 of its 10 stations. It connects the district with Keleti Railway Station, the largest railway station in Hungary. Next to the Kelenföld Railway Station there is also a major bus station for local buses and another for buses serving the nearby towns.  The district has 46 bus lines, 9 night bus lines and 11 tram lines (among them Lines 4 and 6, two of the most important tram lines of the city, both of which have their terminus in the district).  There are no airports with scheduled flights within the district, however, it is home to Budaörs Airport, the pre-1950 main airport of Hungary. This was the second international airport in Budapest (after Mátyásföld Airfield), and the oldest still existing one, although today it serves general aviation only. During World War I one of the first military airfields, Albertfalva Military Airfield was located in the district, next to the first Hungarian airplane factory.

International relations.

Twin towns – Sister cities.

Újbuda is twinned with:

Újbuda (lit. "New Buda") is the 11th district of Budapest (), Hungary. It is the most populous district of Budapest with 137,426 inhabitants (2008). Until the 1890s, Újbuda's present territory was a field south of the historical town of Buda. The construction of a new residential area started in the 1900s, the present district was formed in 1930. From 1880 to 1980, Újbuda's population increased from 1,180 to 178,960. There are boulevards, avenues with tram lines, and communist-era housing estates in the district. Line 4 of the Budapest metro passes through Újbuda.

Le de Budapest (en hongrois : "Budapest XI. kerülete") ou Újbuda (, en allemand : "Neu-Buda") est un arrondissement de Budapest. Il est situé au sud-ouest de la capitale hongroise, sur la rive occidentale du Danube. Il est bordé au nord par le 1 et, à l'est par le 9 et 21 et au sud par le 22. Situé à la périphérie du centre-ville, il est limitrophe à l'ouest de la commune de Budaörs.


Coat of arms.

The heraldic blazon for the coat of arms of the earldom is: "Argent, a lion passant guardant gules crowned with an imperial crown and collared with an open one proper".

Family history.

