History.

The town was named for state legislator J. Ramon Aguilar. Aguilar owned the land that the town was built on. A post office was established at Aguilar in 1890. In 1894 the town was incorporated.  From September 1913 until late April 1914, much of Las Animas County was embroiled by the Colorado Coalfield War, which saw up to 12,000 pro-United Mine Workers of America strikers engaged in both peaceful and violent confrontations with the Rockefeller-owned Colorado Fuel & Iron Company, other mining outfits, strikebreakers, and the Colorado National Guard. On 29 October 1913, the Aguilar post office and several other town structures were destroyed in an arson attack related to the strike. The National Guard arrested several strikers over the attack and handed them over to the federal U.S. Marshal Service.  Following the Ludlow Massacre on 20 April 1914, strikers launched numerous attacks of both coordinated and spontaneous natures against mining operations, strikebreakers, and the National Guard in what is known as the Ten-Day War. One of the attacks was launched against Southwestern Mine Co.'s Empire Mine on 22 April, where armed strikers forced non-striking miners and their families into the mine and began an all-night siege outside. After negotiation led by Aguilar's mayor and a church minister named McDonald, the strikers abandoned the siege before fatalities on either side were reported.

Geography.

Aguilar is located at (37.403299, -104.654363), about one mile west of Interstate 25.  According to the United States Census Bureau, the town has a total area of, all of it land.

Demographics.

As of the census of 2000, there were 593 people, 243 households, and 165 families residing in the town. The population density was. There were 291 housing units at an average density of 740.4 per square mile (288.1/km2). The racial makeup of the town was 86.00% White, 3.04% Native American, 0.34% Asian, 6.91% from other races, and 3.71% from two or more races. Hispanic or Latino of any race were 46.54% of the population.  There were 243 households out of which 23.5% had children under the age of 18 living with them, 48.1% were married couples living together, 14.4% had a female householder with no husband present, and 31.7% were non-families. 27.2% of all households were made up of individuals and 16.0% had someone living alone who was 65 years of age or older. The average household size was 2.44 and the average family size was 2.93.  In the town, the population was spread out with 23.3% under the age of 18, 6.6% from 18 to 24, 20.2% from 25 to 44, 28.5% from 45 to 64, and 21.4% who were 65 years of age or older. The median age was 45 years. For every 100 females, there were 97.7 males. For every 100 females age 18 and over, there were 88.8 males.  The median income for a household in the town was $23,750, and the median income for a family was $30,815. Males had a median income of $22,500 versus $21,250 for females. The per capita income for the town was $11,249. About 27.8% of families and 34.3% of the population were below the poverty line, including 64.0% of those under age 18 and 25.7% of those age 65 or over.

Education.

Aguilar Public Schools is part of the Aguilar Reorganized School District RE-6. The school district has one elementary school and one junior/senior high school.  Aguilar Elementary School and Aguilar Junior/Senior High School are located in Aguilar.

Aguilar is a Statutory Town located in Las Animas County, Colorado, United States. The town population was 538 at the 2010 United States Census. Cattleman and prominent pioneer José Ramón Aguilar founded the town in 1894.

Aguilar est une ville américaine située dans le comté de Las Animas dans le Colorado. <mapframe zoom=11 latitude =37.40306 longitude =-104.65417 align=left width=200 height=200 text="Carte interactive d'Aguilar"> { "type": "ExternalData", "service": "geoshape", "ids": "Q2425071", "properties": { "fill": "#D9FFB2", "stroke": "#004000" } } </mapframe>


Geography.

Blue River is located at (39.432532, -106.037152).  According to the United States Census Bureau, the town has a total area of, of which, of it is land and of it (4.39%) is water.

Demographics.

As of the census of 2000, there were 685 people, 268 households, and 151 families residing in the town. The population density was 314.0 people per square mile (121.3/km2). There were 563 housing units at an average density of 258.0 per square mile (99.7/km2). The racial makeup of the town was 98.39% White, 0.15% Asian, 0.44% from other races, and 1.02% from two or more races. Hispanic or Latino of any race were 2.04% of the population.  There were 268 households out of which 26.1% had children under the age of 18 living with them, 53.7% were married couples living together, 1.1% had a female householder with no husband present, and 43.3% were non-families. 16.8% of all households were made up of individuals and 1.9% had someone living alone who was 65 years of age or older. The average household size was 2.56 and the average family size was 2.82.  In the town, the population was spread out with 17.4% under the age of 18, 11.4% from 18 to 24, 46.9% from 25 to 44, 21.8% from 45 to 64, and 2.6% who were 65 years of age or older. The median age was 32 years. For every 100 females, there were 122.4 males. For every 100 females age 18 and over, there were 126.4 males.  The median income for a household in the town was $61,964, and the median income for a family was $70,714. Males had a median income of $34,844 versus $32,083 for females. The per capita income for the town was $28,411. About 2.8% of families and 7.0% of the population were below the poverty line, including 1.7% of those under age 18 and 21.4% of those age 65 or over.

The Town of Blue River is a Statutory Town in Summit County, Colorado, United States. The town population was 849 at the 2010 United States Census.

Blue River est une ville américaine située dans le comté de Summit dans le Colorado. <mapframe zoom=10 latitude =39.4325 longitude =-106.037222 align=left width=200 height=200 text="Carte interactive de Blue River"> { "type": "ExternalData", "service": "geoshape", "ids": "Q2264851", "properties": { "fill": "#D9FFB2", "stroke": "#004000" } } </mapframe>


Background.

In August 2015, One Direction announced that an extended hiatus would take place following the release of their fifth studio album. In January 2016, "Us Weekly" published a report claiming that the group's hiatus would, in fact, become a permanent split, noting that each of the four remaining group members did not renew their contracts following the completion of the On the Road Again Tour in October 2015. Representatives for the group denied the report in a statement to "Billboard", stating, "nothing has changed regarding hiatus plans for the group, and all will be revealed in due time from the band members' own mouths."  In February 2016, it was confirmed that Styles had left the group's management, becoming the second member of the band to do so after Zayn Malik's departure almost a year prior. In June, it was confirmed that Styles had signed a recording contract with Columbia Records. Recording sessions for the album took place in a number of locations, including in Los Angeles, London, and the Gee Jam Hotel Recording Studio in Port Antonio, Jamaica, where Styles and his production team had a two-month writing retreat in the autumn of 2016.

Promotion.

On 31 March 2017, Styles announced the album's lead single to be "Sign of the Times", which was released on 7 April. The album name, artwork, and track list were revealed on 13 April. The album track "Sweet Creature" was released as a promotional single on 2 May. Styles performed the songs "Sign of the Times" and "Ever Since New York" on the 15 April episode of "Saturday Night Live". On 21 April, Styles appeared on "The Graham Norton Show" for his first televised solo performance in his native country, and guested on the French talk show, "Quotidien", five days later; he performed "Sign of the Times" on both shows"."  On 9 May, Styles performed the tracks "Carolina", "Sign of the Times", "Ever Since New York", and a cover of One Direction's "Stockholm Syndrome" on "The Today Show". On 13 May, a day after the album's release, he held a surprise concert at The Garage in London. Styles held a similar show at the Troubadour in Los Angeles on 19 May, and invited Fleetwood Mac's Stevie Nicks to perform as a special guest. Proceeds from both shows were donated to charity. On 15 May, "Harry Styles: Behind the Album" was released exclusively on Apple Music, a 49-minute documentary film showing footage from his writing and recording sessions in Jamaica and Los Angeles; "The Performances" version features a full-length live performance of the album filmed at London's Abbey Road Studios. Styles was the musical guest on "The Late Late Show with James Corden" every night in the week spanning from 15 to 18 May, and performed in various sketches alongside Corden. In support of the album, Styles embarked on his first solo tour,, which ran from September 2017 through to July 2018 and visited North America, Europe, Asia, Oceania, and South America. On tour, Styles debuted two unreleased songs, "Oh Anna" and "Medicine", which were originally written for the album.

Music and themes.

Music publications have described the album as soft rock, rock, Britpop, and pop. Critics noted influences by British classic rock and singer-songwriter folk. "Variety"s Eve Barlow described the album as a "cocktail of psychedelia, Britpop, and balladry", while for Jon Caramanica of "The New York Times" it "is steeped in the singer-songwriter music of the late 1960s and 1970s, and in moments, in the flamboyant harder rock of the late 1970s and 1980s." Lyrically, the album's themes mostly focus on women and relationships. In a "Rolling Stone" interview with Cameron Crowe, Styles said "The one subject that hits the hardest is love, whether it’s platonic, romantic, loving it, gaining it, losing it...it always hits you hardest."  The album opens with a soft music number, "Meet Me in the Hallway", a psychedelic pop ballad performed with twanging guitars. "Sign of the Times" is pop rock, soft rock, "apocalyptic" ballad which musically encapsulates Styles' aspirations. The vaguely Caribbean groover track "Carolina" recalls Blur's Britpop style; described by Styles as "the little bit of fun we had been wanting but didn't have" while making the album. "Two Ghosts" is a country influenced soft rock ballad about former lovers. Lullaby-like folk acoustic ballad "Sweet Creature" discusses the strength of a bond that endures despite bad times. The uptempo song "Only Angel" veers towards glam rock. In rock song "Kiwi" he sings about a classic femme fatale. A slower track, the rock troubadour "Ever Since New York", features lyrics about meditation on loss and longing. "Woman" has elements of funk rock, in which Styles compares his jealousy to a howling beast. The acoustic closer track, "From The Dining Table", features lush, multi-part harmonies, and recalls the confessional style of the album's opener.

Critical reception.