The family was probably descended from Gillebride, Earl of Angus, who received lands from William the Lion. Sir Walter Ogilvy (died 1440) of Lintrathen, lord high treasurer of Scotland from 1425 to 1431, was the son of Sir Walter Ogilvy of Wester Powrie and Auchterhouse, a man, says Andrew of Wyntoun, "stout and manfull, bauld and wycht", who was killed in 1392. He built a castle at Airlie in Forfarshire, and left two sons. The elder of these, Sir John Ogilvy (d. c. 1484), was the father of Sir James Ogilvy (c. 1430–c. 1504), who was made a Lord of Parliament in 1491; and the younger, Sir Walter Ogilvy, was the ancestor of the Earls of Findlater. The Earldom of Findlater, bestowed on James Ogilvy, Lord Ogilvy of Deskford, in 1638, was united in 1711 with the Earldom of Seafield and became dormant after the death of James Ogilvy, the 7th earl, in October 1811.  Sir James Ogilvy's descendant, James Ogilvy, 5th Lord Ogilvy of Airlie (c. 1541–1606), a son of James Ogilvy, master of Ogilvy, who was killed at the Battle of Pinkie in 1547, took a leading part in Scottish politics during the reigns of Mary, Queen of Scots, and of James VI. In June 1562, the 5th Lord Ogilvy was badly injured in a duel with John Gordon of Findlater in Edinburgh. John Gordon was imprisoned until Ogilvy recovered.  The 5th Lord Ogilvy's grandson, James Ogilvy (c. 1593–1666), was created Earl of Airlie and Lord Ogilvy of Alith and Lintrathen by Charles I at York on 2 April 1639. A loyal partisan of the king, he joined Montrose in Scotland in 1644 and was one of the royalist leaders at the Battle of Kilsyth. The destruction of the earl's castles of Airlie and of Forther in 1640 by the Earl of Argyll, who "left him not in all his lands a cock to crow day", gave rise to the song "The Bonnie House of Airlie". His eldest son, James, the 2nd earl (c. 1615–c. 1704) also fought among the royalists in Scotland; in 1644 he was taken prisoner, but he was released in the following year as a consequence of Montrose's victory at Kilsyth. He was again a prisoner after the Battle of Philiphaugh and was sentenced to death in 1646, but he escaped from his captivity at St. Andrews and was afterwards pardoned. Serving with the Scots against Cromwell he became a prisoner for the third time in 1651, and was in the Tower of London during most of the years of the Commonwealth. He was a fairly prominent man under Charles II and James II, and in 1689 he ranged himself on the side of William of Orange. This earl's grandson, James Ogilvy (d. 1731), took part in the Jacobite rising of 1715 and was attainted; consequently on his father's death in 1717 he was not allowed to succeed to the earldom, although he was pardoned in 1725. When he died, his brother John (d. 1761) became earl "de jure", and John's son David (1725–1803) joined the standard of Prince Charles Edward Stuart in 1745. He was attainted, and after the defeat of the prince at Culloden escaped to Norway and Sweden, afterwards serving in the French army, where he commanded "le " and was known as ""le bel Ecossais"". In 1778 he was pardoned and was allowed to return to Scotland. His direct line became extinct when his son David died unmarried in April 1812. After this event, David's cousin, another David Ogilvy (1785–1849), claimed the earldom. He asserted that he was unaffected by the two attainders, but the House of Lords decided that these barred his succession; however, in 1826 the attainders were reversed by Act of Parliament and David became 6th Earl of Airlie. He died on 20 August 1849 and was succeeded by his son, David Graham Drummond Ogilvy (1826–1881), who was a Scottish representative peer for over thirty years. The latter's son, David Stanley William Drummond Ogilvy, the 8th earl (1856–1900), served in Egypt in 1882 and 1885, and was killed on 11 June 1900 during the Boer War while at the head of his regiment, the 12th Lancers. His titles then passed to his son, David Lyulph Gore Wolseley Ogilvy, the ninth earl. the titles are held by his son, David George Coke Patrick Ogilvy, who succeeded in 1968.  Other noteworthy members of the Ogilvy family were John Ogilvy, also known as 'Powrie Ogilvy', a political adventurer who professed to serve King James VI as a spy and who certainly served William Cecil in this capacity. Mariota Ogilvy (d. 1575) was the mistress of Cardinal Beaton. Sir George Ogilvy (d. 1663), a supporter of Charles I during the struggle with the Covenanters, was created a peer as lord of Banff in 1642; this dignity became dormant, or extinct, on the death of his descendant, William Ogilvy, the 8th lord, in June 1803. Sir George Ogilvy of Barras (d. c. 1679) defended Dunnottar Castle against Cromwell in 1651 and 1652, and was instrumental in preventing the regalia of Scotland from falling into his hands; in 1660 he was created a baronet, the title becoming extinct in 1837. Lady Blanche Ogilvy, daughter of the 10th Earl of Airlie, was the mother of Clementine Churchill, the wife of British Prime Minister Winston Churchill. Sir Angus Ogilvy, son of the 12th Earl, married Princess Alexandra of Kent; their son James is in line to inherit the throne as well as the Earldom, though both somewhat distantly.  The numbering of the titles varies, depending on whether the attainted holders of the earldom and their successors are counted or not.

Earls of Airlie (1639).

The heir apparent is the present holder's son David John Ogilvy, Lord Ogilvy (b. 1958).  The heir apparent's heir apparent is his son the Hon. David Huxley Ogilvy, Master of Ogilvy (b. 1991).

Earl of Airlie is a title in the Peerage of Scotland, created on 2 April 1639 for James Ogilvy, 7th Lord Ogilvy of Airlie, along with the title Lord Ogilvy of Alith and Lintrathen. The title Lord Ogilvy of Airlie had been created on 28 April 1491.

Comte d'Airlie est un titre de la pairie d'Écosse créé le pour James Ogilvy, en même temps que celui de Lord Ogilvy d'Alith et Lintrathen. Le titre de Lord Ogilvy d'Airlie avait été créé le. Le comte d'Airlie est à la tête du clan Ogilvy.


Life and career.

He was born in 1909 in Brentwood, Essex and attended Brentwood School before studying for a degree in forestry at St Edmund Hall, Oxford. He then joined the Colonial Service, and in 1934 was appointed as Forestry Officer for the Gold Coast (now Ghana), where he started collecting animals for a friend who worked at Paignton Zoo. He used local children to help him collect specimens, and as a result discovered several new species. He began supplying animals for several zoos, including London Zoo.  In 1947 he was recruited by the Zoological Society of London as their Superintendent, a post which he held until 1953. During that period he began to broadcast for the BBC, on early wildlife programmes such as "Heads, Tails and Feet", "Looking at Animals" and "All About Animals", the latter two of which won the Royal Television Society's Silver Medal in 1952. He also made regular appearances on "Children's Hour" on BBC radio.  From the 1960s onwards, he was a regular guest on "Blue Peter", described by the programme's producer Biddy Baxter as "...television's zoo man - the large, avuncular studio guest who would show the presenters how to bath six-foot pythons, produce bush-babies from his trouser pockets and tarantulas out of his turn-ups...Children loved him because he was quirky, authoritative and uncondescending." The "Blue Peter" tortoise, George, was affectionately named after him in 1982. David Attenborough paid tribute to Cansdale in 1992, saying that, thanks to Cansdale's bringing animals to the television studios, "a great many people, young and old, acquired their first insights into taxonomy and comparative anatomy from what he said. He spoke good natural science."  In the 1960s Cansdale became Director of Marine Land in Morecambe, Chessington Zoo and Natureland in Skegness. He also developed, with his son, a method of obtaining clean seawater by filtering it through beach sand, and set up a company, SWF Filtration Ltd, which won the international IBM Award for Sustainable Development in 1990.  Cansdale wrote many books for the Ladybird Company.  His books included "Animals of West Africa" (1946), "Animals and Man" (1952), "George Cansdale's Zoo Book" (1953), "Belinda the Bushbaby" (written with his wife, 1953), "Reptiles of West Africa" (1955), "The Ladybird Book of British Wild Animals" (1958), "West African Snakes" (1961), "Behind the Scenes at a Zoo" (1965) and "Animals of Bible Lands" (1965).

Personal life.

He married Margaret Williamson, who had been a fellow student at Oxford, in 1940. They were both active Christians. George Cansdale was Churchwarden of All Souls, Langham Place, from 1950 to 1971, and President of the evangelical Crusaders Union. He died in Great Chesterford, Essex in 1993 at the age of 83.  George also featured on the BBC Home Service's Desert Island Discs. His music choices included Mozart, Bach, Beethoven and Handel. His luxury item was a pair of field glasses.

George Soper Cansdale (29 November 1909 – 24 August 1993) was a British zoologist, writer and broadcaster. He was Superintendent of the Zoological Society of London, and one of the best-known presenters of wildlife programmes and items on British television between the 1950s and 1980s.

George Soper Cansdale (né le à Brentwoood, dans l'Essex, mort le à Great Chesterford, dans l'Essex), zoologiste de nationalité britannique, fut le superintendant du Zoo de Londres (1948-1953).


Career.

Volta started his career with minor league club Carpenedolo.

Sampdoria.

In January 2007 Volta was signed by Sampdoria in co-ownership deal for €200,000 in 41⁄2 year contract. Volta spent rest of 2006–07 Serie C2 season with Carpenedolo.

Parma.

During 2007–08 season Parma bought Carpenedolo's stake for €200,000. Volta spent his 2007–08 season with the third division club Foligno. In June 2008 Parma and Sampdoria renewed the co-ownership deal. Volta moved up one level again and played for Vicenza in 2008–09 Serie B. Volta also spent 2008 pre-season with the Genoese team, wearing no. 87, but left on loan on the last day of transfer window. In summer 2009 Volta signed a new five-year deal with Sampdoria, the co-ownership deal also renewed again in June 2009. In August 2009 Volta left for Serie B newcomers Cesena, where he was one of the main protagonists of the club's rise into the top flight.