At Metacritic, which assigns a normalised rating out of 100 to reviews from mainstream publications, the album has an average score of 68 based on 24 reviews, indicating "generally favorable reviews". AllMusic critic Tim Sendra opined that the album works "exceedingly well" as a modern pop record and an extension of the sound and brand of One Direction, but "as the kind of personal statement Styles wants to make, it comes very close, but ultimately falls just short." For Jason Lipshutz of "Billboard", Styles "has opted to forego radio play and make a big, brash guitar album", arguing, "his commitment to conjuring the spirit of '70s rock never comes across as overreaching." "Rolling Stone"s Rob Sheffield states that Styles "claims his turf as a true rock & roll prince" on his "superb solo debut". Mikael Wood of "Los Angeles Times" wrote Styles "never overplays his hand on this winningly relaxed collection", but found the "dad-baiting" album to be "full of echoes of The Beatles, Pink Floyd and The Rolling Stones." "MusicOMH"s John Murphy commented that even though it occasionally "dips into bland pastiche", the album is a "fine solo effort", which "as the latest step in rebranding Styles for a brand new audience, it will do just fine". Annie Zaleski of "The A.V. Club" felt Styles took a "bold step forward by leaning on the past", adding, "hopefully the songs will someday catch up to his ambition". Rick Pearson of "Evening Standard" called it "a self-consciously serious and grown-up effort".  Alexis Petridis of "The Guardian" stated that while "Styles is remarkably good as a confessional singer-songwriter [...] not all the album's musical homages work". Jon Caramanica of "The New York Times" felt the "sometimes great, sometimes foggy" album is "almost bold in its resistance to contemporary pop music aesthetics." David Sakllah of "Consequence of Sound" wrote "the missteps don't detract too much from this ambitious, if slightly unfocused, debut", as "he's certainly on the right track". Mesfin Fekadu of Associated Press noted the performance aspect of the album is where Styles "truly shines", but "not so much" in the creative process. Anjali Raguraman of "The Straits Times" called "Sign of the Times" the "strongest" track on the album and felt Styles sounds "most self-assured on the slower numbers", while noting that "his inexperience shows when he falls into tired tropes". Regarding the use of tropes, Roisin O'Connor of "The Independent" was disappointed that Styles did not "break away from some of the more fatigued gender archetypes that dominate the rock music he clearly loves." Shahzaib Hussain of "Clash" contended that Styles "[created] an immersive, reference-fuelled tribute to classic rock for the millennial generation", albeit "[offering] little in the way of innovation". However, Hussain singles out "Only Angel" and "Kiwi" for being "misfires", calling the tracks "a one-two punch of masochistic, rock swaggering, admirable in its legerdemain, [that] ultimately comes undone by haphazard lyricism." In a negative review, Dave Hanratty of "Drowned in Sound" felt that Styles "failed to make a defining statement", writing that the album "from start to finish [...] is a series of impressions" of Elton John, Beck, Mick Jagger, and The Beatles.  Neil McCormick of "The Daily Telegraph" wrote that compared to the other One Direction member's solo careers, Styles' is "more eccentric but more appealing, with an endearing quality of relish in its musical adventures", calling the album "so old-fashioned it may actually come across as something new to its target audience" and "perfectly lovely and about as substantial as ripples on the surface of a Beverly Hills swimming pool". Leah Greenblaat of "Entertainment Weekly" named Styles "a man proudly looking backward, a faithful revivalist steeped in the tao of dusty vinyl and dad rock" while noting that he "basks in the privilege of paying tribute to his many musical heroes, and trying on all the styles that fit". Leonie Cooper of "NME" described the album as "a not-that-bad-actually mish-mash of Los Angeles’ style classic rock and ballads", commenting that fans will be "over the moon with this collection of radio-friendly rockers and heartstring tugging balladry" and "everyone else" will be "be pleasantly surprised – if not a little taken aback at just how many tricks he’s pinched from other artists". She ends the review by opining that "taking inspiration from the best seems to have paid dividends, but it doesn’t half make you wonder what the real Harry Styles sounds like". Jamieson Cox of "Pitchfork" wrote that the record "pays fine tribute to classic rock’n’roll and shows off his exceptional voice, if not his enigmatic persona", opining that his "vocal performances are invariably the best parts of these songs" while particuraly praising the album's last track, "From the Dining Table", writing that "it’s intoxicating, and it ends "Harry Styles" on the most promising possible note".

Commercial performance.

The album debuted atop the UK Albums Chart with first-week sales of 57,000 units, with Styles becoming the second One Direction member to achieve a number one solo album, following Zayn's "Mind of Mine" in April 2016. It debuted at number one on the US "Billboard" 200 with 230,000 album-equivalent units, of which 193,000 were pure album sales. It is the highest first sales week for a British male artist's debut full-length album since Nielsen SoundScan began in 1991. Selling 67,000 units in its second week, it fell down to number three.  The album was ranked number 22 on the list of the top 40 biggest albums of 2017 on the UK Album Chart. It was the fourth best selling album by a British artist worldwide in 2017. According to IFPI, it was the ninth best selling album of 2017, with 1 million copies shipped globally. The album was Sony Music's biggest global seller in the second quarter of 2017. It was the sixth best selling album of 2017 in Mexico.  "Sign of the Times" reached number one on the UK Singles Chart. In the US, the song debuted at number four on the "Billboard" Hot 100 The second single, "Two Ghosts", peaked at number 58 on the UK Singles Chart and number 34 on the US Mainstream Top 40 charts.

Track listing.

All tracks were produced by Jeff Bhasker, Alex Salibian, and Tyler Johnson, except where noted.

Personnel.

Credits adapted from the liner notes of "Harry Styles".

Harry Styles is the eponymous debut studio album by English singer and songwriter Harry Styles. The album was released on 12 May 2017, through Columbia Records and Styles' own label, Erskine Records. For the album, Styles worked with producers Jeff Bhasker, Alex Salibian, Tyler Johnson and Kid Harpoon.

Cet album éponyme, inspiré du rock britannique des années 1970, reçoit un accueil critique globalement positif et se classe dès la première semaine en place du Billboard 200 avec exemplaires vendus, faisant de Harry Styles le second artiste britannique masculin à atteindre cette place du classement américain.


Service history.

Early history.

"Methane Pioneer" was built as yard number 344 by Walter Butler Shipbuilders Inc. in Duluth, Minnesota as a Type C1-M-AV1 cargo ship for the United States Maritime Commission. She was delivered as "Marline Hitch" in July 1945. As World War II came to an end shortly after it was delivered, "Marline Hitch" was sold privately under the name "Don Aurelio" in 1946. In 1951 the ship was renamed "Normarti".

As "Methane Pioneer".

In 1958 "Normarti", then owned by the Norgulf Shipping Line, was converted into a tanker at the Alabama Drydock and Shipbuilding Company in Mobile, Alabama and was delivered in October 1958, renamed "Methane Pioneer". The project was funded by the British Gas Council and was operated by a joint venture company called Constock International Methane (CIM). CIM was formed as a partnership between Conoco and Union Stock Yards. She had a capacity of 32,000 barrels of LNG. "Methane Pioneer" was allocated the call sign GBHU.  "Methane Pioneer"s maiden voyage was from Constock's LNG production facility on the Calcasieu River in Louisiana. Carrying the world's first ocean cargo of LNG, it left port on 25 January 1959 and reached its destination at Canvey Island in England on 20 February, taking 27 days to cross the Atlantic Ocean.  "Methane Pioneer" was later renamed "Aristotle" and operated by Stephenson Clarke Shipping, making 30 voyages between 1959 and 1972, when it was withdrawn from service and converted into a storage barge for LNG. She was scrapped in 1972.

Methane Pioneer was the first oceangoing liquified natural gas tanker in the world. Built in 1945 as a cargo ship named Marline Hitch, the vessel was renamed Don Aurelio and Nomarti before being rebuilt in 1958 for the purpose of transporting LNG and operated between 1959 and 1972. The ship was later renamed Aristotle.

Le méthane Pioneer a été le premier méthanier de haute mer dans le monde. Construit en 1945 comme cargo (de type liberty ship) sous le nom Marlin Hitch, le navire a été renommé Don Aurelio et Nomarti avant d'être reconstruit en 1958 pour le transport de GNL et exploité dans ce rôle, entre 1959 et 1972. Le navire a ensuite été renommé Aristote.


Life.

Shalabi is from the village of Burqin near Jenin in the northern West Bank, although her family originates from Haifa. Her brother was killed by the Israeli Army in 2005.  In September 2009, she was arrested by Israeli authorities. No charges were brought against her. She remained in continuous detention for 25 months before being released in the prisoner swap deal between Hamas and Israel in October 2011. After her release Shalabi planned on studying nursing at al-Rawda College in Nablus.  Shalabi is alleged to be a supporter of the Palestinian Islamic Jihad (PIJ), an organization that violently opposes the existence of Israel, and which Israel considers to be a terrorist organization, and is designated as a "Foreign Terrorist Organization" by the United States Department of State. Hana Shalabi's father denies that she is active in the organization.

Arrest and hunger strike.

On 16 February 2012, Israeli forces arrested Hana Shalabi from her home in Jenin. During the raid, Israeli soldiers assaulted her and ransacked their home, according to Hana's father. Upon detention, Shalabi said she was subjected to an embarrassing body search by a male soldier.  Shalabi was issued a six-month administrative detention order on 23 February. She was neither charged with a crime, nor given a trial. An Israeli Army spokesman commented that Shalabi was "a global jihad-affiliated operative" that "posed a threat to the area" and that she assaulted the soldiers who arrested her. Shalabi immediately began a hunger strike to protest her arrest and detention. Her father, Yahya, stated Shalabi was emulating prisoner Khader Adnan, who ended his 66-day hunger strike on 21 February 2012. She is one of five Palestinians to have been rearrested after being released in the Hamas-Israel prisoner swap. During the first week of her arrest, Shalabi said she was beaten, abused, blindfolded and placed in solitary confinement, according to her attorney.  In March, Shalabi said she was approached by an officer who asked her to remove her clothes so he could search her. Shalabi said "When I refused, he called other officers who tied me up and started beating me."  On 20 March, Physicians for Human Rights-Israel (PHR-IL) stated Shalabi was in "immediate risk of death." PHR Executive Director Ran Cohen said she had lost 14 kilograms (31 lbs) since the hunger strike began and that she was in massive pain. The PHR-Israel along with other human rights groups have questioned the "adequacy and timeliness" of her treatment by the Israeli prison authorities concerning her health conditions. The Israeli Prison Service has stated Shalabi is currently receiving treatment at the prison clinic, but the PHR has called for her to be transferred to a hospital. Via her lawyer Jawad Bolous, Shalabi stated "It's true our lives are very precious, but our freedom is even more precious and more powerful than their cells."

Protests against her detention.

Palestinian protesters held a large demonstration march that began at al-Bireh and ended near the Muqata'ah in Ramallah. Another demonstration was held on March 29, in Gaza, calling for her release. Demonstrations for Shalabi were also reported in Ramallah.  Palestinian Prime Minister Salam Fayyad said Shalabi is "fighting for her dignity." The Minister of Prisoner Affairs for the Palestinian National Authority condemned Israel's treatment of Shalabi while the head of the Palestinian Prisoners' Society Qadura Fares beckoned the international community to help end her administrative detention.  The human rights organization Amnesty International demanded Israel either prosecute or release Shalabi, citing her "risk of death."

Exile deal.

Shalabi ended her hunger strike in a deal that would see her exiled to the Gaza Strip for three years in return for the termination of her administrative detention. According to "Ma'an News Agency", the deal did not involve the Palestinian National Authority and was between Shalabi and Israel. Her lawyer Jawad Bolous confirmed the deal. The PIJ was also uninvolved with spokesperson Daud Shihab claiming it was unaware of the arrangements and that it opposed exile as a general policy. Qadura Fares of the Palestinian Prisoners' Society stated the group was against deportation but the decision was ultimately with Shalabi.  Amnesty International said the deal could amount to forcible deportation, which is contrary to the Geneva Conventions.

Hana Shalabi (; born 2 July 1982) is a Palestinian prisoner in Israel, held in administrative detention. On 16 February 2012, the Israeli military arrested Shalabi at her home in Jenin, in the Palestinian administered territories of the West Bank. She is believed to be a supporter of the Palestinian Islamic Jihad, however, her father has denied that she is an active member. The Israeli prison authority said she was taken into custody for unspecified terror activity. To protest against being held without charge, she began her hunger strike. She ended her hunger 43-day hunger strike on 29 March after a deal with Israel in which she is to be deported to the Gaza Strip and stay there for three years.

Hana Yahya Shalabi, en, née le ou le, est originaire de Burquin en Palestine. Elle est connue pour avoir été arrêtée le puis détenue, en Israël, sans inculpation. Elle est accusée d'être une activiste du Jihad islamique palestinien. Elle avait déjà été arrêtée en 2009 et détenue durant 25 mois. Sa dernière arrestation entraîne des manifestations dans les territoires palestiniens. Elle entame une grève de la faim qu'elle interrompt au bout de 44 jours, après un accord avec Israël dans lequel elle doit être déportée dans la bande de Gaza et y rester pendant trois ans. Amnesty International considère que cet accord constitue une déportation forcée, contraire aux Conventions de Genève et au droit international.


Early life.

He was born in Buffalo, New York, to Jewish parents Simon and Matilda (Goldstein) Farber. He was the third oldest of 14 children. He was the younger brother of the noted philosopher and University of Buffalo professor Marvin Farber (1901–1980).  Farber graduated from University at Buffalo, The State University of New York, or SUNY Buffalo, in 1923. Farber Hall, built in 1953 on the South Campus of SUNY Buffalo, is named for him.  In the mid-1920s, Jewish students were often refused admission to US medical schools, prompting him to go to Europe. As Farber was fluent in German, he undertook his first year of medical school at the Universities of Heidelberg and Freiburg in Germany. Having excelled in Germany, Farber entered Harvard Medical School as a second-year student and graduated in 1927.  Farber pursued postgraduate training in pathology at Peter Bent Brigham Hospital (the predecessor of Brigham and Women's Hospital) in Boston, Massachusetts, where he was mentored by Kenneth Blackfan, and was appointed to a resident pathologist post at Children's Hospital in 1929.

Career.

Following postgraduate training, Farber became an Instructor in Pathology at Harvard Medical School in 1929. That same year, he was also appointed the first full-time pathologist to be based at Children's Hospital, where he became a close mentee and friend of pathologist Simeon Burt Wolbach. Farber was an extremely meticulous and precise scientist, and his laboratory become known for its tidiness.  In 1946, Farber was named Chairman of the Staff at the Children's Hospital, where he managed the Medical Center of Children's and envisioned an Institute for Pediatric Pathology which now exists as the Pediatric Research building. Farber was appointed Pathologist-in-Chief of the Children's Hospital in 1947 and Professor of Pathology at Harvard Medical School in 1948.  Throughout his career, Farber published more than 270 books and research papers on pediatric pathology, autopsy, and the history of medicine. Many remain classic references today, such as his 1937 book on autopsy methods and techniques titled "The Postmortem Examination".

Founder of pediatric pathology.

Farber's research was primarily focused on diseases in children and infants. His work at Children's spanned many areas, including cystic fibrosis, celiac disease, infant hyaline membrane disease, Eastern equine encephalitis, eosinophilic granuloma, meconium ileus, and sudden infant death syndrome. As a result, Farber is now known as a founder of pediatric pathology.

Father of modern chemotherapy.

Childhood acute lymphoblastic leukemia.

Through the mid- to late-1940s, childhood acute lymphoblastic leukemia was almost inevitably fatal and little was known about the mechanisms of the disease. Only basic forms of treatment were available, including red blood cell transfusions and antibiotics, leading to survival rates of merely weeks to months after diagnosis. Despite general pessimism in the scientific community towards efforts to cure cancer, Farber became dedicated to the battle against childhood leukemia in 1947 during his assistant professorship at Children's Hospital and Harvard Medical School.  Farber discovered that folic acid plays a key role in the proliferation of cancer cells in leukemias. Realizing this, he attempted to use a folate antagonist, aminopterin, to block the function of folic acid in patients with leukemia in hopes of achieving remission. In 1947, Farber conducted a clinical trial on aminopterin on 16 children, 10 of which eventually achieved temporary remission. While many practicing physicians responded to these results with enthusiasm, many scientists expressed disbelief and resistance against the new drug since Farber, a young pathologist at the time, was viewed as presumptuous. However, Farber's discovery marked a breakthrough in cancer research since no drugs had previously been found effective against tumors of the bodily fluids.  While working at Harvard Medical School on a research project funded by a grant from the American Cancer Society, he carried out both the preclinical and clinical evaluation of aminopterin (synthesized by Yellapragada Subbarow). He showed for the first time that induction of clinical and hematological remission in this disease was achievable. These findings promoted Farber as the father of the modern era of chemotherapy for neoplastic disease, having already been recognized for a decade as a founder of modern pediatric pathology.

Wilms' tumor.

Throughout the 1950s and '60s, Farber continued to make advances in cancer research, notably the 1955 discovery that the antibiotic actinomycin D and post-operative radiation therapy could produce remission in Wilms' tumor, a pediatric cancer of the kidneys. The antibiotic, derived from "Streptomyces parvulus", was originally offered for free by the Eli Lilly Pharmaceutical Company. Farber and his colleagues published their results on the efficacy of actinomycin D in 1960, and further development of treatment protocols by the National Wilms Tumor Study Group resulted in a 90% survival rate in children with Wilms' tumors by the end of the century.

Other scientific contributions.

In 1939, during his appointment at the Children's Hospital, Farber worked with colleague Jerome S. Harris to publish a classic description of the transposition of the great blood vessels in the heart. This work played a major role in the development and advancement of pediatric cardiac surgery.  In 1952, Farber described a lipid storage disease that was subsequently named Farber disease.

The Jimmy Fund.

Farber began raising funds for cancer research with the Variety Club of New England in 1947. Together they created the Children's Cancer Research Foundation (CCRF), which was one of the first nationwide fundraising efforts to take full advantage of modern media, such as a broadcast of the radio show "Truth or Consequences". On May 22, 1948, one of the CCRF's first patients to respond to Farber's antifolate, a twelve-year-old boy named Einar Gustafson, appeared on the show. Despite having Burkitt lymphoma, rather than leukemia, Gustafson (nicknamed 'Jimmy' for publicity purposes) became an inspiration for all pediatric cancer patients and triggered the renaming of the CCRF to the Jimmy Fund.  The success of the Jimmy Fund led Farber to realize the importance of marketing in the scientific advancement of knowledge about diseases. For the remainder of his career, Farber would extend far beyond his identity as a pathologist and oncologist, becoming not only a clinician but a public cancer research advocate too. This personal transition reflected the shift in society's attitude towards cancer as well; bringing cancer into the public spotlight propelled funding and awareness for cancer research for the remainder of the century and beyond.

Cancer research advocacy.

Beginning in the early 1950s, and continuing until his death in 1973, Farber became a star presenter at Congressional hearings on appropriations for cancer research. A compelling speaker, he was very successful in his efforts. With Mary Woodard Lasker, a longtime advocate of biomedical research, famed surgeon Michael E. DeBakey, Senator J. Lister Hill of Alabama and Congressman John E. Fogarty of Rhode Island, Farber led the drive for a massive expansion in federal spending for cancer research. Between 1957 and 1967, the annual budget of the National Cancer Institute, the government's primary funder of cancer research, jumped from $48 million to $176 million.

Dana-Farber Cancer Institute.

In 1974, Farber's CCRF was renamed the Sidney Farber Cancer Center, and again in 1976 to the Sidney Farber Cancer Institute. Long-term financial support by industrialist Charles A. Dana and his foundation was acknowledged by the building of the Charles A. Dana Building in 1978 and the establishment of the Institute's present name of the Dana-Farber Cancer Institute in 1983.

Personal life.

Farber married Norma Farber (formerly Holzman) in 1928, a poet, author of children's books, and classical soprano.  On March 30, 1973, at the age of 69, Sidney Farber died from cardiac arrest while working in his office. Upon his death he was survived by his widow, four children, and three grandchildren.

Sidney Farber (September 30, 1903 – March 30, 1973) was an American pediatric pathologist. He is regarded as the father of modern chemotherapy for his work using folic acid antagonists to combat leukemia, which led to the development of other chemotherapeutic agents against other malignancies. Farber was also active in cancer research advocacy and fundraising, most notably through his establishment of the Jimmy Fund, a foundation dedicated to pediatric research in childhood cancers. The Dana–Farber Cancer Institute is named after him.

Sidney Farber, né le à Buffalo, New-York et mort le à Boston, Massachusetts, est un pathologiste américano-polonais spécialisé dans le domaine pédiatrique. Il est considéré comme le père de la chimiothérapie moderne, et a donné son nom à l'.


Confrontation and shootout.

Deputy Kyle Dinkheller encountered a speeding Toyota pickup truck near Dudley, Georgia, United States, which he clocked at around. The deputy pulled the truck over on Whipple Crossing Road, adjacent to Interstate 16. The traffic stop at first appeared to be routine, with both the deputy and Andrew Brannan exiting their vehicles and exchanging greetings. Brannan, however, placed both hands into his pockets, at which point Dinkheller instructed him to remove his hands and keep them in plain view.  At this point, Brannan became belligerent and yelled at the deputy to shoot him. He then began to dance and wave his arms in the middle of the road. Dinkheller radioed the dispatcher for assistance and issued commands for Brannan to cease his behavior and approach the cruiser. When Brannan saw that Dinkheller was calling for other units, he ran toward the deputy in an aggressive manner. Dinkheller retreated while issuing commands and utilized his baton to keep Brannan at bay. On Dinkheller's dashcam video, Brannan was heard shouting that he was a "goddamned Vietnam combat veteran."  Despite commands issued by Dinkheller, Brannan walked back to his pickup truck and drew an Iver Johnson M1 Carbine from underneath the driver's seat, taking cover near the driver side door. Dinkheller positioned himself near the passenger door of his cruiser and gave Brannan commands for approximately forty seconds before Brannan stepped away from his pickup truck, pointed his rifle at Dinkheller and fired several shots. Dinkheller fired the first shot at Brannan but missed, leading some to speculate that it might have been a warning shot. Dinkheller did not strike the suspect initially and thus was forced to reload.  At this point, Brannan ran from his truck toward Dinkheller and began to fire again, hitting the deputy in exposed areas such as the arms and legs. Brannan then began to reload his weapon as the now-injured Dinkheller tried to position himself near the driver side door of his cruiser and pleaded for his life. Brannan appeared to go back to his car to retreat before another shot from Dinkheller was heard. This enraged Brannan, who began advancing and firing at the deputy, hitting him numerous times. Before being disabled from gunfire, Dinkheller was able to inflict a gunshot wound to Brannan's stomach. Dinkheller had been shot nine times when Brannan took careful aim, said, "Die fucker," and fired a final fatal shot into Dinkheller's right eye. Brannan then retreated into his truck and fled the scene.