Return to Sampdoria.

In June 2010 Sampdoria and Parma agreed to renew the co-ownership agreement again, with Volta joining the "Blucerchiati" for the new season. In summer 2010 he signed a new five-year contract again with Samp. He made his debut with Sampdoria in the Third Qualifying Round of the 2010–11 UEFA Champions League against Werder Bremen. That season he rotated with Stefano Lucchini as the centre-back, which Volta played 6 out of 6 group stage matches of 2010–11 UEFA Europa League, and Lucchini mainly for domestic league. The other centre-back was Daniele Gastaldello.  After Sampdoria relegated, Sampdoria bought Volta outright from Parma for €900,000 in June 2011, and Lucchini was released.  Volta was a regular starter for Doria in 2011–12 Serie B. The team promoted back to Serie A just 1 season. On 31 August 2012, Volta left for Spanish club Levante UD.

Cesena (loan).

On 21 January 2013, Volta was signed by Serie B club Cesena. The loan was extended on 11 July 2013. He renewed his loan deal with Cesena again on 18 July 2014, prior to the 2014–15 Serie A.

Perugia.

On 7 July 2015, Volta was sold to A.C. Perugia Calcio.

Benevento.

On 24 July 2018, Volta signed to Benevento a loan with an obligation to buy.

Massimo Volta (born 14 May 1987) is an Italian professional footballer who plays as a defender for Serie B club Benevento.

Massimo Volta (né le 14 mai 1987 à Desenzano del Garda, dans la province de Brescia en Lombardie) est un footballeur italien qui joue au poste de défenseur. Il évolue actuellement à l'AC Pérouse.


Location.

The center of Kallithea (Davaki Square) lies at a distance of to the south of the Athens city center (Syntagma Square) and to the north-east of the Piraeus (photo 1). Kallithea extends from the Filopappou and Sikelia hills in the north to Phaleron Bay in the south ; its two other sides consist of Syngrou Avenue to the east (border to the towns of Nea Smyrni and Palaio Faliro), and the Ilisos River to the west (border to the towns of Tavros and Moschato) (photo 2).  The site on which the city was developed covers the biggest part of the area to the south of Athens city center, protected in ancient times (5th century BC) by the Long Walls to the west and the Phalerum Wall to the east (photo 3). Somewhere within this area the ancient town of Xypete lay. The town and its citizens are mentioned, among other places, in Plato's Dialogs.

1896 and 2004 Athens Olympics.

The plans for the establishment of the new city of Kallithea were officially approved in December 1884. On the longitudinal axis of the town (Thiseos Avenue), the Athens to Phaleron tramway once ran, from the beginning (1850) to (1955) and the end of its operations. Near the center of the town the Shooting Range (Skopeftirion) was built to house events of the first modern Olympic Games, the 1896 Summer Olympics, and these first modern games took place in three venues: the refurbished ancient stadium of Athens (Panathinaiko Stadium) NE of Kallithea, the Neo Phaliron Velodrome (currently Karaiskaki Stadium) SW of Kallithea, and the Kallithea Shooting Range (Skopeftirion).  Events of the Athens 2004 Olympic Games were also sited in the district of Kallithea, notably handball and Taekwondo in the new Sports Pavilion (Faliro) by the bottom of Syngrou Avenue, and beach volleyball in the Olympic Beach Volleyball Center on Kallithea Bay (Tzitzifies).

Growth.