Aftermath.

Brannan was arrested the next morning without incident; he told the investigating authorities that "they can hang me". He was found guilty on January 28, 2000, for the murder of Dinkheller and was sentenced to death. On January 2, 2015, the Georgia Department of Corrections announced that an execution date of January 13 had been set for Brannan. On January 6, a clemency hearing was set for January 12, at which the Georgia State Board of Pardons and Paroles voted to deny clemency. On January 13, Brannan was executed by lethal injection, the first person in the U.S. to be executed in 2015.

Victim.

Kyle Wayne Dinkheller was a deputy with the Laurens County Sheriff's Office (LCSO) in the U.S. state of Georgia. After his death, he was named the 1998 Deputy Sheriff of the Year by the Georgia Sheriffs' Association.  Dinkheller was born on June 18, 1975, in San Diego, California to Kirk Dinkheller. He graduated from California's Quartz Hill High School in 1993. He joined the LCSO as a jailer in March 1995 and became a certified police officer with the State of Georgia in 1996. He was 22 years old when he was murdered.  Dinkheller is survived by his wife, Angela, and their children Ashley and Cody, the latter of whom was born eight months after his father's death; Ashley was twenty-two months old. Dinkheller is buried in Space 3, Lot 18 in the Garden of Remembrance at Fountainhead Memorial Park in Brevard County, Florida.

Perpetrator.

Early life and education.

Andrew Howard Brannan was born on November 26, 1948, and graduated from college in 1968.

Career.

In August 1968, Brannan joined the U.S. Army and received his induction training at Fort Benning in Georgia. In February 1969, he entered the artillery officer candidate school at Oklahoma's Fort Sill and was commissioned as an artillery officer in July 1969. While he was still in the U.S., Brannan served with the 82nd Airborne Division. In July 1969, he was ordered to South Vietnam to serve in the Vietnam War, where he served in the Field Artillery Branch as a forward observer and executive officer with the 23rd Infantry Division at Chu Lai until July 1971. During this time, Brannan witnessed an officer being killed after stepping on a landmine, an incident he later recalled during a psychiatric interview in 1989. He also assumed command of a company on two occasions, after its commander was killed. Afterwards, Brannan arrived at Washington's Fort Lewis, where he transferred to the U.S. Army Reserve, in which he served periodically for two weeks at a time until being discharged in June 1975.  During his time in the Army, Brannan was awarded the Bronze Star and two instances of the Army Commendation Medal. While in the military, his superiors spoke favorably of him, saying that he was an "outstanding" and "exemplary" officer.

Later life and death.

Brannan's defense was that he suffered from post traumatic stress disorder (PTSD) as the result of serving in battle. In 1975, he was married, although the couple divorced six years later as a result of Brannan's violent behavior stemming from his PTSD. A psychologist for the defense during Brannan's trial indicated that the bizarre encounter with Dinkheller in January 1998 "was likely the result of a flashback to Brannan's time in combat." In 1994, the Department of Veterans Affairs had declared Brannan 100% disabled for experiencing depression and bipolar disorder.  Although Brannan's lawyers tried to get his death sentence commuted on the grounds that he was not criminally responsible for his conviction by reason of insanity, both the Georgia Supreme Court and the U.S. Supreme Court refused to intervene on his behalf on the day his execution was scheduled to take place. Brannan was executed by lethal injection at 8:33 p.m. (EST) on January 13, 2015, the first person executed in the U.S. in 2015. He was 66 years old at the time of his death at the Georgia Diagnostic and Classification State Prison near Jackson, Georgia.  Brannan made a final statement, in which he said, "I extend my condolences to the Dinkheller family, especially Kyle's parents and his wife and his two children" and "I feel like my status was slow torture for the last fifteen years. I had to say that with them here. I have to tell the truth. I'm certainly glad to be leaving." A pastor then delivered a prayer and Brannan was executed. He was executed one day after the 17-year anniversary of the shooting.

On Monday, January 12, 1998, near the end of his shift, Deputy Kyle Wayne Dinkheller of the Laurens County Sheriff's Office (LCSO) in the U.S. state of Georgia, pulled over motorist Andrew Howard Brannan for speeding. A verbal confrontation escalated to a shootout resulting in Brannan murdering Deputy Dinkheller. The murder continues to receive national attention (e.g., training in police academies) because the traffic stop and shootout were captured on a personal video recorder Dinkheller had placed on his patrol car dashboard and activated when he stopped Brannan.

Le lundi, alors qu'il est proche de la fin de son service, l'officier de police Kyle Dinkheller du Laurens County Sheriff's Office (LCSO), dans l'État américain de Géorgie, procède au contrôle d'un automobiliste, Andrew Howard Brannan, pour excès de vitesse. Un différend verbal les oppose, pour finalement en venir à une fusillade lors de laquelle l'officier Dinkheller est tué par Andrew Howard Brannan. Ces faits bénéficient toujours d'une attention particulière, notamment dans le cadre de la formation en académie de police. Et ce, en raison du fait que le contrôle et la fusillade ont été filmés par une caméra embarquée dans le véhicule de l'officier de police.


Biography.

Vasyl Ponikarov was born on 26 August 1929 in the village Dolynske of Ananyiv Raion of Odessa Oblast (Ukraine). His childhood coincided with the years of the Second World War. After 7 years of schooling, he left his native village. After the end of the war Vasyl continued his studies firstly in the A.S. Makarenko Tiraspol Pedagogical College (1947–1948), lately in the Odessa Art school (1949–1958).  In the Art school his pedagogues were,, L.O. Tokareva-Aleksandrovych. Leonid Ovsiiovych Muchnyk while getting acquainted with the works of Vasyl advised him: "You should to paint in watercolor. As I think, it's yours". Ponikarov was called up for military service after the first course in the Art school. He was doing his military service in Yevpatoria. The military base where Vasyl was in the service appreciated a talent of young artist by entrusting to his charge all visual agitation (leaflets, placards). His gift and high appreciation of his effort as an artist culminated in increase of a duration of military service. Vasyl Ponikarov served longer than needed – three and one half years instead of three years. After the demobilisation Vasyl continued his studies within the walls of the same Art school in Odessa.  Three years after graduation from the Art school Vasyl Ponikarov becomes a student of Moscow Polygraphic Institute (1961–1970). Over this years his pedagogues were Y.K. Burdzhelyan, B.A. Sholokhov, G.T. Goroshchenko. Entering of Vasyl into the Artists' Union of the USSR (1971) was recommended by,, A.L. Yakovlev who remarked considerable growth of mastery of the artist after graduation from the Institute. Background of Vasyl Ponikarov already consisted of art works that had been exposed in all of the USSR.  From 1980 onwards Vasyl Ponikarov painted on journeys on the ocean liner "Fedor Shalyapin", where he served as a staff artist. Like so, the paintings were made, those on which the artist pictured what he saw in Italy, France, Spain, Turkey, Egypt, Germany.

Œuvre.

Landscape painting and still life were genres Ponikarov gave preference to. He painted using the wet-on-wet technique in watercolor on the premoistened paper that deprived dabs of paint of hardness. The artist painted in transparent watercolor, he didn't combine watercolor with other techniques and precluded the use of white paint (titanium dioxide PW6 or zinc oxide PW4) to obtain white color. White color is unpainted paper.  Among landscape paintings of Ponikarov there are lots of works pictured Odessa and its environs since almost all his life was connected with this region. Examples of those works: «Arcadia» (1984), «In Odessa Courtyard» (1984), «Winter on the Big Fountain» (1986), «Odessa. Proletarian boulevard» (1986), «Ilyichyovsk. Lighthouse» (1986). However, Vasyl created a good many of his watercolor paintings on his journeys across Soviet republics and abroad: «Dombay» (1972), «Karelian pines» (1975), «Lake in Sedniv» (1980), «Caucasian birches» (1981), «Rozluch. Carpathians» (1983), «Holosiivo. Ponds» (1984), «Vylkovo» (1987). On journeys that served him as a source of new impressions artworks cycles like «Ancient monuments», «Channel Dnepr-Donbass», «Pushkin reserve», «In Gurzuf» were painted. Cycles of art works painted abroad contain images of Paris, Rome, London, Prague, Barcelona, Budapest, Istanbul, Jerusalem and Cairo.  In landscape painting the artist was giving pride of place to generous gifts of the South of Ukraine – juicy, mature vegetables and fruits, vivid flowers. Watercolors of flowers united in series brought him great success. As a ""King of flowers and emperor of sunflowers"" a fine art expert from Alexandria M. Sheryf named Vasyl. Vasyl Andriiovych worked a lot and incessantly on floral compositions by moving up images to the frames of pictures, by approaching images as much as possible to spectators. He pictured flowers in contourless sketchy manner that makes possible to reproduce flowering, rustle, smell.  As a rule, Vasyl Ponikarov worked on location finishing a watercolor painting in one session. Often he turned to work without planning it in advance. For example, departing somewhere on his car, Vasyl could pull up in the middle of the flowering field and turn to paint. Vasyl Andriiovych by creating several sheets a day for a half of century of his creative activity pictured tens of thousands of artworks that dispersed around the world. Ponikarov in Iryna Tymokhova (a fine art expert) opinion is one of the most productive artists. In this regard on the pages of news paper "Vechernyaya Odessa" Iryna Tymokhova compared the artist with I.K. Aivazovsky.

Vasyl Ponikarov (; ; 26 August 1929 – 16 May 2014) was a Soviet and Ukrainian artist, member of the National Union of Artists of Ukraine (1971).

Vassili Ponikarov (; ; né le à Dolynske (région d'Odessa, Ukraine) et mort le à Odessa) est un peintre soviétique et ukrainien, membre de l'Union Nationale des Peintres de l'Ukraine (1971), peintre émérite de l'Ukraine (2005).


History.