Between the first modern games (1896) and the recent (2004) Olympic Games in the city, Kallithea grew significantly. Initially the tramway depot and workshop were built here in 1910, followed by the Harokopios Graduate School (1925) and the Panteios Graduate School of Political Sciences (1928).  In the 1920s the town was flooded by thousands of refugees following the Greco-Turkish War (1919-1922), the Asia Minor Catastrophe (1922), and the Treaty of Lausanne (1923). These refugees arrived in Kallithea mainly from the south Black Sea (Pontus), from ancient Greek cities such as Sinope (now Sinop, Turkey), Sampsus (now Samsun, Turkey), Kerasus (now Giresun, Turkey), Trapezous-Trebizond (now Trabzon, Turkey), Tripolis (now Tirebolu, Turkey), Argyroupolis (now Gümüshane, Turkey) and other remnants of the late Byzantine Empire.  A few had arrived earlier (1919) from the north and east (Russian) coasts of the Black Sea, from places such as Odessos (Odessa), Marioupolis (Mariupol', the Sea of Azov) and elsewhere, after the failed attempt of the western allies (Greece included) against the young Bolshevik state during the Russian Civil War.  Black Sea immigrants of Greek origin also settled in Kallithea in the 1930s, as a result of the change of Soviet policy toward ethnic groups. Their origins were mainly in the east coast of the Black Sea (Batumi, Sukhumi, Novorossiysk, Anapa etc.)  The first refugees settled originally near the site of the first Olympic shooting range (1896), until they were gradually transferred to new dwellings. After its evacuation the building bound with the shooting range served as a school, until the Nazi Occupation of 1941, when it was converted to a prison. The prison of Kallithea was demolished in 1966 ;among others, fighters of the Greek Resistance and victims of the Greek Civil War had been jailed there, such as Nikos Beloyannis.  In the 1990s, after the dissolution of the Soviet Union, a new wave of Greek immigrants arrived in Kallithea from the east coast of the Black Sea, from the Caucasus highlands in Georgia, as well as from distant Greek settlements in Kazakhstan and Uzbekistan where their Black Sea Greek ancestors were expelled during Joseph Stalin's regime in the 1930s.

Culture.

South Kallithea (Tzitzifies), is associated with the development of Greek folk music, particularly rebetiko and later laïkó. Popular composers and singers once performed here ; Markos Vamvakaris, Vassilis Tsitsanis, Yannis Papaioannou, Marika Ninou, Sotiria Bellou, Manolis Chiotis, Mary Linda, Giorgos Zampetas, Stelios Kazantzidis, Marinella, Poly Panou, and Viki Moscholiou.

Education.

Kallithea houses two universities (Harokopio University and Panteion University). An even more notable school in Kallithea is Sivitanidios School, one of the oldest technical school in Greece.

Sports.

Until 2004, south Kallithea (Tzitzifies) housed the only horse track in Greece (Ippodromos - Hippodrome), which later moved to Markopoulon, near Eleftherios Venizelos Airport. Kallithea houses numerous cultural associations and several sport clubs, the most well known of which are Kallithea FC (soccer), Esperos (basketball, volleyball, handball, and also soccer in an earlier period) and Ikaros Kallitheas, a multisport club founded in 1991, originally as Ikaros Nea Smyrni. Kallithea had another important club, Esperides Kallithea with many titles in women basketball. This club merged to Ikaros Kallithea in 2012.

Transportation.

The main roads of Kallithea are Andrea Syngrou Avenue towards eastern Athens and Poseidonos Avenue towards Piraeus and the southern suburbs. Kallithea is served by Metro line 1 stations Kallithea and Tavros, by the tram stations Kallithea and Tzitzifies, and numerous bus and trolley-bus linesconnect Kallithea to almost every destination in metropolitan Athens.

Kallithea (Greek: Καλλιθέα, meaning "the best view") is the 8th largest municipality in Greece (100,641 inhabitants, 2011 census) and the 4th biggest in the Athens urban area (following municipalities of Athens, Piraeus and Peristeri). Additionally, it is the 2nd most densely populated municipality in Greece, with 21,192 inhabitants / km. The municipality has an area of 4.749 km.

Kallithéa () est une municipalité grecque de la banlieue d'Athènes, dans la périphérie d'Attique. Par le nombre d'habitants (plus de en 2001), elle est la de Grèce et la de la région d'Athènes après Athènes, Le Pirée et Peristéri. C'est aussi la à la population la plus dense après Neápoli en Thessalonique avec plus de habitants par kilomètre carré.