The small town of Chinde, located approximately 40 miles south of Quelimane, developed as the main point of entry for passengers and goods for the British Central Africa Protectorate which was proclaimed in 1891. Because of its favourable location on the Chinde River, part of the Zambezi River delta, it had potential for growth, and superseded both Quelimane and Conceição as the most suitable port of entry.  Until the third quarter of the 19th century, Quelimane, which was linked to the Zambezi river by a shallow channel, was the main port giving access to Central Africa. The Congress of Berlin in 1884 established free navigation of the Zambezi and its tributary rivers, and a number of British missionaries and traders who had started to visit and settle in what is now Malawi traveled there using the Zambezi and Shire River. When the channel from Quelimane became blocked, the search for an alternative route led to the discovery of the Chinde mouth of the Zambezi in 1889. As part of the Anglo-Portuguese Treaty of 1891, the Portuguese government granted the British government the Chinde Concession for 99 years to establish a port where seagoing ships could transfer their cargoes to river steamers. The Inner Concession, which was exempt from Portuguese custom duties, had an area of 10 hectares, with a river frontage of 420 yards. This contained the government offices and the commercial warehouses, workshops and stores. A further 50 hectares without customs exemption, the Outer Concession, was designed to house the slowly growing population of Chinde. The site selected was a sandspit with the Indian Ocean to the south and the Chinde river to the north. A tidal creek virtually separated the Concession from the mainland, making it more of an island than a peninsula.  Chinde briefly flourished as the port for British Central Africa, which became Nyasaland in 1907. At the end of the 19th century, ocean-going ships of the Union Castle and German East Africa lines were met at Chinde by small river steamers which took passengers and goods up to the head of navigation on the Shire River at Katunga, the closest point on the river to Blantyre, the main town in the British Central Africa Protectorate, a journey of around seven days. The African Lakes Company had trading station at the Concession and maintained around six steamers of up to 40 tons on the Zambezi and Shire rivers. Two other British companies had five more steamers of 20 to 30 tons in this route.  For several years before 1922, the erosion of the soft sand in which the Concession was built became an increasing problem. Many of the earlier buildings had to be taken down and re-erected to avoid being washed away or replaced. By the time the port was severely damaged by a cyclone in February 1922 it was already in decline because only relatively small ships could use it and the port of Beira was a better alternative. It would have been difficult and very expensive to restore Chinde fully, but some attempt was made to repair the worst of the damage. However, once the rail link from Nyasaland to Beira was completed in 1922, the main purpose for the existence of the Concession was removed. The British Concession was abandoned and the lease was cancelled in 1923. Chinde returned to Portuguese control: it ceased to serve as a port for Nyasaland, but continued to act as a local port, particularly for the sugar exports of Sena Sugar Estates from the Zambezi valley.

Chinde is a town of Mozambique, and a port for the Zambezi valley. It is located on the Chinde River, and is an important fishing center. It exports copra and sugar, and had a population of 16,500 in 1980. Chinde lies in Chinde District of Zambezia Province.

Chinde est une ville du Mozambique située le long de la rivière du même nom, à environ au sud de Quélimane. En 1980, on y compte environ.


Etymology.

Originally called Gauri Marg (गौरी मार्ग) meaning (the path of Devi Gauri), which was later on changed to Gulmarg by Yusuf Shah of Chak Dynasty.

History.

Originally called Gauri Marg (गौरी मार्ग) meaning (the path of Devi Gauri) it was renamed to "Gulmarg" ("meadow of flowers") by Sultan Yusuf Shah of the Chak Dynasty who frequented the place with his queen Habba khatoon in the 16th century. Wild flowers of 21 different varieties were collected by the Mughal emperor Jahangir for his gardens in Gulmarg. In the 19th century, British civil servants started using Gulmarg as a retreat to escape summers in North Indian plains. Hunting and golfing were their favorite pastime and three golf courses were established in Gulmarg including one exclusively for women. One of the golf courses survives and at an altitude of is the world's highest golf course. In 1927, British established a ski club in Gulmarg and two annual ski events were hosted one each during Christmas and Easter. Central Asian explorer Aurel Stein also visited Gulmarg during this period.  After the end of London colonial rule, Gulmarg became a part of the independent princely state of Jammu and Kashmir. Pakistan planned an invasion of the state called Operation Gulmarg. One of the routes used by the invading militia of Pathan tribesmen, armed and supported by Pakistani regular troops, passed through the Haji Pir pass and Gulmarg onto the state capital Srinagar. Gulmarg fell to the invading army, but the Indian army led by the 1 Sikh Regiment, which had been airlifted to Srinagar only after the Dogra ruler of the state Maharaja Hari Singh had signed an Instrument of Accession with India on 26 October 1947, successfully defended the outskirts of Srinagar. Thereafter, Indian counterattacks pushed the tribesmen back and many towns including Gulmarg were recaptured. In 1948, Indian Army established a ski school in Gulmarg which later became the High Altitude Warfare School of the Indian army specializing in snow–craft and winter warfare. On 1 January 1949, the war ended under UN supervision and a Ceasefire line (CFL), which was rechristened the Line of Control (LOC) by the Shimla Agreement of 1972, came into being close to Gulmarg.  After Indian Independence, Indian planners sought to develop a destination for Winter sports in India. The Department of Tourism of the Government of India invited Rudolph Matt, in 1960 to select a suitable location for such purpose. Matt zeroed in on Gulmarg as a suitable location for development of a Winter sports destination in India. In 1968, Institute of Skiing and Mountaineering was established in Gulmarg to train ski instructors. Over the next decade Indian planners invested to transform Gulmarg into a world-class ski destination. Gulmarg became a centre for skiers from Asian nations. In mid-1980s, heli-skiing was introduced in Gulmarg in collaboration with the Swiss skier Sylvain Saudan of Himalaya Heli-Ski Club of France.  In the 1990s, the rise of militancy in Jammu and Kashmir affected tourism in Gulmarg. With the abatement of terrorism in the area, tourism started to recover in late 1990s. Work on the cable car project between Gulmarg and Apharwat Peak, which was commissioned in 1988 by Government of Jammu and Kashmir but was subsequently abandoned due to militancy in 1990, was resumed in 1998. In May 1998, Phase 1 of the project, between Gulmarg and Kongdori, began its commercial operation. In May 2005, Phase 2 of the project was also inaugurated making it one of the longest and highest rope ways of Asia. The chairlift installed as a part of Phase 3 of the project began its operations in 2011. The National Winter Games were held in Gulmarg in 1998, 2004 and 2008. In 2014, Government of Jammu and Kashmir drafted a Master Plan–2032 for Gulmarg. The plan includes development of a solid-waste treatment plant on 20 acres of land close to Gulmarg.

Geology and geography.

Gulmarg lies in a cup shaped valley in the Pir Panjal Range of the Himalayas, at an altitude of, 56 km from Srinagar. The soil in Gulmarg comprises glacial deposits, lacustrine deposits and moraines of Pleistocene age covering shales, limestones, sandstones, schists and other varieties of rocks. The natural meadows of Gulmarg, which are covered with snow in winter, allow the growth of wild flowers such as daisies, forget-me-nots and buttercups during spring and summer. The meadows are interspersed by enclosed parks and small lakes, and surrounded by forests of green pine and fir. Skiing and other winter sports in Gulmarg are carried out on the slopes of Apharwat peak at a height of. Many points on Apharwat peak and Khilanmarg offer a panoramic view of Nanga Parbat and Harmukh mountains.

Climate.

Due to its high elevation, Gulmarg has a humid continental climate where the wet winter season sees heavy snowfall, especially for its latitude. Summers are moderate in temperature and length, whereas shoulder seasons are relatively cool.

Demographics.

At the 2011 Indian census, Gulmarg had a total population of 1,965 over 77 households. Male population in the town stood at 1,957 while there were only eight females and no children between the ages of 0 and 6 years. Gulmarg had an average literacy rate of 99.24%, compared to the state average of 67.16%, of which male literacy was 99.23% and female literacy was 100%. Scheduled Castes and Scheduled Tribes constituted 0.61% and 0.15% of the population respectively. Gulmarg has few permanent residents with most residents being tourists or those involved in the tourism industry.

Tourism.

According to CNN, Gulmarg is the "heartland of winter sports in India" and was rated as Asia's seventh best ski destination. The town is accessible from Srinagar by road via Tangmarg. The road climbs uphill in the last 12 kilometres to Gulmarg passing through forests of pine and fir. Winter sports like skiing, tobogganing, snowboarding and heli-skiing take place on the slopes of Mount Apharwat reachable by a Gondola lift.

Maharani Temple.

Maharani Temple (commonly known as Shiv Temple of Gulmarg) was built by a Hindu ruler Maharaja Hari Singh for his wife Maharani Mohini Bai Sisodia who ruled till 1915. This temple was considered as the stately possession of Dogra kings. The temple is dedicated to Shiva and Parvati. This temple is situated on a slight hill top with greenery. This temple is visible from all corners of Gulmarg.

St Mary's Church.

The Roman Catholic St Mary's Church is located in the valley of Shepherds in Gulmarg. It was built in 1902, during the period of British rule, and was constructed in a British style. Made of grey brick with a green roof and decorated wooden interior walls, it has been described as a "Victorian architectural wonder". In 1920 the church saw the wedding of the brother of Bruce Bairnsfather; Miss Eleanor Hardy Tipping married Capt. T. D. Bairnsfather, with newspapers describing the church as "very prettily decorated" and with the service conducted by Rev Canon Buckwell in the presence of both organ and a full choir.  St Mary's was closed for years, but was renovated and reopened in 2003, holding its first Christmas service there for 14 years. The church belongs to the Diocese of Amritsar, Church Of North India.

Gulmarg Gondola.

Built by the French company Pomagalski, the Gulmarg Gondola is one of the highest in the world reaching 3,979 metres. The two-stage ropeway ferries about 600 people per hour between Gulmarg and a shoulder of nearby Apharwat Peak (). The first stage transfers from Gulmarg at to Kongdoori at. The second stage which has 36 cabins and 18 towers, takes passengers to a height of on the Apharwat Peak. A chair lift system connects Kongdoori with Mary's shoulder for taking skiers to higher altitude. The high inflow of tourists has had an effect on the fragile eco-system of Gulmarg and activists have demanded tighter regulation to save the environment of the area from over tourism. An accident occurred on 15 June 2017 due to an enormous pine tree being uprooted by a gust of wind and breaking the perspex windows on one of the gondola cabins, causing it to swing violently and its seven occupants to fall to the ground.

Sport.

Gulmarg Winter Games 2020.

The first ever Khelo India Winter Games will begin from March 7 at Gulmarg in Jammu and Kashmir. Around 900 participants will take part in the 5-day event. Organised by Jammu and Kashmir Sports Council in collaboration Union Ministry of Youth Affairs and Sports, the Games will be held in various sports disciplines at famous ski resort of Gulmarg in north Kashmir from March 7 to 11.

Golf course.

Situated at an altitude of 2,650 m, it is the highest green golf course in the world. The historic Gulmarg Golf Club was started in 1911 by the British who used the place as a holiday resort. The origin of Gulmarg as the golfing centre of India goes back to the late 19th century when a 6-hole course was made in 1890-91 by Colonel Neville Chamberlain. The first golf championship was played at Gulmarg in 1922. The Nedou's Cup was introduced in 1929.

Avalanche information center.

In 2008 an American avalanche forecaster named Brian Newman began a NPO named Gulmarg Avalanche Center. The purpose of this organization was to dispense daily avalanche risk bulletins to visitors entering the unmanaged backcountry surrounding Gulmarg ski area. The center provides avalanche education including a free weekly avalanche awareness talk during the winter season.

Events.

An annual three-day Gulmarg Winter Festival is held in March. Budding artists in the fields of music, films and photography are given an opportunity to showcase their work during the festival.

Gulmarg in Bollywood.

Gulmarg has been the shooting location many Bollywood films like "Bobby", "Jab Tak Hai Jaan", "Yeh Jawaani Hai Deewani", "Highway", "Phantom", "Haider", etc. A scene in "Bobby" was shot in a hut in Gulmarg that later come to be known as 'Bobby Hut'.

Gulmarg (Gauri Marg) is a town, a hill station, a popular skiing destination and a notified area committee in the Baramulla district of the Indian administered union territory of Jammu and Kashmir. The town is situated in the Pir Panjal Range in the western Himalayas.

Gulmarg est une ville, une "hill station" et un "Nagar Panchayat" d'Inde. La ville est située dans le district de Baramulla du territoire du Jammu-et-Cachemire.


Experimental measurement.

There are two experimental techniques for the determination of transport numbers. The "Hittorf method" is based on measurements of ion concentration changes near the electrodes. The "moving boundary method" involves measuring the speed of displacement of the boundary between two solutions due to an electric current.

Hittorf method.

In the Hittorf method, electrolysis is carried out in a cell with three compartments: anode, central, and cathode. Measurement of the concentration changes in the anode and cathode compartments determines the transport numbers. The exact relationship depends on the nature of the reactions at the two electrodes. For the electrolysis of aqueous copper(II) sulfate (CuSO) as an example, with Cu(aq) and SO(aq) ions, the cathode reaction is the reduction Cu(aq) + 2 e → Cu(s) and the anode reaction is the corresponding oxidation of Cu to Cu. At the cathode, the passage of formula_11 coulombs of electricity leads to the reduction of formula_12 moles of Cu, where formula_13 is the Faraday constant. Since the Cu ions carry a fraction formula_14 of the current, the quantity of Cu flowing into the cathode compartment is formula_15 moles, so there is a net decrease of Cu in the cathode compartment equal to formula_16. This decrease may be measured by chemical analysis in order to evaluate the transport numbers. Analysis of the anode compartment gives a second pair of values as a check, while there should be no change of concentrations in the central compartment unless diffusion of solutes has led to significant mixing during the time of the experiment and invalidated the results.

Moving boundary method.

This method was developed by British physicists Oliver Lodge in 1886 and William Cecil Dampier in 1893. It depends on the movement of the boundary between two adjacent electrolytes under the influence of an electric field. If a colored solution is used and the interface stays reasonably sharp, the speed of the moving boundary can be measured and used to determine the ion transference numbers.  The cation of the indicator electrolyte should not move faster than the cation whose transport number is to be determined, and it should have same anion as the principle electrolyte. Besides the principal electrolyte (e.g., HCl) is kept light so that it floats on indicator electrolyte. CdCl serves best because Cd is less mobile than H and Cl is common to both CdCl and the principal electrolyte HCl.  For example, the transport numbers of hydrochloric acid (HCl(aq)) may be determined by electrolysis between a cadmium anode and an Ag-AgCl cathode. The anode reaction is Cd → Cd + 2 e so that a cadmium chloride (CdCl) solution is formed near the anode and moves toward the cathode during the experiment. An acid-base indicator such as bromophenol blue is added to make visible the boundary between the acidic HCl solution and the near-neutral CdCl solution. The boundary tends to remain sharp since the "leading solution" HCl has a higher conductivity that the "indicator solution" CdCl, and therefore a lower electric field to carry the same current. If a more mobile H ion diffuses into the CdCl solution, it will rapidly be accelerated back to the boundary by the higher electric field; if a less mobile Cd ion diffuses into the HCl solution it will decelerate in the lower electric field and return to the CdCl solution. Also the apparatus is constructed with the anode below the cathode, so that the denser CdCl solution forms at the bottom.  The cation transport number of the leading solution is then calculated as formula_17, where formula_18 is the cation charge, formula_19 the concentration, formula_20 the distance moved by the boundary in time formula_21, formula_22 the cross-sectional area, formula_13 the Faraday constant, and formula_24 the electric current.

Concentration cells.

This quantity can be calculated from the slope of the function formula_25 of two concentration cells, without or with ionic transport.  The EMF of transport concentration cell involves both the transport number of the cation and its activity coefficient:  where formula_27 and formula_28 are activities of HCl solutions of right and left hand electrodes, respectively, and formula_29 is the transport number of Cl.

Ion transport number, also called the transference number, is the fraction of the total electrical current carried in an electrolyte by a given ionic species formula_1,

Le nombre de transport d'un ion formula_1 dans un electrolyte est la fraction du courant électrique total qui est portée par l'espèce ionique formula_1,


Career.

Romero began her career in 1981 at video game developer and publisher Sir-tech Software, Inc., on the "Wizardry" role-playing team. She worked first as a tester, and moved up through the ranks to designer for "Wizardry 8". While at Sir-tech, Romero also worked on the "Jagged Alliance" and "Realms of Arkania" series. She was employed with Sir-tech for 18 years before moving on to Atari where she worked on the "Dungeons & Dragons" series for consoles before joining Cyberlore Studios in 2003 to work on the "" game. Romero's research for the game was ultimately published in a book, "Sex in Video Games".  In 2007, Romero was named one of the 100 most influential women in the game industry by "Next Generation" magazine. "Nerve" magazine cited her as a "New Radical" — one of "the 50 artists, actors, authors, activists and icons who are making the world a more stimulating place". In 2009, "Next Generation" magazine identified her as the woman with the longest continuous service in video game development.  Romero served as Chair of the Savannah College of Art and Design's Interactive Design and Game Development department until November 2009. She moved to San Francisco to consult as Creative Director for social media company Slide, Inc., and then became Creative Director of social gaming company Lolapps in May 2010. She co-founded the social game company Loot Drop with John Romero in November 2010, then left Lolapps and joined Loot Drop in February 2011. In 2013, Romero became the first game designer in residence at the Games and Playable Media Program of the University of California at Santa Cruz. She also served as the program's director. Brenda is currently the Program Director of the MSc program in Game Design and Development at the University of Limerick in Limerick, Ireland.

Recognition.

Brenda has won several awards in her long career. Some highlights include RPG of the Year for Wizardry 8, a Fulbright Scholar award in 2014, the Game Developer's Choice Ambassador Award in 2015, the Development Legend award at the Develop:Brighton awards.

Personal life.

Romero married game developer John Romero on October 27, 2012. Together, they worked on "Ravenwood Fair", with John as lead designer and Brenda as creative director and game designer. John and Brenda had become engaged on March 24, 2012. Brenda has three children from a previous marriage.

IGDA and activism.

Brenda Romero was an active member of the International Game Developers Association (IGDA). In 2008, she was elected to the IGDA's Board of Directors. On March 28, 2013, she resigned as co-chair of the IGDA Women in Games SIG.  She had founded the International Game Developers Sex Special Interest Group (Sex SIG) in 2005. Since working on "Playboy", she has studied adult and sexual content in video games and is regularly interviewed about the subject in the media. She has written a book on the subject, "Sex in Video Games".  She is an anti-censorship activist and a proponent of parental rating awareness.

Academics.

She is a regular speaker at universities and conferences, including the Game Developers Conference, Austin Game Developers Conference, and Montreal International Games Summit. Some of her lectures have been held at the Massachusetts Institute of Technology, The Guildhall at Southern Methodist University, and Clarkson University.  In the spring of 2007, she was awarded the Presidential Fellowship at Savannah College of Art and Design to develop an exhibit and presentation titled, "What You Don't Know About Video Games...". In April 2008, Romero became Chair of the Interactive Design and Game Development department at the Savannah College of Art and Design (SCAD). Brathwaite left SCAD in November 2009 to return to full-time commercial game development.  In December 2012, she was appointed "Game Designer in Residence" at the University of California, Santa Cruz.  In March 2014, she was awarded a Fulbright Fellowship.

"Mechanic is the Message".

In February 2008, Romero began work on a series of non-digital games known collectively as "The Mechanic is the Message". According to the series abstract:  The series is composed of six separate non-digital games that experiment with the traditional notions of games.  Of the six, "Train" has received the most attention, and won the Vanguard Award at Indiecade in October 2009 for "pushing the boundaries of game design and showing us what games can do." "Train" was also featured in the "Wall Street Journal" as well as on game industry sites including Gamasutra, where it received accolades for its ability to evoke meaning through gestures, the "Escapist Magazine", Extra Credits, and on Kotaku. Romero delivered "Train: How I Dumped Electricity and Learned to Love Design" at the 2010 Gamesauce Conference.  "Síochán leat" (Irish for "peace be with you") chronicles the history of her children's heritage. Romero made the game following "The New World", a game she originally made to teach her daughter about the slave trade. Romero designed "Síochán leat" to teach her daughter about her Irish heritage and traces the family's history from the Cromwellian invasion of Ireland to their ancestor's eventual immigration into the West Indies on the paternal side and Canada on the maternal side. The game features a burlap pillow simulating an earthen mound covered by 26 pieces of grass, each representing a county in Ireland. In a talk given at the Austin Game Developers Conference in September 2009, Romero noted that the burlap was filled with mementos of her upbringing and her heritage, including photographs of her great grandfather, Paddy Donovan, and one of her mother's rosaries. On her blog, Romero notes that, "the game is signed in many ways and is highly autobiographical. It is my history and it also reveals my feelings about its present state."

Brenda Louise Romero (née Garno, born October 12, 1966), previously known as Brenda Brathwaite, is an American game designer and developer in the video game industry. She was born in Ogdensburg, New York and is a graduate of Clarkson University. Romero is best known for her work on the "Wizardry" series of role-playing video games and, more recently, the non-digital series "The Mechanic is the Message". She has worked in game development since 1981 and has credits on 49 game titles.

Brenda Louise Romero (née Garno, le 12 octobre 1966), auparavant connue sous le nom de plume Brenda Brathwaite, est une développeuse et conceptrice de jeux vidéo américaine. Elle est surtout connue pour son travail sur les jeux vidéo de rôle de la série "Wizardry" et, plus récemment, pour sa série non-numérique "The Mechanic is the Message". Elle travaille dans le développement de jeux vidéo depuis 1981.


Family background.

Filippo Andrea Francesco Coletti was born on 11 May 1811 in Anagni, a medieval town located east-southeast of rome, in the district of Frosinone. Anagni is referred to as the 'City of the Popes' ("città dei Papi"): Five popes lived, reigned or were born in Anagni. Innocenzo III, (born Lotario dei Conti di Segni in 1160), Gregorio IX, (born Ugolino dei Conti di Segni), Alessandro IV, (born Rinaldo dei Conti di Segni 1180? -1185?) and Bonifacio VIII, (born Benedetto Caetani in Anagni in 1235). Bonifacio's mother was Emilia Conti, sister of pope Gregorio IX. Another Conti pope was Michelangiolo Conti, who was elected in 1721 as pope Innocenzo XIII. Filippo Coletti's son Tito would eventually marry into this illustrious Conti family. Anagni was the summer residence of the papacy until a recent transfer to Castel Gandolfo. The town centre consists of romanesque churches, campaniles, the cathedral, the palace of Bonifacio VIII, the civic palace and steep twisting streets enclosed by Roman built town walls.  Coletti's parents, Venanzio Coletti and Angela Viti, were of modest means and education. The Colettis had eight children: Rosa, Filippo, Andrea, Alessandro, Temistocle, Domenico and two other daughters. The family lived in the town center, on the corner of Via Maggiore and Vicolo Cellacchio. With Filippo Coletti's singing fees which were administered by his father Venanzio, the family moved into a large property outside Anagni in 1843. Venanzio continued to invest in land and buildings. Upon the death of Venanzio, the administration was taken over by Coletti's brother Andrea. The Coletti estate exists today as a winery, Coletti-Conti. Coletti's younger brother Domenico was an opera singer who moved to the United States and lived in New York. In 1845 the 33-year-old Filippo Coletti married the seventeen-year-old Maria, daughter of Anagni's Segretario comunale Giovanni Ambrosi. The marriage was arranged by Coletti's father Venanzio, and proved to be a happy one. Filippo and Maria had four children: Tito (born in Anagni, 1846) who married his childhood love Erminia Conti, after Filippo Coletti concluded a three-year negotiation of the marriage contract with Erminia Conti's father Andrea; Decio, born in Paris, 1848, a talented singer too timid for the stage, who married Countess Teresa Laderchi; Lavinía, who often sang with Coletti in concerts and social occasions, and who died young from a nervous illness; and Valeria, born in Rome, 1853 who married marchese Annibale Ossoli Della Torre.

Early career 1834–1840.

Coletti started his musical education in Rome, then moved to the Naples Real Collegio di Musica, where he studied with the tenor Alessandro Busti, a pupil of the castrato Girolamo Crescenti. Busti dedicated to Coletti a "Studio di canto per baritono" (published 1874). Coletti débuted at the Teatro del Fondo (1834) as Prosdocimo in Rossini's "Il turco in Italia". His performance was considered a great success by the court and launched his career.  Coletti transferred to the neighboring Teatro San Carlo, where he sang coloratura and Bel canto roles in Vincenzo Bellini's "La Straniera" (Valdeburgo), Rossini's "Mosè in Egitto", "Maometto II" and "Semiramide" (Assur), as well as Giuseppe Curci's cantata "Ruggiero", in January 1835. Later that year Coletti created his first of many roles in a Giovanni Pacini opera – Briano/Wilfredo in "Ivanhoe". Beyond Naples, Coletti appeared in the Carlo Felice in Genoa in the 1835–1836 season, sang in Donizetti's "Gemma di Vergy" at the Teatro Valle in Rome, and in Bellini's "I Puritani" in Padova (1836).  A four-year engagement at the Real Teatro de São Carlos in Lisbon (1837–40) included the first Lisbon production of Mozart's Don Giovanni, operas by the Ricci brothers, Saverio Mercadante, Giuseppe Persiani and Ferdinand Hérold as well as the title roles of Donizetti's "Torquato Tasso" (January 1837) and "Marin Faliero", Prospero Salsapariglia in Donizetti's "Le convenienze ed inconvenienze teatrali" and the role of Visconti in Bellini's "Beatrice di Tenda". During his time in Lisbon Coletti appeared in a new role almost every week. By the time he left Lisbon, after singing a last Belcore in Donizetti's Elisir d'amore in November 1840, Coletti had covered most of the bel-canto baritone repertoire of Rossini, Bellini and Donizetti.

London riot of 1840.

Pierre Laporte, the impresario of Her Majesty's Theatre in London, engaged the talented but unknown Coletti as replacement for the public's idol, the baritone Antonio Tamburini, (1800–1876). Laporte hoped to get rid of the expensive Tamburini, thinking Coletti his equal and casting him in "I puritani". But as talented as was Coletti, he was not a member of the 'old guard', and the diva Giulia Grisi and others instigated a riot."The opera passed off in perfect quiet; and, indeed, was received with the usual applause, of which Coletti, who has been substituted for Tamburini, received a very considerable share, — an indication, no doubt, on the part of the intended insurgents, that there was no personal feeling against this excellent performer. When the opera was over cries began to be raised of "Laporte!" and "Tamburini!" which went on increasing and spreading in all parts of the house, till they swelled into a raging storm" This riot became a milestone event mentioned in the Musical Times, as late as 1868, when the Haymarket Theatre burned down. R. H. Barham describes the riot in "A row in an omnibus" (i.e. 'theatre box'): "A legend of the Haymarket" (from Barham's "Ingoldsby Legends"):<poem>  --'Though Fiddle-de-dee "(i.e. Tamburini)" sings loud and clear, And his tones are sweet, yet his terms are dear! The "glove won't fit!" The deuce a bit. I shall give an engagement to Fal-de-ral-tit! "(i.e. Coletti. Coletti's singing however, failed to convince the audience completely:)"  The Prompter bow'd, and he went to his stall, And the green baize rose at the Prompter's call, And Fal-de-ral-tit sang fol-de-rol-lol; But, scarce had he done When a 'row' begun, Such a noise was never heard under the sun. Fiddle-de-dee! Where is he? He's the Artiste whom we all want to see!--</poem>  Henry Fothergill Chorley writes:"one of the liveliest evenings of the season of 1840 was that of the Tamburini riot (...). The intention of ousting this excellent artist, then in his prime, to replace him by Signor Coletti-another excellent singer (through second in order of merit and accomplishment)-was resented with such fiery indignation as has not been often witnessed."

Italy 1841–1846.

Returning to Europe, Coletti sang in Vienna, Bologna and in Bergamo, where he met Donizetti, who travelled from Milan to Bergamo to hear Coletti perform in his "Marin Faliero". Coletti sang Donizetti's "Torquato Tasso" and Bellini's "Beatrice di Tenda" in La Scala in 1841, creating there the role of Edmondo in Otto Nicolai's "Il Proscritto" (1841). After creating the title role of Pacini's "Duca d'Alba" in Teatro La Fenice (1842) in Venice, Coletti moved to Naples, where he would remain till 1846 as San Carlo's leading baritone. In Naples Giovanni Pacini wrote the role of Piero Zampardi in his opera "Fidanzata Corsa" (1842) for Coletti; the opera and Coletti's performance proved a hugh success. Coletti created Lusignano in Gaetano Donizetti's "Caterina Cornaro" (1844). The opera suffered a disastrous opening night, and Donizetti blamed the cast and Coletti for the failure. The relationship between the two was repaired a few months later, when Donizetti returned to Naples to mount "Maria di Rohan". In 1845 Coletti created Gusmano in Verdi's "Alzira". The tenor Gaetano Fraschini, who sang frequently with Coletti, created the role of Zamoro. Eugenia Tadolini sang the role of Alzira. Verdi had insisted on Coletti's participation by contract, and proved faithful to Coletti for many years to come. Coletti was also Verdi's first choice for the opera "Una vendetta in domino" intended for Naples and never written.  Coletti sang the 1846 first performance of Verdi's "I due Foscari" in Paris, and in the season 1847–48 sang the title role of Mozart's Don Giovanni, and in the Rossini's operas "La Gazza ladra" and "La Donna del lago". Vienna, Prague, Dresden, Leipzig, and Cologne followed.

Second London period 1847–1851 and "I Masnadieri".

Following star-baritone Tamburini's defection to Covent Garden, Coletti returned to Her Majesty's Theatre, hired by Laporte's successor, Benjamin Lumley. Lumley chose Verdi's Nabucco "in order to introduce Coletti, who appeared in the part of the maddened king (previously so effectively sustained by Fornasari), and was welcomed with enthusiasm." Benjamin Lumley was determained to procure the best artists for his theatre. He had been corresponding with Giuseppe Verdi "for the purpose of obtaining from him a work destined for the London boards. An opera on the subject of "King Lear " had already been promised by Verdi, the principal part being intended for Signor Lablache. But, on that occasion, the serious illness of the composer had prevented the execution of the design. Verdi now offered his " Masnadieri," composed upon the subject of Schiller's well-known play, " Die Räuber," and with this proposal 1 was obliged to close. On Thursday, July 2, " I Masnadieri " (after wearying rehearsals, conducted by the composer himself), was brought out, with a cast that included Lablache, Gardoni, Coletti, Bouche, and, above all, Jenny Lind, who was to appear for the second time only in her career, in a thoroughly original part composed expressly for her.  The house was filled to overflowing on the night of the first representation. The opera was given with every appearance of a triumphant success : the composer and all the singers receiving the highest honours. Indeed, all the artists distinguished themselves in their several parts. Jenny Lind acted admirably, and sang the airs allotted to her exquisitely."  For Coletti the role creation of Francesco in Verdi's "I masnadieri", conducted by Verdi himself, was a personal success: "Coletti's reception by the public on Saturday night had added another laurel to Mr. Lumley's brow, and has given the public increased confidence in all the promises set forth in his so fiercely catechized prospectus. Never was an opera season so auspiciously commenced. Verdi had re-written the cabaletta of his aria for Francesco 'Tremate o Miseri' after hearing Coletti's voice. Coletti remained present in London until 1850, singing diverse roles in the Italian baritone repertoire, performing in "Linda di Chamounix", "I Puritani", "L'elisir d'amore", and most notably the Doge in Verdi's "I due Foscari". In London Coletti created roles in Sigismond Thalberg's "Florinda" and Balfe's "I quattro fratelli", as well as the role of Ferdinand in Halévy's "La tempesta" in 1850.

Maturity 1848–1861.

Coletti performed for three seasons in St Petersburg (1848–51) singing in Verdi's "I Lombardi" and Rossini's "Guglielmo Tell". He also travelled as far as the United States. He also performed in Madrid in the 1851–1852 season.  In Rome Coletti sang Rigoletto in 1851, (the opera given under the censured title 'Viscardello'), "I Due Foscari", "Ballo in maschera" (T. Apollo, 1854) and "I Vespri Siciliani" (T. Argentina, 1856). He also created the role of Hamlet in Luigi Moroni's "Amleto" (1860).  In Venice La Fenice Coletti sang in "Lucia di Lammermoor", Verdi's "I due Foscari" and "Stiffelio" (1852) (which he sang in La Scala as well, in 1851). In 1854 Verdi transposed down the part of Germont in "La traviata" for him. This version, as performed at the Venice Teatro Gallo, (Teatro San Benedetto) became definitive: The Gazzetta Musicale di Milano maintained that Coletti, in this revival of "La Traviata", ""had made one know the character of Germont for the first time truly, that Coletti would then proceed to interpret innumerable times in all theatres of Italy""  In 1857 Coletti created the title role of Saverio Mercadante's "Pelagio" at the Teatro S Carlo, Naples (1857). Verdi was considering Coletti as the title role in his opera "Re Lear" for Naples, (which he never wrote). In a letter from that period regarding a revival of "Simon Boccanegra", Verdi writes:"If you really intend to mount Boccanegra, an ideal cast would be Coletti, Fraschini and Penco as well as a Basso profundo, which one would still need to find. It would be a mistake to perform this opera with another cast! There is no one better than Coletti for the Doge".  In 1858 the caricaturist Melchiorre Delfico drew Verdi at the piano rehearsing Simon Boccanegra Verdi is depicted at the piano with his back to the viewer, Coletti to his right, reading off a sheet of music while Fraschini and the rest of the Simon Boccanegra cast stand around staring.

Retirement from the stage.

In the season 1861–1862 Coletti, no longer first choice in Italy, found work in the Teatro Real, Madrid, singing in Donizetti and Verdi operas as well as Achille Peri's "Giuditta". In Naples he created his last new role – Appio Claudio in Errico Petrella's "Virginia"; But Coletti's voice had deteriorated to the extent that he was forced into retirement. After a few years of teaching and living alternately between Rome and Anagni, Coletti wrote Verdi in 1866 asking for help. Verdi responded with warmth and delicacy, but could not help him.  Coletti attempted a brief comeback in 1867, singing the bass role of Mefistofeles in Gounod's Faust in Palermo, earning applause and a polite review. Another bass role Coletti sang that year was Filippo II in Verdi's Don Carlo in Turin. Always a beloved artist in San Carlo in Naples, Coletti was rehired for the 1868–69 season, but after a "tempestuous performance of the opening opera of the season, "Jone" by E. Petrella on October 28, he dissolved the contract and retired for good". Coletti moved to Rome, then to his hometown Anagni. In his later years Coletti became involved with Anagni civic duties, as well as teaching – (Édouard de Reszke was one of his pupils) and writing. Coletti published an "Album Melodico" of songs a treatise on singing, "La scuola di canto italiano" (Rome, Forzani, 1880), and an essay on the state of Italian opera, "L' Arte Melodrammatica Italiana" (Rome, Forzani, 1883). Nothing much is known of his last years in Anagni. Coletti was working on a'method of singing', which remained unfinished at his death. His manuscript breaks off at the point where he writes: "I cease writing musical notes because my sight, weakened by my old age, is becoming ever more obscured, hence I need to suspend my work, with the intention of continuing it and completing it if the good Lord wants to keep me living for a bit longer".  Coletti died in 1894. In his obituary, The Musical Times of 1 August 1894 said of Coletti: "he is also memorable as the sole performer in whom Carlyle saw any merit on his famous visit to the opera".

Critical appreciation.

Francesco Regli "One could say that Coletti in his career never had one moment of repose (...). In order to sing at such an advanced age he never ceased studying (...)One observes with great astonishment the ease with which he executed the most difficult of roles, dramatic as well as those of agility, the extraordinary extension of his voice and the colour that is so indispensable in the various characters in the music. He is perhaps the only artist that could be proud of so many exquisite talents, talents he owed not only to nature, but to perseverance and dedication in study. The facility with which he vocalized, the fact that he always maintains perfect intonation, offering his listener an always consistent vocal timbre. Always sonorous. He is without paragon(...)  Thomas Carlyle "Of the Haymarket Opera my account, in fine, is this : Lustres, candelabras, painting, gilding at discretion ; a hall as of the Caliph of Alraschid, or him that commanded the slaves of the Lamp ; a hall as if fitted-up by the genii, regardless of expense. Upholstery, and the outlay of human capital, could do no more. Artists, too, as they are called, have been got together from the ends of the world, regardless likewise of expense, to do dancing and singing, some of them even geniuses in their craft. One singer in particular, called Coletti or some such name, seemed to me, by the cast of his face, by the tones of his voice, by his general bearing, so far as I could read it, to be a man of deep and ardent sensibilities, of delicate intuitions, just sympathies ; originally an almost poetic soul, or man of genius, as we term it ; stamped by Nature as capable of far other work than squalling here, like a blind Samson, to make the Philistines sport!"  Giovanni Pacini's memoires"The celebrated Coletti in the role I entrusted him was not able to be surpassed by any other artist. Even Paris, when my fortunate work was presented at the Theatre Italienne, proclaimed Coletti 'The Greatest', 'unreachable'."  Musical World "Coletti has, perhaps, the most splendid baritone voice we ever listened to. (...) Coletti's style is energetic and manly, and the tones of his powerful and magnificent voice fill the entire area of Her Majestie's Theatre. His voice is musical equal to the degree of its power. The faults we have to lay to his charge – for which of us is without them? – are a want of colour in his expression, a monotony in the form of his cadences, and a method of reaching the high notes, which belongs to a bad school of singing. (...) His unusual faultlessness of intonation gives him a great advantage over Ronconi (...) and the power of his lungs would enamble him to drown the mellow baritone of Tamburini. But on the other hand Ronconi, in the midst of his vacillating intonation, possesses a variety of style, and a passionate intensity of expression, which would leave Coletti far behind him in the higher requisites of dramatic song; while Tamburini, as a flexible vocalist, and an actor of various powers, is equally his superior. Portraits of the three baritone rivals, by Josef Kriehuber, the viennese artist.

Filippo Coletti (11 May 1811 – 13 June 1894) was an Italian baritone associated with Giuseppe Verdi. Coletti created two Verdi roles: Gusmano in "Alzira" and Francesco in "I Masnadieri". Verdi revised the role of Germont in La traviata for Coletti, whose interpretation re-defined the role as it is known today. Filippo Coletti was, with Antonio Tamburini (1800–1876) and Giorgio Ronconi (1810–1890), one of the three leading baritones of 19th century Italy, an early model of a 'Verdi baritone'.

Filippo Coletti () est un baryton italien associé à Giuseppe Verdi. Coletti a créé deux rôles de Verdi : Gusmano d’"Alzira" et Francesco dans "I Masnadieri". Verdi a révisé le rôle de Germont dans La traviata pour Coletti, dont l'interprétation a redéfini le rôle tel qu'il est connu aujourd'hui. Filippo Coletti a été, avec Antonio Tamburini (1800–1876) et Giorgio Ronconi (1810–1890), l'un des trois grands barytons italiens du et l'un des premiers modèles de.


History and Acts.

Falco is often being seen as the first successful Austrian rapper, but in fact Falco didn't want to be seen as rapper, but as a pop/rock musician. Nevertheless, the first songs from Austria to be known of featuring rap verses were sung by Falco.  The first "official" Austrian hip hop album to be released was "Sound Vibes" by The Moreaus in 1990. Then again, The Moreaus were not very defining for hip hop in Austria. The most well-known acts in the 1990s were Schönheitsfehler, Fünfhaus Posse and Texta. From the beginning, the hip hop culture in Austria was being dominated by East Austrian acts. There have been only a few acts from the west of Austria who got wider attention.  In 2000, Schönheitsfehler had their first commercial success. Their album "SexDrugsAndHipHop" reached rank 20 of the Austrian Longplay Charts, with the single "Fuck You" charting in Germany.  With the rise of Gangsta rap in Germany in the middle of the 2000s, more and more Gangsta rappers in Austria appeared. Most notable are Chakuza, Nazar and Raf Camora who also had commercial success. Chakuza and Raf later moved on to changing their sound, leaving Gangsta rap behind.  In 2008, the Viennese rap group Die Vamummtn got famous over YouTube. Their amateur video "Krocha Hymne" in which they are referring to the youth culture "Krocha" currently has over 1 million views. The song was released by Universal Music Austria only a few months after the hype and was the first hip hop single to reach the Charts since over five years.  Only two years later, other YouTube hypes lead to a success – the song "Kabinenparty" by Skero, a member of Texta, reached rank 4 of the Austrian Single Charts after having become a viral video on the internet. The hip hop duo Trackshittaz succeeded in reaching rank 1 of the Single Charts with their song "Oida Taunz", also shortly after having a video going viral. This was the first time that an Austrian hip hop act reached rank one of the Charts.  The probably most successful female hip hop artist is Mieze Medusa, who also organizes the monthly poetry slam "textstrom".

Dialect.

Many Austrian hip hop artists use their mothertongue Austro-Bavarian dialects when rapping – while some do so to stay "real", others deliberately distinguish themselves from the German rap scene by doing so. For example, Fünfhaus Posse's first album was recorded in Viennese German, while standard Austrian German was used for their later ones (due to commercial reasons).  Dialect is notably often used when being ironic, while most rappers use standard German for serious texts – in the mid-2000s this led to dialect having an image of non-seriousness. Gangsta Rap artists made fun of dialect acts and were orientated towards the big German hip hop scene. This has changed in the last few years with the success of "Slangsta" acts (a Portmanteau of "slang" and "gangsta") who combine serious texts with dialect, the most notably artist being Ansa.

Austrian hip hop is not a genre of hip hop music, but covers all hip hop music from Austria. The majority of Austrian hip hop acts does Underground hip hop, as the big radio stations in Austria have no airtime for native hip hop. The only radio station that does so is FM4, which focuses on alternative music.

Le hip-hop autrichien désigne la culture du hip-hop en Autriche. À la différence de la scène hip-hop allemande, les artistes autrichiens de hip-hop ne sont pas directement connu du grand public, mais principalement diffusés sur des chaines de radio underground comme FM4 et gotv.